lockeamaral.com
Your personal guide to good opinions about movies.
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Lady Bird, a near-universal memoir
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This darling of modern teen cinema caters almost flawlessly to the general experience of its audience by faithfully recounting the specific experience of its director.
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Marty Supreme beats its audience to the floor, then lifts them up again
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This is a colossal, singular movie about a colossal, singular man and the malformation of his ideal American success story.
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When the subtext becomes text in Jay Kelly
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Noah Baumbach interrogates the cost of celebrity before turning around to congratulate George Clooney for his body of work.
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Why does The Shawshank Redemption resonate so much?
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Since its release in 1994, the film’s place in the popular consciousness has never shown any signs of fading away.
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Scream takes advantage of its audience’s movie trope psychosis
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Kevin Williamson’s screenplay uses your familiarity with the horror genre against you, with help from Wes Craven’s master craftmanship.
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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.