Tag: Oscar Isaac
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So, “Moon Knight” finishes considerably worse than expected. It’s got a bad ending, but the ending isn’t anywhere near the biggest problem. It’s got some—well, a—a missed opportunity. They underuse Antonia Salib’s character, who only appears in a couple scenes, one in long shot, but talks to May Calamawy through corpses and then her body,…
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Some of this episode of “Moon Knight” is the best written the series has been. There’s also an all CGI Egyptian goddess of childbirth and fertility who’s an anthropomorphic hippopotamus and is absolutely adorable and should have her own show. Voiced by Antonia Salib, the character should’ve narrated “Moon Knight” or something. It’d have made…
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The Tomb opens with a surprisingly well-directed suspense sequence as May Calamawy tries to escape the bad guys. It’s even more surprising because Justin Benson and Aaron Moorhead are directing this episode, and they were terrible on the last one they did. Eventually, the direction becomes a lot more middling—eventually being about five minutes—but for…
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For about five minutes, this episode’s the best episode of “Moon Knight.” It immediately goes downhill and even when it’s the best “Moon Knight,” it’s still rocky, but for a moment it clicks. The episode with May Calamawy getting a fake passport so she can go to Egypt—Oscar Isaac went without her last episode—and Calamawy's…
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For what felt like an eternity–Summon the Suit is forty-five boring but not poorly paced minutes—it seemed like someone making “Moon Knight” was doing it as a satire. A satire would cover Oscar Isaac’s silly (but not bad) lead performance; it would cover F. Murray Abraham’s comically obnoxious Egyptian god ghost, who Isaac finds out…
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There are no Marvel Cinematic Universe references in the first episode of “Moon Knight.” No mention of the Snap, no Steve Rogers musicals, no explanation why the Eternals wouldn’t have mentioned the Egyptian Gods being real, actually, and it’s kind of okay. Except there are so many good comics-related jabs to take, I’ve got to…
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The two most bewildering things about Annihilation are director Garland’s inability to frame for Panavision aspect ratio—did cinematographer Rob Hardy just not want to tell him he was reusing the same three close-up shots, with his subject on one side of the frame, looking off, the other three-quarters empty, or did Hardy not see a…
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It is a dark time for the Star Wars franchise. Although the second highest grossing film franchise of all time, white men really weren’t okay with Kelly Marie Tran getting a lot to do in the last “trilogy” movie, not to mention women telling ostensible alpha Oscar Isaac what to do, and nobody wanted to…
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The Last Jedi is a long two and a half hours. It’s an uneven split between Daisy Ridley, Oscar Isaac, and John Boyega. Ridley’s off with Mark Hamill–but really having a FaceTime via the Force arc with Adam River–while Isaac is doing his damndest to get everyone killed because he doesn’t want to listen to…
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Just over half way into Inside Llewyn Davis, there’s a moment where lead Oscar Isaac looks into the face of responsibility–weighs it, weighs the consequences of not accepting it, makes his decision. Until that moment, the Coen Brothers hadn’t candidly identified the film as a character study. It happens in the middle of an epical…
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It’s very easy to talk about Star Wars: The Force Awakens as an event. Or maybe just talk about returning stars Harrison Ford and Carrie Fisher and even Peter Mayhew (who gets actual scenes with Ford this time, for the first time ever). But those avenues aren’t the most interesting, because the window dressing–all of…
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It’s amazing how much mileage Drive gets out of its soundtrack–not Cliff Martinez, though he does a great Tangerine Dream impression, but the licensed songs from Kavinsky and College. They deserve opening titles billing. Drive is an eighties L.A. crime thriller with a slight seventies sensibility and some ultra-violence. It’s unclear why director Winding Refn…
The Stop Button 