The Meyerowitz Stories – Review


I haven’t always been on board with Netflix’s run of original feature films but amidst a group of entertaining and otherwise mediocre genre efforts, a standout comes by and The Meyerowitz Stories is yet another one of these. Written and directed by Noah Baumbach and starring a frequent collaborator of his in Ben Stiller, he hits once again with yet another comedy-drama about a family broken apart on the count of an artist of some sort having been a part of why everyone is so distanced. While I still believe that Noah Baumbach has yet to top The Squid and the Whale, his work continues to remain charming enough yet still feel meaningful. But Baumbach also seems to carry a great power in drawing empathy from his viewers towards what they see on the screen, and it works wonders once more.

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Beauty and the Beast (2017) – Review


As I was about to watch Bill Condon’s new take on Beauty and the Beast a growing skepticism was only arising on my own end with the fact I had only recently rewatched Gary Trousdale and Kirk Wise’s original film, for it not only remains my favourite of Disney’s animated films but one of my own all-time favourite films. Therefore with Disney’s recent trend of live-action reboots of their animated classics I felt that there was a possibility that something new could have only been brought to the table but I’ve had a running issue with these films as they can’t seem to find much about themselves in order to allow each entry to stand apart from the original. It seems to have run again with Beauty and the Beast, a fairly competently made one but to some extent what I thought it would be overall.

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Love Actually – Review

If the title alone was surprisingly not the most condescending thing about Love Actually, then I would have been shocked based on that alone because the course of events that take place in this supposedly charming romantic comedy all live under an illusion. Richard Curtis’s Love Actually managed to earn a reputation as a delightful Christmas treat in some circles and yet, the opening already suggests the general idea that it wants to get across and yet its picture of such idea is where the film falls on its knees. Love is all around, that is said idea, but Love Actually only inspires a hate-filled rage out of me.

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