lockeamaral.com
Your personal guide to good opinions about movies.
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The Dead Don’t Die is even more baffling than you think
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Jim Jarmusch’s zombie “comedy” is animated by boredom, malice for the general public, and the most ridiculous Tilda Swinton cameo ever.
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The foundational empathy at the heart of Princess Mononoke
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Human industry’s willful exploitation of nature is met with violent revenge from the forest’s protectors in Miyazaki’s deeply political epic.
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Squid Game = capitalism, et cetera
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Anti-capitalist media made by capitalists may ultimately serve capitalism, but this series undoubtedly raises the right questions.
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Only Yesterday and the familiarity of boredom
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Unless you are constantly riveted by the plot of your everyday life, Isao Takahata’s intimate film will remind you of yourself.
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The Guilty is a classic wrongheaded remake of a foreign film
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Jake Gyllenhaal’s central performance commands enough fury to carry the chamber piece, but doesn’t justify why it is one in the first place.
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I’m not being an alarmist when I tell you Free Guy is from Hell
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The Academy Award-nominated Fortnite movie is our punishment for entrusting Taika Waititi and Ryan Reynolds with blank cheques to corporate franchise filmmaking.
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A violent visualization of the vindication of veracity (I guess)
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I venture to say that this profoundly corny action epic about “totalitarianism” wants to be more important than it actually is.
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Rushmore or: How I Learned to Stop Worrying and Love Max Fischer
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I’m not so sure about how Anderson’s second feature handles its narcissistic protagonist.
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An insufficient analysis of The Tale of the Princess Kaguya
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Isao Takahata’s magnum opus is a true masterwork to which no writing can ever do justice — at least not mine.
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Oscar bait, as directed by Hayao Miyazaki
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Miyazaki’s first and last biopic is as epic as his fantasies, but held hostage by the political baggage of fascist history.