In this case, its “timeless” themes serve as a euphemism for generic. Boiled down and captured properly, this is just another movie. Remove the showy elements and art school choices, and there is literally no reason to see this.
The film intricately places them inside this economic snow globe that none of them really created, and none of them will ever escape. This below that, that above this, and all below American.
Take a black piece of paper. Use a black magic marker to cover every inch of it. Envelope that paper in a black blanket and shoot it off into space. That is how dark Todd Phillips’ Joker is.
It is a fairly pedestrian, paint by numbers, portrait of a famous person whose cultural resonance has waned in the last few decades. The movie landscape is filled with examples of this—portraits that lack the contours of a life and the pizazz of an invented story.
Daniel Day Lewis in There Will Be Blood. Michael Douglas in Wall Street. Jennifer Lopez in Hustlers. That is the class this turn belongs in. It was a pleasure to watch someone so accurately capture Americana, and it was a pleasure to watch the film not stand in her way.
If you aren’t bowled over by the occasional quip from Bill Hader, you will 100% wish Pennywise would bite your head off next, because there’s not much else to enjoy here.
If you are going to remake a nearly perfect film, make sure it is not a craven carbon copy. Infuse it with new ideas or daring angles. At least then, even if your movie is not revolutionary, no one can say it is what 2019’s The Lion King winds up being—boring.
Toy Story 4 has just enough fresh perspective to justify its own existence—which is more than can be said about the fourth entry in nearly every other franchise.
Everyone involved has lived with this story and this city long enough to know every bit of it. The result is a film that feels familiar from the first frame because it knows itself.
There were racial dynamics, class dynamics and so many other social strata right there to be considered, but the movie saunters past them as if blindfolded. The result is a movie that feels like it decided it was going to fail even before cameras started rolling.
If you like your movies filled with beyond gratuitous violence, you will probably appreciate that the filmmakers have done everything they can to raise your eyebrows—or perhaps even blow them off.
What is most interesting is how close the film comes to horror in its third act. It is as intense as any full-fledged horror film you are likely to see this year. They turn the suspense up to 11 and then rip off the knob.
The soulless affair is all told in about the most cookie cutter way imaginable. There is no vision here—only the bastardized crumbs of King’s legendary frights.
Unlike other allegorical tales like “Mother,” “Us” never forgets that it is a movie. That it is taking a shot at capturing the conceit of the American Dream is just icing on the cake.
We get the origins of S.H.I.E.L.D., the origins of Captain Marvel and a good look at how she fits into where the franchise is headed from here. But all of that was to be assumed. How successfully they pulled that off is another matter entirely.