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What’s so funny ’bout peace, love, and understanding?
Outsiders abound in this week’s new movie releases, including The Shape of Water and The Other Side of Hope
The Shape of Water: Guillermo del Toro gets us up close and very personal with his latest monster.
What indeed, Elvis? But without war, hate, and myopia, we wouldn’t have the outsiders who drive the drama in so many of our stories.
Movie
Shape of Water ***
Gather ‘round, allegory fans, and behold this fish-out-of-water tale of man’s inhumanity to what he deems inhuman from director and co-writer Guillermo del Toro. The action is recalled as a sort of adult fairy tale, and concerns a woman (Sally Hawkins, mesmerizing) without a voice and the mysterious creature who captures her heart (among other things). On the one side, you have love, sexual indulgence, science, art, magic, racial harmony, fidelity, kindness, great movies, and lonely but decent gays (Richard Jenkins, transporting). On the other, you have hatred, repressed sexuality (corn flakes!), politics, commerce, religion, racism, betrayal, cruelty, crap television, and married but wretched straights (Michael Shannon, terrifying). It’s a testament to the storyteller’s skill that he manages to cram all that into his narrative with nary a lump and still keep his characters dancing with only one or two minor missteps. What’s it all about? Well, our heroine lives above a movie theater that happens to be showing <em>The Story of Ruth</em> — you know, the Biblical woman who famously declared, “Whither thou goest, there goest I.” And Del Toro’s religious rascality doesn’t stop there: Samson and Delilah help to drive the drama, as does a certain someone drawn from amid the bulrushes.
Like the fish-man and the woman with something fishy about her in The Shape of Water. Or the mysterious stranger who comes to Hollywood with a fat bank account and a dream in The Disaster Artist.
Or the Syrian self-smuggler who blackens himself for a journey to the Great White North(ern Europe) in The Other Side of Hope. Or even the frustrated actress who winds up “just a waitress” in Wonder Wheel. Yessir, without genuine misery, everything would be Just Getting Started.
Opening but (alas) unreviewed: Window Horses.
Here's something you might be interested in.
What’s so funny ’bout peace, love, and understanding?
Outsiders abound in this week’s new movie releases, including The Shape of Water and The Other Side of Hope
What’s so funny ’bout peace, love, and understanding?
Outsiders abound in this week’s new movie releases, including The Shape of Water and The Other Side of Hope
The Shape of Water: Guillermo del Toro gets us up close and very personal with his latest monster.
What indeed, Elvis? But without war, hate, and myopia, we wouldn’t have the outsiders who drive the drama in so many of our stories.
Movie
Shape of Water ***
Gather ‘round, allegory fans, and behold this fish-out-of-water tale of man’s inhumanity to what he deems inhuman from director and co-writer Guillermo del Toro. The action is recalled as a sort of adult fairy tale, and concerns a woman (Sally Hawkins, mesmerizing) without a voice and the mysterious creature who captures her heart (among other things). On the one side, you have love, sexual indulgence, science, art, magic, racial harmony, fidelity, kindness, great movies, and lonely but decent gays (Richard Jenkins, transporting). On the other, you have hatred, repressed sexuality (corn flakes!), politics, commerce, religion, racism, betrayal, cruelty, crap television, and married but wretched straights (Michael Shannon, terrifying). It’s a testament to the storyteller’s skill that he manages to cram all that into his narrative with nary a lump and still keep his characters dancing with only one or two minor missteps. What’s it all about? Well, our heroine lives above a movie theater that happens to be showing <em>The Story of Ruth</em> — you know, the Biblical woman who famously declared, “Whither thou goest, there goest I.” And Del Toro’s religious rascality doesn’t stop there: Samson and Delilah help to drive the drama, as does a certain someone drawn from amid the bulrushes.
Like the fish-man and the woman with something fishy about her in The Shape of Water. Or the mysterious stranger who comes to Hollywood with a fat bank account and a dream in The Disaster Artist.
Or the Syrian self-smuggler who blackens himself for a journey to the Great White North(ern Europe) in The Other Side of Hope. Or even the frustrated actress who winds up “just a waitress” in Wonder Wheel. Yessir, without genuine misery, everything would be Just Getting Started.
Opening but (alas) unreviewed: Window Horses.
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