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

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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,...
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The Virgin Suicides review – Sofia Coppola’s debut rereleased with solemn trigger-warning

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Sunlit suburban calm masks the shocking nature of the story itself: a horrendous tragedy in the guise of a teenage coming-of-age movie

Nearly a quarter of a century ago, Sofia Coppola made her feature directing debut with this adaptation of the literary sensation of its day: Jeffrey Eugenides’s novel about five teen sisters in 70s suburban Michigan who take their own lives. Now it is rereleased with a solemn trigger-warning disclaimer at the beginning about certain historic attitudes which might now cause offence; these are unspecified, but appears to mean the entire premise of the film, up there in the title, but which is treated more circumspectly nowadays in the context of new ideas around self-harm and “suicidal ideation”.

This was a movie which mystified as many as it entranced, and it would be honest of me to admit that I didn’t quite understand it back in 2000, and maybe don’t quite now. But I can perhaps appreciate with more clarity its artistry and poise and the confident way Coppola allows her film to be serenely mysterious and almost affectless in its sunlit suburban calm, a reticence which appears to mask the shocking nature of the story itself: a horrendous tragedy in the guise of a teenage coming-of-age movie.

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