Theodore Melfi’s ‘Hidden Figures” is a comforting fairy tale, set in a 1960s where racism is easily identified and solved, and no one ever smokes.
Author Archive | G Clark Finfrock
The 2016 BAFTA nominations were announced this morning; here is a full list with insightful and drolly witty commentary provided by G Clark.
Damien Chazelle’s ‘La La Land’ is an uncomfortable marriage of old-school Hollywood musical and modern rom-com, though it certainly entertains.
‘Rogue One’ is exactly the movie you’d expect to get if you let a soulless corporation make a Star Wars film by committee.
‘The Autopsy of Jane Doe’ is a silly little horror film—but see it in the right frame of mind, and it’ll work some magic on you.
The forthcoming ‘Graduation’ is complex, thrilling, satisfying filmmaking, from one of the Romanian New Wave’s greatest talents, Cristian Mungiu.
Though ‘Fences’ is no grand cinematic experience, it provides an audience with over two hours of great actors delivering great dialogue.
Pablo Larrain’s ‘Jackie’ is a thrilling narrative and thematic arabesque; featuring Natalie Portman’s best performance, it’s a biopic for haters of biopics.
Garth Davis’s ‘Lion’ provides a cheap and easy emotional catharsis, but lacks thematic heft, despite a stellar cast and first half.
‘Toni Erdmann,’ Germany’s submission for the Best Foreign Film Oscar, is a protracted family ‘comedy’ about a father and daughter trying to reconnect.
Mel Gibson returns from exile with Hacksaw Ridge: a stirring masterpiece about how a man’s religious convictions helped him accomplish real-world miracles.
‘A Man Called Ove,’ Sweden’s submission for the Best Foreign Language Film Oscar, is safe and undemanding entertainment, with generic characters and plot.
Kelly Reichardt’s latest film, ‘Certain Women,’ is unfortunately something of a disappointment. Thankfully, however, it is a beautiful one.
‘Dr Strange’ is the latest movie by Marvel Studios, and this is the excerpt that lets you know that this is a review of ‘Dr Strange.’
Back from a break, G Clark reviews Anna Rose Holmer’s debut film, ‘The Fits,’ which plays more like a parody of arthouse cinema than a serious work of art.
Film Misery’s Oscar coverage continues with ‘From Afar,’ Venezuela’s submission for Best Foreign Film and a recent Golden Lion winner at Venice.
Oscar Season kicks off at Film Misery with G Clark’s review of Pedro Almodóvar’s 20th feature ‘Julieta,’ Spain’s submission for Best Foreign Language Film.
Oliver Stone’s latest film, ‘Snowden,’ is a well-meaning but painfully obvious portrait of Edward Snowden, bolstered by a great central performance.
G Clark uses ‘Europa Report’ to examine the ‘found footage’ technique, and explain why, so often, such films come up short.
Clint Eastwood’s ‘Sully,’ one of 2016’s better pictures, shows how stark and simple filmmaking can be used to powerful effect.