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Movie hard to feel anything at all when the light fades from Arc Reactor in his chest. Are we supposed to grieve for Scarlett Johansson's Natasha Romanoff, when she has her own solo movie coming up? Yes, this is scheduled to be a prequel, but if it does well, wouldn’t Disney be inclined to bring her back? It doesn’t help that the movie is essentially split into two uneven halves. Part one is the Avengers grieving, coming to terms with their failure, and trying to devise a plan. This part also dedicates a shocking amount of time to Hawkeye for no other purpose than to set the grounds for the upcoming Hawkeye series starring Jeremy Renner. Does anyone care about Hawkeye? I certainly don't, and by the looks of his performance Renner doesn't either.
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The rapidly changing global manufacturing landscape is examined through the lens of an Ohio auto-glass plant founded by the Chinese and staffed with men and women from both countries in American Factory. The first release to emerge from the Obamas’ production deal with Netflix, Julia Reichert and Steve Bognar’s eye-opening documentary begins on a high, as American and Chinese workers show equal enthusiasm for the new venture, which promises to bring opportunity (and, hopefully, prosperity) to a community hit hard by a prior GM plant’s closing.
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American and Chinese workers show equal enthusiasm for the new venture, which promises to bring opportunity (and, hopefully, prosperity) to a community hit hard by a prior GM plant’s closing. Various culture-clash issues, however, soon complicate the endeavor’s chances for success, leading to tensions on both sides and, ultimately, a battle over workers’ desire to unionize, which is opposed by their foreign-born bosses. Plumbing American and Chinese expectations and attitudes regarding labor, as well as the compatibility of the two countries’ ways of doing things, it’s an intimate on-the-ground look at 21st-century globalization in practice.
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Musician-filmmaker Blitz Bazawule’s feature debut is a spellbinding storybook fable about a young Ghanaian girl named Esi (Cynthia Dankwa) whose father Kojo (Joseph Otsiman) is convinced by his back-in-the-picture brother Kwabena (Kobina Amissah-Sam) to move their family from a village on stilts in the middle of a lake to the big city, where greater economic prosperity supposedly awaits them. As conveyed by Esi’s encounter with an old blind man – who says he’s from an upside-down purgatory, and tells her to protect a bird from an evil crow.
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who says he’s from an upside-down purgatory, and tells her to protect a bird from an evil crow – and the sibling rivalry-centric soap opera that Esi watches with her grandmother (Joyce Anima Misa Amoah), The Burial of Kojo is a story about reunion, loss and reconciliation that exists somewhere between reality and fantasy. Bazawule’s slow-motion imagery is mesmerizing, highlighted by the inverted sight of Esi being chased by a humanoid raven astride a horse, and a closing shot of an man with an IV stand meeting a long-lost love in the middle of architectural ruins. There’s poignant poetry in this haunting fairy tale, and magic as well.
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Hanks’s movie debut was a slasher film that’s an obvious Halloween knockoff, right down to the mask and music. It’s cheapo schlock, but it’ll live forever because of Hanks’s appearance as a student who’s skeptical that the protagonist is really being stalked. His dialogue clearly sets him up to be murdered, but the filmmakers liked him so much that they decided to let his character live. Even in his first movie, Hanks was charming everybody.
