Review: Ready Player One (2018)

How do you do, fellow kids?

by Benjamín Harguindey

Cashing in on 80s nostalgia, as you do, Steven Spielberg‘s Ready Player One (2018) – based on the 2011 hit novel of the same name by Ernest Cline – imagines a a future enveloped in a worldwide virtual reality where everybody’s leading fantasy lives online 24/7 and pop culture is king. So it’s more of a present-day dramatization, really. Let’s get to it.

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Review: Pacific Rim Uprising (2018)

Del Toro is gone and so is the magic.

by Benjamín Harguindey

It’s tempting to think of Pacific Rim Uprising (2018) less as a sequel to Guillermo del Toro‘s mecha-vs.-kaiju love letter Pacific Rim (2013) and more as a franchise pitch, retconning any sense of urgency or achievement from the original movie while laying down the groundwork to “expand the universe”, as director Steven S. DeKnight has said. “You can go main canon, you can go spin-offs, you can go one-offs,” he goes on to fawn in the same interview.

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Review: Tomb Raider (2018)

Angelina wore it better.

by Benjamín Harguindey

Norwegian filmmaker Roar Uthaug reboots the Tomb Raider series with Alicia Vikander taking over the role from Angelina Jolie. Disclaimer: I never quite got over the new casting, never mind that both are great actresses and Vikander’s Oscar is just as fresh as Jolie’s when she took over the mantle of one of gaming’s most iconic characters.

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Review: Phantom Thread (2017)

The discrete charm of PTA.

by Iñaki Oñate

Phantom Thread (Paul Thomas Anderson, 2017) isn’t just a movie about clothes. It’s a movie mainly about neurosis, love and sickness.

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Review: Lady Bird (2017)

Slice of nostalgia served up in super-sized American style.

by Joanna van der Veen

Greta Gerwig’s solo directorial debut is a slice of nostalgia served up in super-sized American style: a beautifully realised coming of age tale that warms the cockles of your heart while subtly massaging your tear ducts.

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Review: Darkest Hour (2017)

We shall fight at the Oscars.

by Benjamín Harguindey

Offering little in the way of novelty or excitement, Darkest Hour (2017) is essentially a one-man show starring Gary Oldman as Winston Churchill, delivering a wonderfully humane performance that sidesteps cliché in an otherwise unremarkable period piece. Best case scenario, history will remember the movie as the vehicle that finally earned Oldman a long overdue Oscar, and not much else.

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Review: The Post (2017)

All the President’s Men: The Prequel

by Benjamín Harguindey

Before Watergate there was the Pentagon Papers, classified documents detailing the historical and military involvement of the United States in Vietnam for over 20 years. These were leaked and published by the New York Post and, more the point of this movie, by the Washington Post. It’s so much easier to root for the underdog, which was the case of the Post in 1971, when it was about to go public and was headed by the rare female editor.

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