White Noise (2022) - Movie Review

Up to this point, writer/director Noah Baumbach has operated in the chattier sectors of American indie cinema. We’ve look at three of his films on this blog already, and they have all involved intimate and unvarnished looks at families with a shared interest (or even disinterest) in the arts. And despite a couple disagreements here and there in the film craft or the framing of their central ideas, I’ve come to look forward to seeing new films from the guy. So you can imagine my surprise when his new film is a major switch-up from his usual wheelhouse.

No Sudden Move (2021) - Movie Review

And now, for the other Steven Soderbergh feature from this year, and indeed my last proper review of 2021. After how far outside the margins he went with Let Them All Talk, I’ll admit to being somewhat relieved that we’re back in more familiar territory this time around. A crime drama set in mid-‘50s Detroit, it starts out as a small-scale hostage thriller, but ends up ballooning out into a much deeper conspiracy involving industrial espionage and (as is usually the case with Soderbergh) a look at capitalism’s lack of ethics.

Space Jam: A New Legacy (2021) - Movie Review

Back when I looked at the latest Tom & Jerry movie, I made an aside saying that I was looking forward to this feature. Well, after a good few months of reflection, and actually sitting down to rewatch the original for the first time in years, I want to wholeheartedly retract that statement. The original Space Jam is a film that didn’t need to exist in the first place, essentially serving as a feature-length adaptation of a commercial that is itself a highly commercialised product. There is not a single good idea to be found in it as a piece of art, but the reason why it remains watchable to this day is that everyone attached to it is having fun despite what they’ve been brought together to create. That, and the soundtrack is still fire after all these years.