Professional film complainer.
I don’t know if I’ve told you, but last spring, I studied abroad in Dublin, Ireland. While a running joke in The Observer office is that I am quick to talk about it, to be honest, I don’t think I bring it up that much. Not any more than it deserves, anyways. In fact, it… Continue reading Still waters run deep in Ireland’s ‘The Quiet Girl’
This week, I am tasked with writing 600 words on “Godzilla vs. Kong.” Alas, only six come to mind. So, to quote Chris Evans (and his sweater) from Rian Johnson’s “Knives Out” — “This is stupid with two O’s.” In all fairness, “Godzilla vs. Kong” seems to know that. Or at least, I was told that… Continue reading ‘Godzilla vs. Kong’ vs. my last two brain cells
The temptation when adapting a play to the screen is to preserve it precisely as it already is — to hit record on the camera and let the actors do their thing. The argument, I suppose, is that this method makes theatergoing a little more accessible. By preserving the spirit of the stage in a… Continue reading ‘The Father’: Life in erosion
I watched Chloé Zhao’s “Nomadland” on my laptop. It is an ugly sight — a Samsung I’ve had since my freshman year of high school that can no longer even be described as stainless steel, due to a variety of brown and silver splotches I’ve so graciously adorned it with. It takes approximately five minutes… Continue reading ‘Nomadland’ and the road not taken
“Judas and the Black Messiah” is no biopic, at least not by any average measure. It is, first and foremost, a thriller — a crackling piece of political, social and historical intrigue that resurrects the ‘70s stylings of Sidney Lumet, whose collaborations with Al Pacino on classics like “Dog Day Afternoon” and “Serpico” laid the… Continue reading ‘Judas and the Black Messiah’ meets the moment
Aidan O'Malley 