PALM SPRINGS
It's fresh, it's highly original and it made me laugh out loud! And let me say not every movie can make me laugh! Based on a simple time loop concept, Palm Springs grows thanks to its screenplay, but it elevated by Cristin Milioti and, specially, Andy Samberg's performances. Their chemistry feels authentic and they carry the movie in such an effortless way! I can't give you a lot more of details, because I might give some spoilers, but Palm Springs is worth a watch! The performances, the jokes, the pace and... the vibe! It's one of the freshest movies of the year and it's a comedy for the ages you will want to re-watch once in a while (yes, it's this kind of movie).
RATING: 4 / 5
Oscar potential categories:
- Best Original Screenplay
EMMA.
Even if Emma. was a narrative / character study failure (which it isn't), it would be impossible not watch until the end: the pastel palette cinematography, the costumes and set pieces make Emma. one of the most interesting movies in the visual department this year. But it happens Emma. succeeds at the task of making you care for Jane Austen's b*tch boss. It's not a brilliant narrative piece, but it is a fine one and Anya Taylor-Joy truly shines in the role of Emma Woodhouse. It's one of those roles and performances that estabilish a young actress in serious Hollywood ground - and after her amazing breakthrough performance in The Witch (2015) and The Queen's Gambit TV mini-series (2020), Taylor-Joy seems poised to stardom and recognition. Her Emma feels layered - a b*tchy spoiled pretty girl who knows nothing about real life but a pretty girl full of her good (own) intentions. Johnny Flynn makes for a charming Mr. Knightley and his chemistry and sexual tension with Taylor-Joy seem tailor-made for this movie's approach. Also winning turns from Josh O'Connor, Mia Goth, Miranda Hart and Bill Nighy, Emma. rises above most Jane Austen's feature film adaptations thanks to Autumn de Wilde's energic (and b*tchy) direction and a lovely score composed by Isobel Waller-Bridge and David Schweitzer.
RATING: 4 / 5
Oscar potential categories:
- Best Actress (Anya Taylor-Joy)
- Best Adapted Screenplay
- Best Production Design
- Best Costume Design
- Best Makeup & Hair
- Best Original Score
THE WITCHES
Robert Zemeckis' The Witches is a huge mess! Not captivating enough for adults and maybe too disturbing for kids (disturbing, not "scary"), The Witches flirts with the "cinematic disaster" title, but it can't be that bad too. It's simply forgetable! Even Anne Hathaway's bewitching performance as the Grand High Witch gets lost in all the bad CGI around her. The actress does pay homage to Anjelica Huston's iconic performance in the same role and she adds a certain bright note - and she's what keeps you watching the movie to the very end. On the other hand, Jahzir Kadeem Bruno might deliver one of the worst child performances I've seen in recent year - it never feels natural, it never draws your attention. Thank God he shares the screen with Octavia Spencer, who's able to elevate the thin material that's given to her. She's the heart of the movie, but she's not the whole movie! Still... The Witches always feels like a movie that could have been better from its very beginning to the very last scene - not even Hathaway can save it. In the end, you go re-watch the 90's version.
RATING: 1 / 5
Oscar potential categories:
- Best Makeup & Hair
THE LIFE AHEAD / LA VITA DAVANTI A SÈ
Let me be clear: La vita davanti a sè is formulaic movie: an opportunity of redemption is offered to a little boy who's considered rotten to the core and people around him try to push him to the "bright side of life", but Sophia Loren and Ibrahima Gueye's performances put La vita davanti a sè on higher ground. Don't get me wrong: this movie could have been a disaster drama, but it seems Ponti knew what to pull from the stars. Gueye is a revelation and he's a strong presence on-screen - in fact, the movie is mostly from Momo's perspective, but following Gueye's moves on-camera just feels engaging. Returning from a hiatus, Loren might be decades away from her golden years, but not only she stills in amazing shape and keeps a bewitching beauty for a woman in her 80's... She still is a on-screen magnet. Loren does not deliver the best performance of the year, but she might well deliver the most graceful one. It's beautiful acting that also feels like a swan song for an actress who's preparing the others for her eternal departure from movies. Ponti sacrifices a little of the narrative in behalf of the performances and thank God he's smart enough to do that. Ultimately, La vita davanti a sè is a love letter for a woman who was a star in her prime but still is able to inspire younger folks. And it's beautiful to FEEL that. (Watch this movie in Italian with subtitles, it's a wonder to hear Loren acting in her mother tongue).
RATING: 3,5 / 5
Oscar potential categories:
- Best International Film
- Best Actress (Sophia Loren)
- Best Original Song - "Io sì"
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