Film Matters Magazine

Art kills. Simply put, that is the literal message of Dan Gilroy’s Velvet Buzzsaw (2019). Best known for writing and directing Nightcrawler (2014), which tackled the seedy and morally dubious practice of sensational reportage, Gilroy returns to Los Angeles, this time to satirize the world of fine art. And, like a painter with pigments, Gilroy mixes genres with gusto, blending laughs with screams in an attempt to entertain. But despite his efforts, Velvet Buzzsaw is too timid to make those laughs and screams full-throated and nerve-rattling. If I have to use a topical metaphor, it purports to be a Jackson Pollock, but lacks the energy of his controlled, chaotic compositions, instead opting for the cold, sterile aesthetic of a Damien Hirst while achieving none of the intellectual stimulation.

Warning: Review contains mild spoilers for Captain Marvel, based only on trailers and promotional materials.

It’s odd to think that, after twenty Marvel Cinematic Universe Films (MCU), there has not been an MCU film with a female lead. Though there have been strong female characters like Black Widow, Okoye, Gamora, and Nebula, never has one of them single-handedly led an MCU feature film. Even Marvel’s direct competitor, DC, beat them to the punch with 2017’s Wonder Woman (Patty Jenkins, 2017), showcasing the first female-led superhero film in nearly twelve years (Elektra [Rob Bowman, 2005] being the latest film since Wonder Woman). Wonder Woman was not only critically and financially successful, but also pushed the boundary of female-led superhero films becoming the highest-grossing film directed by a woman (Wonder Woman’s 821 worldwide total beating out Mamma Mia’s [Phyllida Lloyd, 2008] 609 million). Now, nearly two years later and on the cusp of the behemoth that is Avengers: Endgame (Joe and Anthony Russo, 2019), the twenty-first MCU film, Captain Marvel (Anna Boden, Ryan Fleck, 2019), released on March 8, 2019; signifying the first female-led and female-directed/co-directed MCU film. With big shoes to fill and a swell of (trivial) controversy involving the film’s main star Brie Larson, Captain Marvel has become the largest-ever global box office debut for a female-led film (Captain Marvel’s 456 million overtaking The Hunger Games: Mockingjay Part 1’s [Francis Lawrence, 2014] 273 million worldwide). Unlike Wonder Woman’s more domestic impact, Captain Marvel has situated itself as one of the most successful global films of all time, as the film has already reached a billion dollars worldwide with 644 million coming from foreign markets alone. Symbolic of its global success, Captain Marvel is a fun and progressive movie that appeals to all audiences. Unfortunately, aside from strong performances from Brie Larson and Samuel L. Jackson, Captain Marvel loses its charm quickly by becoming more of a bridge to Avengers: Endgame than providing a cohesive and self-contained story. Though there is a lot of humor and action to enjoy, Captain Marvel is a bland film that demands more emotional depth and nuance from its lead character to stand out among past MCU films.

Hereditary (2018) is one of the only films to ever leave me feeling truly horrible, but in a good way. No film has had such a profound psychological effect on my nightmares as Hereditary. It is a truly tense, gripping, and aggressive horror masterpiece. It is punctuated by especially excellent acting and screenwriting. And it is not limited to these qualities, as the production and post-production should also be praised. The film, of course, has issues, but these do not stop it from delivering a gripping experience.

Having worked primarily on music- and danced-based films previously, director Jon M. Chu brings a distinct visual style to Crazy Rich Asians (2018), making the experience of watching the film both unique and memorable.

Contributors: Wyatt J. Bixby, Matthew Cook, Julia DeNigris, R. W. Freeman, Khai Hammett, Olivia Outlaw, Bonner W. Poston, Madison Rae Reitz, Debra Riddle, Selena Schmidtke, Makenzie N. Smith, and Miranda A. Sprouse.