Rolling Thunder Revue: A Bob Dylan Story By Martin Scorsese (2019) - Movie Review

After looking at the Beyonce concert documentary, and thinking on and off this month about The Irishman, I feel like I need to give Martin Scorsese another look-over. With how much he’s dominated the larger conversation about where the cinema industry is going, and how vindicated his statements have grown in such a short time (the artistic quality of the MCU is still arguable, but its effect on the industry isn't), I don’t want my last thoughts about the man this decade to be filled with disappointment and a want to highlight what has made the man so enduringly fascinating as a storyteller. So let’s look at the other movie he made this year, a documentary about Bob Dylan’s legendary Rolling Thunder Revue.

Homecoming: A Film By Beyoncé (2019) - Movie Review

With how many new and returning faces have dotted the cinematic landscape over the past decade, pinning down any singular filmmaker as being the definitive artist of the 2010’s sounds like a headache and a half. In the realm of popular music, however, that question is far simpler. Sure, there are a few contenders for that crown on the pop stage like Taylor Swift, but none of them can hold a candle to the breadth of musical talent and utter ubiquity than one Beyoncé Knowles-Carter.

Her paradigm shift into becoming an album artist in 2013 somehow managed to upgrade her already-enviable place in the spotlight, pushing her beyond her girl group/showbiz upbringing origins and revealing her as one of pop’s most singular artists. But the moment that truly confirmed her place in pop history was her performance at Coachella 2018, the setting for Beyoncé’s step into the director’s chair to capture this truly important moment. And man, does she bring a whole new shine to the event.

Sorry We Missed You (2019) - Movie Review

The latest release from British working-class hero Ken Loach is a bleak offering. It’s a portrait of a family in the midst of financial and personal crisis, primarily through Kris Hitchen’s humbling turn as a father who has just started a job as a white van man delivering packages. It carries next-to-no flash and about as humdrum as a release can get these days, and yet it carries an emotional intensity that makes for one of the most crushing films of the year.

The House That Jack Built (2019) - Movie Review

I feel like a john when discussing movies like this. Movies where the main intent at its core is to shock people by any means necessary, in this case made by a man who has basically built an entire career out of playing edgelord for the arthouse crowd. While that methodology has at least brought Lars Von Trier to some actual dramatic engagement on occasion, and even his worst films show a level of effort that is the least I ask for from edgelords (nothing worse than someone trying to shock you while putting in zero effort whatsoever), the man’s status as provocateur makes watching his movies, particularly his most recent ones, feel like I’m just playing into his hand. And unfortunately, the same applies for this one.

The Report (2019) - Movie Review

Much like how Steven Soderbergh couldn’t restrain himself to a single film this year, his frequent collaborator Scott Z. Burns appears to be in the same mode as, along with writing Soderbergh’s The Laundromat, he has stepped back into the director’s chair to do some even more scouring of conspiratorial secrets, this time involving the United States government and their involvement in torturing suspected terrorists in the wake of 9/11. Strap yourself in for some pretty ugly ruminations because, much like the film itself, I’m not going to be holding anything back.

Her Smell (2019) - Movie Review

After how dirty Elisabeth Moss was done with The Kitchen, I was honestly wanting to check this film out mainly because she deserves better than having just that movie as her impact for 2019. And it seems that writer/producer/director Alex Ross Perry has given her a role she can really sink her teeth into, playing a riot grrrl punk rocker who, in expected rock star cinema fashion, crashes and burns under the weight of her shot at fame. Going from a role that outright wasted her talents to something that lets the entire production spin on the axis of her performance is very gratifying to see, and the film as a whole ain’t half bad either.

Extra Ordinary (2019) - Movie Review

Well, this is an odd one. Not just because this is an Irish horror-comedy that makes for one of the weirder entries in that genre hybrid I’ve seen in years, but because of the reception this film has already garnered. It is one of the many films of 2019 that has managed to snag a perfect 100% rating on Rotten Tomatoes, a notion only made weirder when it sets in that there have been zero 0% ratings this year.

As someone who in the last couple years has actually started being listed on the website proper (not for these reviews, but for the ones on FilmInk… for now, at least), and who occasionally wonders if I like too many movies to be considered a credible critic (feel free to decide amongst yourselves which part of that statement is the most ridiculous), this seems off for one of the bigger touchstones of the industry I work in, not to mention intimidating to be looking at a movie that everyone else seems to like without caveat. Thankfully, while I don’t think it’s out-and-out brilliant, I can at least get how it would garner that much positive buzz.