West Side Story (2021) - Movie Review

The 1961 film adaptation of West Side Story is widely considered to be one of the greatest films of all time, let alone musical films. And while I definitely get everything that makes it so memorable (the choreography, the music, the reworking of classic Shakespeare), I wouldn’t say it’s among my favourite musical films out there. Sure, that could just be because I’m so accustomed to how much it’s influenced pop culture since its release that I’m not able to appreciate it as much on its own terms, but in my own defense, both the film and the original stage musical feel like dry runs for things that the creatives involved would end up perfecting later on.

As a grand big-screen musical directed by Robert Wise, it’s good… but it’s no Sound Of Music. As a musical with lyrics from theatre extraordinaire Stephen Sondheim (who tragically passed away earlier this year), it’s good… but it’s no Sweeney Todd or Into The Woods.

So, yeah, I’m already a little bit lukewarm on the original production as is… but I’ll be honest, I can at least understand why someone would try and remake the film today. As much as I can sympathise with how the Hays code really did a number on a lot of productions at the time through executive meddling and general BS to do with non-white romantic leads, having a film all about conflict between different racial cultures, while half of the cast is in full brownface, makes it difficult for that intent to ring through.

As such, remaking it at a time when… well, I won’t say that colorism is no longer a thing within the industry (and not just in Hollywood either), but at least when filmmakers are under less pressure to pull heavy makeup tactics, could help revive it for a new generation. Hell, even though Steven Spielberg somehow hasn’t made a musical before this, he’s done pretty much everything else under the sun, so he’s as good a choice as any to give it a crack. And it’s an attempt that seems to have worked out for the better, as it manages to keep everything that makes the original musical what it is, but with just enough modernisation to help translate it into a post-millennium film market.

Gold (2017) - Movie Review

With how homogenised Hollywood releases can feel at times, it’s understandable if you get a feeling of Déjà vu from certain trailers. If you’ve seen one film about a young couple fighting to be together despite every reason why they shouldn’t be, you’ve seen them all. That kind of blanket statement is usually something even I turn my nose up at, but in some cases, those base assumptions are accurate. However, of all the reasons that I’ve seen in terms of feeling like you’re just watching the same trailers over and over again (aside from just flat-out seeing the same trailers over and over again), this is definitely a new one. In this case, it’s down to the use of music in the trailer.

Now, re-use of popular songs is nothing new but hearing Barns Courtney’s Glitter And Gold in the trailer for today’s film, after hearing it so often in the lead-up to the release of The Founder late last year, is rather off-putting. The fact that the two, even from the marketing, share a prominent trait concerning the American Dream doesn’t help that impression, but I’m getting a bit ahead of myself. Let’s dig right in… ugh… let’s get started with today’s film.

Café Society (2016) - Movie Review

For as much as I’ve argued otherwise, I do understand that separating the actions of the artist with the published art can be harder said than done. The amount of times I hear Tie Me Kangaroo Down, Sport around my house (long story involving younger siblings) on a daily basis is made even tougher knowing what and where Rolf Harris is writing nowadays. Yes, we’re talking about the king of all things neurotic and Jewish Woody Allen once again, and in an attempt to keep with my central doctrine concerning this, I have actually liked his recent output. From the outstanding character drama Blue Jasmine to the sharply written rom-com Magic In The Moonlight to the wonky but still commendable morality play Irrational Man, I don’t have much to argue with in terms of his artistic output. However, once it gets to the point where said artist essentially inserts himself into the art, that disconnect proves ever trickier.

Ant-Man (2015) - Movie Review

As my review for Magic Mike XXL demonstrated, knowledge about a film’s production history can create an unfortunate preconception about said film. However, unlike that instance, there is legitimate reason for concern this time around. Edgar Wright, AKA the guy behind the Three Flavours Cornetto trilogy and easily one of the best filmmakers working today, was originally slated to direct and co-write this film. Then, word hit that he was leaving the project due to ‘creative differences’ and the script he and Joe Cornish had put together was re-worked by Paul Rudd and the guy who wrote Talladega Nights. This is like being offered a gourmet pizza and ending up with a hot dog-stuffed crust. Still, between Marvel’s relatively high standards and the fact that Wright’s fingerprints are apparently still on the script, there's still a chance that this could all work out for the best.