The Super Mario Galaxy Movie review – bland screensaver of a movie that’s actually worse than AI

At this point, it’s trite to say that a bad film feels as if it’s been AI generated, but this simplistic sequel is next-level – it’s nothing more than an Easter holiday cash grab Here is an inert and uninteresting animated follow-up to The Super Mario Bros Movie , based on the legacy video game about two wacky Italian-Brooklyn plumbers Mario and Luigi, voiced here by Chris Pratt and Charlie Day; this kind of stereotype is evidently the last in mainstream entertainment to be considered offensive. Now they and mushroom-kingdom ruler Princess Peach (voiced by Anya Taylor-Joy) have to rescue Rosalina (Brie Larson), the adoptive mother of the faintly Minion-y creatures called the Lumas. She has been abducted by Bowser Jr (Benny Safdie), the son of wicked turtle Bowser (Jack Black), who did very much the same sort of thing in the previous film. Of course it’s intended for little kids, but it surely didn’t need to be such a visually dull screensaver of a movie, with even more of the cheesy,...

Berlin film festival 2023 roundup – prestige, politics and ethical starpower

This year’s Berlinale continued the tradition of combining earnestness with red-carpet glamour – featuring Kristen Stewart, Bono and Steven Spielberg, and this time some real crowd pleasers

Berlin may not be as glitzy as the other big European festivals, Cannes and Venice, but it knows how to make the most of what you might call “ethical starpower”. Hence Steven Spielberg, present this year to accept the Golden Bear for lifetime achievement, who made an eloquent and imposing speech about longevity, healing and – as befits the locale – the weight of history. And hence serious-minded Hollywood actor Kristen Stewart heading a jury including Iranian-French star Golshifteh Farahani and previous Berlinale-winning directors Carla Simón and Radu Jude – a lineup that seems highly likely to make some daring awards choices.

But there’s also that long-standing Berlinale tradition of combining red-carpet prestige with a certain earnestness that doesn’t always flourish on the screen. A prime example this year was Golda, a solemn, sluggish drama about Israeli premier Golda Meir and the Yom Kippur war, with Helen Mirren giving a solid, thoughtful performance, only to be upstaged by her uncanny prosthetic makeup. And then there was Sean Penn’s documentary about Ukraine, Superpower, co-directed with Aaron Kaufman, in which an understandably starstruck encomium to Volodymyr Zelenskiy was overshadowed by much narcissistic hyperventilating about what an amazing thing it was to be Sean Penn caught up in the Whirlwind of History. It was a phenomenally gauche, ill-advised piece; by contrast, Eastern Front, from Ukraine itself, was the real deal, a sober, urgent, profoundly troubling documentary by Vitaly Mansky and Yevhen Titarenko, based substantially on the latter’s footage, shot on duty with a volunteer medical crew.

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