lockeamaral.com
Your personal guide to good opinions about movies.
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Apocalypse Now and the cost of imperialism
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Coppola’s detached, nihilistic opus somehow accepts the idea that American soldiers suffered the worst during the War in Vietnam.
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Happy Gilmore 2 is an admirably okay legacy sequel
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Happy Madison Productions’ cynically produced continuation of a story which concluded 29 years ago fails to enrich the original, but its effect is ultimately harmless.
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Hard Eight, a prodigious 26-year-old’s homage to the wizened masters of the past
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The movie offering the most insight into Paul Thomas Anderson’s whole career is also his first.
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Deadpool & Wolverine is the safest possible version of itself
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Shawn Levy’s latest collaboration with Ryan Reynolds is not an irreverent mockery of Marvel, but a redressing of what to expect from multiverse gruel.
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Dead Poets Society and its fake rebellion
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Opposition to authority in Peter Weir’s coming-of-age dramedy consists of the kind of life advice that should remain on Hallmark cards.
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Aesthetic politics in The Kingdom of Dreams and Madness
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Miyazaki’s reckoning with beauty and fascism is depicted with more depth in this documentary than his own The Wind Rises.
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Obligatory praise for 2001
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Kubrick’s canonized magnum opus spells great and terrible things for the future humanity is building for itself.
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Hollywood fascism and Barton Fink
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The Coens portray various forms of disingenuous malice within the American entertainment industry through two powerhouse lead performances.
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Jacques Tati inimitably satirizes the waste of industrialism in PlayTime
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Sound and dimension are used to their fullest extent to disorient Monsieur Hulot, as well as the audience, in the intricate metropolis of this macroscopic comedy.
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Brazil and the capitalist hellscape that it shamelessly mocks
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Through astounding spectacle, Terry Gilliam projects his truly original, dystopian nightmares to the screen.