![]() ![]() The end result is a knotty but entertaining economics lesson, with the kind of risk-taking and playful storytelling that keeps our attentions glued to the screen throughout the information-stuffed 95 minutes. Burns adapts Pulitzer Prize–winning investigative journalist Jake Bernstein's Secrecy World with the help of stalwart acting from Meryl Streep, Gary Oldman, Jeffrey Wright, and Antonio Banderas. Frequent Soderbergh collaborator Scott Z. The infamous Panama Papers are tackled in “The Laundromat,” a sprawling, multi-layered account of what exactly was exposed. None more so than Matthew McConaughey’s MC of the club ‘Dallas’, a supporting role on par or even surpassing his cameo on Scorsese’s ‘The Wolf of Wall Street’, and one that should have garnered him more critical acclaim. And whilst the comedy rises to the top in some scenes, it’s the inescapable inner workings of the characters on screen that make this work, as every character, even the ones with limited screen time, are filled with personality. However, this film somewhat works, for the most part as, through the eyes of Channing Tatum as ‘Mike’ and Alex Pettyfer as ‘Adam’ (aka The Kid), we catch a story dealing with the full spectrum of human emotions, from its razor-sharp look at toxic-masculinity to Mike’s internal struggle with where his life is going as he approaches the twilight of what has become his career. Not hard to see why some may have been put off of a film in which (on the face of it) a male stripper teaches a younger performer how to navigate his world, especially if you don’t know who Soderbergh is. And yet, the final twist doesn’t necessarily feel satisfactory, as if Soderbergh was trying to pull the rug from underneath us but couldn’t muster up the substance to go along with it. Mara and Law are fantastic during their appointment scenes, whilst the film is bolstered by carefully crafted supporting performances by Tatum, and by Catherine Zeta-Jones as Emily’s former doctor. A film that shouldn’t be spoiled in a mere review, Soderbergh keeps us guessing throughout the film’s entire run-time with twist after twist making viewers doubt if they can trust what they are seeing at any given moment, creating an almost un-trustworthy bubble surrounding the film’s plot. Upon being prescribed an experimental new drug by her Psychiatrist Jonathan Banks (Jude Law) Emily’s life takes a dark, twisted turn, believed to be due to the side effects of this possibly untested drug. Rooney Mara plays Emily Taylor, a woman plagued with depression following her husband’s (Channing Tatum) incarceration and subsequent release from prison. Under 17 requires accompanying parent or adult guardian.Soderbergh and writer Scott Z. Pictures release that streams on HBO Max beginning July 1, is rated R for “language throughout, some violence and sexual references.” Running time: 115 minutes. We suggest you put it in your streaming queue but make no sudden move for it. (“You are under the illusion of control,” our hero is told.) With so many murky motives, there’s little to care about, no way to anticipate the next con and no sense of real peril. The film seems to say the world is a plutocracy and there’s nothing anyone can do about it. The double-crosses aren’t fun and yet there’s not enough social message in the bake. There also is careful thought into everything - the use of vintage wallpaper, the GM lobby scenes being shot in the actual GM headquarters lobby from 1954 and composer David Holmes apparently wearing entirely `50s clothes while working on the score - but the end result may leave you a little ripped off. Shot during the pandemic, there’s a nod to 2020 even in 1954 when the home invasion that starts the film includes men in masks. ![]() ![]() Amy Seimetz plays an unhappy, self-medicating wife and mother who is stifled in her ’50s life, and both Julia Fox and Frankie Shaw make waves with unexpected juice. Perhaps most refreshing are the female characters, so often in ‘50s noir relegated to vixens in pill hats or virginal moms in housedresses. Macy is famous for and Liotta still just has to stare to fill a room with dread. Harbour wonderfully plays the role of a regular guy in over his head that William H. Hamm is a charming cop, Fraser is a scary bully and Damon can’t conceal his boyish charisma even in a baddie role. Culkin leans into the unstable, dangerous energy we so adore in “Succession” and Del Toro uses his side-eyed menace to great effect. It’s welcome but not enough, like progressive window-dressing.Ĭheadle is perfect - and perfectly named as Curt - a savvy, mostly quiet smart thinker. So they’ve dressed up “No Sudden Move” with oblique references to racial tension, redlining and capitalist greed. But he and screenwriter Ed Solomon also want to elevate the material to more than just wiseguys in fedoras driving classic cars with fins. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |