by Matt Lynch

by Matt Lynch Current Film

The Foreigner | Martin Campbell

October 13, 2017
The Foreigner

The Foreigner has the same elements as any number of generic procedurals: innocent victims are killed in a terrorist bomb blast, law enforcement officers track down leads and analyze forensics, and a crusading politician has his career put on the line. What none of these people (indeed, maybe not even the audience watching them) have reckoned with is that one of the victims’ fathers in all this mess is an ex-Viet Cong sapper played by Jackie Chan—and he is pissed.…

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by Matt Lynch Current Film

Blade Runner 2049 | Denis Villeneuve

October 6, 2017
Blade Runner 2049

It’s worth remembering that, at the time of its 1982 initial release, nobody really knew what to make of, or much cared for, Blade Runner. Ridley Scott’s one-time sci-fi flop (now duly reclaimed and canonized, and available in 5 different cuts) was deliberately meandering, opaque, and portentous—as well as drop dead gorgeous, a hypnotic drone, and a fabulous technical showcase (even in its sort of nascent original theatrical form). Blade Runner 2049 is basically all of these things, but often to a much greater degree.…

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by Matt Lynch Current Film

mother! | Darren Aronofsky

September 15, 2017
mother

It’s difficult to argue that Darren Aronofsky’s films are poorly executed, at least on a formal level; his largely allegorical works are often manic, intense, portentous, and meticulously designed, it’s just that they’re also so sophomorically pleased with themselves, rarely approaching their allegories from a perspective of any real insight. Requiem for a Dream is a whirlwind of a viewing experience, but it boils down to little more than a rote (and relatively misogynistic) cautionary tale about drug abuse.…

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by Matt Lynch Current Film

Baby Driver | Edgar Wright

June 27, 2017
Baby Driver

Fanboy darling Edgar Wright has certainly earned his reputation as a passionate pastiche artist and intricate stylist; his genre-infused films pair narratives of arrested male development with whiplash camerawork and razor-sharp editing. That skill and craftsmanship is fully on display in Baby Driver, but it’s undercut here by a trite screenplay and an overweening sense that the film’s twee brand of coolness, inextricably linked to a jukebox of pop songs, is somehow irresistible.…

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by Matt Lynch Current Film

Rogue One: A Star Wars Story | Gareth Edwards

December 13, 2016
star-wars-rogue-one

Soon, just as there are plenty of adults who no longer remember a world before The Simpsons, nobody will recall a time when, for good or ill, there was not a new annual Star Wars movie. It’s no longer enough (neither for shareholders nor pop culture at large) to expect a new installment of the core saga every few years (let alone every other decade), so with Rogue One: A Star Wars Story, Disney kicks off a line of one-off adventures. This one, set…

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by Matt Lynch Current Film

Fantastic Beasts and Where to Find Them | David Yates

November 18, 2016
fantastic-beasts

The Harry Potter franchise officially becomes an Expanded Cinematic Universe with Fantastic Beasts and Where to Find Them, the first in what Warner Bros. promises will be five J.K. Rowling-scripted original films, prequels to the Potter‘s proper. Centering around conservationalist wizard Newt Scamander (Eddie Redmayne), who travels the globe capturing said fantastic beasts and shoving them into…

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by Matt Lynch Current Film

Doctor Strange | Scott Derrickson

November 3, 2016
doctor-strange

If the source material for Doctor Strange, the 14th entry in the Marvel Cinematic Universe, suggested the company might finally be open to the surreal potential of their comics, what with sorcerers and cross-dimensional antics, the payoff is surprisingly dull, despite some frequently amusing eye-candy. The final third of last year’s Ant-Man was ultimately much trippier (and funnier), even though both films share the same problem…

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by Matt Lynch Current Film

Hacksaw Ridge | Mel Gibson

November 3, 2016
hacksaw-ridge

Based on the true story of Army Medic Desmond Doss (Andrew Garfield here), a devout Seventh-Day Adventist and conscientious objector who rescued dozens of soldiers while refusing to kill an enemy or carry a weapon, Mel Gibson’s latest directorial effort is both a simple, deliberate Johnny-Goes-To-War melodrama and an incredibly brutal depiction of combat.…

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by Matt Lynch Current Film

Jack Reacher: Never Go Back | Edward Zwick

October 21, 2016
reacher-2

2012’s Jack Reacher was, at its best, an amusingly bare-bones action movie with a level of simplicity that may have felt a bit like a gritty ’70s throwback to some, but that more realistically resembled a made-for-cable movie circa the early ’90s. Never Go Back doubles down on the latter vibe and the result is virtually indistinguishable from something you might have watched on TNT in 1993 starring Michael Pare or James Remar…

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by Matt Lynch Current Film

American Honey | Andrea Arnold

October 6, 2016
american-honey

At the start of American Honey, Jake and Star, its two lead characters (played by Shia LeBeouf and newcomer Sasha Lane, respectively) meet and somehow immediately fall for each other as Rihanna’s “We Found Love” blares over a Wal-Mart PA. “We found love in a hopeless place…” goes the song, and it seems like that’s the only working thesis for this deliberately grungy (yet undeniably gorgeous), busted pop fairy tale.…

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by Matt Lynch Current Film

Sully | Clint Eastwood

September 7, 2016
sully

Late in Eastwood’s chronicle of Captain Chesley “Sully” Sullenberger’s emergency water landing of US Air 1549 (dubbed the “Miracle on the Hudson”)—and the investigation that follows—Sully (a white-haired Tom Hanks) turns to his co-pilot (Aaron Eckhart), saying, “We did our job.” That pretty much sums up this simple story of pragmatic, unassuming, collective heroism and cool thinking in a state of crisis. Sully manages to save every passenger on board and is hailed as a hero by the media.…

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by Matt Lynch Current Film

Hell or High Water | David Mackenzie

August 12, 2016
HR6A2015.CR2

Initially presenting as another in a long, increasingly ossified line of rural neo-noirs (see also Out of the Furnace, Cold in July, Bad Turn Worse, on and on), Hell or High Water eventually manages to tease out a modestly novel threat to tug on as far as the subgenre’s general motivators of economic desperation and thwarted masculinity go. After the opening scene in which divorced dad Toby (Chris Pine) and his ex-con brother Tanner knock over a West Texas bank, you’d…

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