Striking and often unpredictably moving — before an ungainly third act that frays into a profusion of endings — Søimer Guttormsen’s film places a lot of trust in its leads, erstwhile “Worst Person in the World” co-stars Renate Reinsve and Helene Bjørneby, to sell its wild swerves in mood and perspective. Both are up to the task.
The directing brothers Charles and Daniel Kinnane have worked with James before (“Home Team”) and know what they have in the ridiculously amiable star. They also know there’s more, if not depth, soulfulness to his talents. In the place of pratfalls, they’ve found a kind of sheepish charm and hurt.
This is an unconscionably lazy piece of work, the kind of movie that makes you marvel how people will put months of work into creating a feature film whose script seems to have been written in a few hours’ uninspired haste.
In outline, GOAT doesn’t do anything terribly unorthodox, but the joy of the film lies in its dreamscape design, in the funky cut and thrust of its patter, and in its touching off-center sincerity.
For nearly two centuries, Brontë’s book has been a romantic fantasy for readers. Fennell treats it as an erotic one as well, leaning into all that is sensual.
Like the game, which is popular as kind of a one-off without much replayability, Exit 8 is designed to divert for a short time and does so enjoyably, with Kawamura proving a most judicious assessor of just how little backstory, plot explanation and character development he can get away with and still keep us engaged.
The Friend’s House Is Here is defined not by the many constraints that it battled during its production, but by the artistic vision of the resulting work.
Alvarado’s doc is standard in construction but lively in tone, reflecting his subject’s engagement with the sociopolitical challenges faced by Chicanos in the 20th century.