Arts
The Arts
Reeder’s Movie Reviews: Being the Ricardos
Let’s start with the paradoxes. The latest film from Oscar- and Emmy-winning writer-director Aaron Sorkin boasts several. Its two protagonists don’t look all that much like the historical characters they portray (although Nicole Kidman with red hair comes pretty close). The female lead, a comedy legend, has very few funny lines in the story. And, although the movie has the basic structure of a play, it provides a decidedly cinematic experience.
Reeder’s Movie Reviews: West Side Story
Steven Spielberg’s latest picture arrives in theatres with not only the weight of history and expectation, but also the bittersweet memories of his father and the work’s lyricist. Arnold Spielberg, the film’s dedicatee, died in August, 2020, and Stephen Sondheim passed away last month.
Reeder’s Movie Reviews: King Richard
Twenty years ago, Will Smith accepted the challenge of portraying a living legend, and arguably reached the zenith of his acting career, in Ali. In his latest film, he plays the obsessive, controlling father of sibling tennis phenoms in King Richard. It marks another high point for him.
Reeder’s Movie Reviews: C’mon C’mon
The writer, director and graphic artist Mike Mills loves to explore family. His own family, to be precise. In Beginners (2010), for which the late Christopher Plummer won an Academy Award, Mills dramatizes his elderly father’s gay relationship with a much younger man. In 20th Century Women (2016), for which Mills himself earned an Oscar nomination for Original Screenplay, he focuses on his mother, portrayed by Annette Bening, and her unconventional lifestyle as a single mom in late 1970s California. Of course, the characters of Oliver and Jamie in those films serve as Mills’ alter egos. His latest project, C’mon C’mon, is the most existential and least coherent in his trilogy (to date), despite its many strengths.
Reeder’s Movie Reviews: Belfast
“The Irish are built to leave,” as one character ruefully observes in Sir Kenneth Branagh’s new film, his twenty-second behind the camera. Indeed, many have departed the home soil, but their abiding attachment to it has prompted a wealth of insight and inspiration. You can add Belfast to the mix.
Reeder’ Movie Reviews: Dune: Part One
The risk of the project was destined to match the scale of journalist-turned-author Frank Herbert’s Dune. Denis Villeneuve’s conception has arrived in theatres (and HBO Max), and its sequel has already been greenlighted by Warner Bros. After two viewings, his intentions have become more clear and convincing.
Reeder’s Movie Reviews: Last Night in Soho
“I’ve got this kind of gift. I can see people, places. Things others can’t.” Eloise (a wide-eyed Thomasin McKenzie) can, indeed, have experiences denied to others, especially when it comes to swinging London of the 1960s, her obsession. In Edgar Wright’s psychological thriller, her gift becomes a nightmare.
Reeder’s Movie Reviews: The Last Duel
Adam Driver, left, and Matt Damon in Ridley Scott’s “The Last Duel.” (Patrick Redmond/20th Century Studios) “If we don’t trust each other, this earth might as well be hell.” The
Washington Artists Explore Hopes, Fears, In Black Lives Matter Exhibit
Black Lives Matter artist grant exhibit at the Schnitzer Museum at WSU.
Reeder’s Movie Reviews: Blue Bayou
You could say that the gifted actor-writer-director Justin Chon’s new film, Blue Bayou, began in Vancouver, Washington. Five years ago, Adam Crapser, a native of South Korea given up for
Reeder’s Movie Reviews: The Many Saints of Newark
A movie review of The Many Saints of Newark.
Reeder’s Movie Reviews: The Card Counter
A movie review of The Card Counter.