Jeffrey Wright
Asteroid City is stylistically undifferentiated from most of Anderson’s recent output but it does take the audience behind the curtain.
From Fantastic Mr. Fox to The French Dispatch, something strange and different happens every time and Asteroid City is no different.
The third season of Westworld finally came to an end last night on a hopeful and bittersweet moment. The story, unfortunately, concludes in an underwhelming and frustrating note.
Even though the action sequences of the episode are thrilling, much of what happens this episode, in the end, is just a setup to what will hopefully be an epic season finale.
It’s still not as great and exciting as the first four episodes of the season, ‘Decoherence’, in the end, manages to get the job done.
In its 5th episode, Westworld finally falls back into its old habit of overcomplicating its storyline, which would’ve worked better had it been told straightforwardly.
Because “The Mother of Exiles” moves straightforwardly, even when it reveals the biggest twist of the season so far, everything seems to be more exciting and thrilling.
By tackling an issue that the real world is facing right now, Westworld season three becomes even more exciting and relevant.
Episode 2, “The Winter Line”, retains the energy the premiere of Westworld Season 3 established, giving us what we want: Maeve.
Compared to the confusing season 2, the first episode Westworld season 3 is more straightforward, and much clearer and more exciting in terms of the action and its philosophical examination.
We were able to speak with Jeffrey Wright and Vainuupo ‘A.V.’ Avegalio, who are both involved with the documentary We Are Not Done Yet.
With some of his most impressively staged set pieces to date, Hold the Dark proves that Jeremy Saulnier is one of the most assured genre filmmakers working today.
In Hold The Dark, a writer named Russell Core (Jeffrey Wright) is hired by the parents of a missing six-year-old boy to track down and locate their son in the Alaskan wilderness.
Shawn Glinis attended the Westworld panel which was a complete whirlwind, and saw Spike Lee’s new joint at the Alamo Drafthouse. This is a report from SXSW 2018.
Is it selfish for adults to demand more from children’s entertainment? Adults have access to a wealth of different mediums of entertainment to enjoy, so should we crave animated films, mostly intended for a younger audience, to cater towards adult audiences? Indicators of these include dealing with deeper and darker themes, adult-only jokes/pop culture references and generally being an entertaining film that doesn’t go for the lowest common denominator.
