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He Had to Pick a Pocket or Two

For the kind of plot that this movie engages in, it is a surprisingly, refreshingly sombre movie. There is a time crunch through a decent chunk of it, and yet the script doesn’t treat it as such. It holds and is patient as it veers into other priorities, the rationale for which isn’t exposed until the end. It is rather poetic in fact. The Only Living Pickpocket in New York is a film by Noah Segan, typically an actor best known for his various roles in films by Rian Johnson (who serves as an executive producer here). And it is indeed a movie about petty crime perpetrated by an expert petty criminal against the most endeared New York backdrop of any movie in years. There are elements of typical crime thrillers in its story and make-up, and yet it appears to be a character study more than anything, dwelling on his life, his friendships, kindly attitude, and noble humanity before also touching on the past faults of his character, the ramifications of these and his regrets. It is as though...
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The Texture of Clay

  Clayface might be the most interesting Batman villain to -up until now- never appear in a live-action movie. His signature episode of Batman: The Animated Series , “Feat of Clay” is one of that show’s highlights, his origin story ranking up there with Two-Face and Mr. Freeze in terms of its pathos and tragedy. It is interesting that he was selected as the headliner of his own DC Studios movie though -his story is certainly interesting enough but there is a level of obscurity to him with the general public. Certainly compared to the likes of the Joker and Penguin and Harley Quinn. I suspect the chief reason for the movie’s existence is the opportunity it gives DC to play in a different wheelhouse -something DC head James Gunn appears still interested in doing. Clayface is  an R-rated body horror film that importantly does not neuter the character’s villainy for the sake of a more conventional superhero movie mold -the way that Marvel and Sony’s equivalent movies -the Veno...
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The Mangled Tones of Klara and the Sun

Taika Waititi was not the right person to make Klara and the Sun . There were several moments while watching this adaptation of the bestselling novel by Kazuo Ishiguro that I could see exactly what Waititi was going for and how it would work in the hands of a director like Steven Spielberg or Guillermo del Toro, Jean-Pierre Jeunet or even Wes Anderson. Hell, Hirokazu Kore-eda proved this year with the similar Sheep in the Box   that he was capable of handling a sentimental story about a child-like artificial consciousness. But Waititi, who does have real strengths as a director, is not convincingly capable of the required level of earnestness here and he can't help himself when it comes to certain proclivities with his dialogue and characterization -which have their place in his other films but feel quite inappropriate here. For one thing, Klara and the Sun is set in a dystopia that is never treated as such by the narrative, merely alluded to on a few brief occasions and as quickly...
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The Scathing, Romantic Parable of Wicker

The story of Wicker feels like it ought to predate that of the movie it is at risk of being confused with, The Wicker Man . It is credited to a fable called “The Wicker Husband”, which might be an old folktale from the pre-Norman past of England for its parable-like moral narrative and lack of official names for any of its characters who might as well be mere metaphorical symbols. But in actual fact it was a short story written just a few years ago by Ursula Wills, who does a remarkable job in adopting that particular style and character in a convincing but thoroughly contemporary manner. I can’t imagine a woman’s agency being all that popular a topic in even the pagan days of yore. It is filtered into movie form by directors Alex Huston Fischer and Eleanor Wilson, and while I can’t say whether its particular sense of humour and ironic tone is native to its source, it detracts surprisingly little from the ethos being communicated -that ethos being a rather stark reworking of Beauty an...
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The Evolution of Stephen King Adaptations

The 2026 Amazon Prime miniseries of Carrie is an important full-circle moment. It is a new adaptation of Stephen King’s first published novel releasing on the fiftieth anniversary of the first adaptation of that same novel -and the first adaptation of one of King’s works at all. It marks the longevity of both the writing career of one of the most successful novelists of all time, and how for almost as long that oeuvre has been a treasure trove for adaptation. And make no mistake, adaptations are a big part of King’s legacy. He would have been lauded as a successful writer regardless, but it’s the movie translations (and to a lesser extent TV) that have visualized his stories and made him not just a literary but pop cultural phenomenon. The iconography of such movies have become intertwined with the stories themselves, even where they have differed vastly from their source material. And there are many -including myself, admittedly- who know his work chiefly through these interpretatio...
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