“Animation offers a medium of storytelling and visual entertainment which can bring pleasure and information to people of all ages everywhere in the world.” While such a quote from Walt Disney may on the surface appear to be a bit of self-promotion for his company’s creations, it is also something far more trite and frank.
On paper and in theory, “Suburbicon” seemed destined to be an original, suspenseful Hollywood thriller that audiences would embrace. On-camera talent like Matt Damon and Julianne Moore, combined with the behind-the-scenes aptitudes of director George Clooney and writers Joel and Ethan Coen, would typically brand a film with this kind of pedigree as an Oscar darling. It should’ve been. It would’ve been. It wasn’t. In this writer’s opinion, “Suburbicon” never came anywhere close.
“There is no greater agony than bearing an untold story inside you.” Maya Angelou might have never written more truthful words throughout her incredible existence, and if one were to read the collages of writer’s opinions that decorated the walls of Eastern Michigan University’s Day of Writing event at the Student Center, Oct. 30, they’d agree that her sentiment may be unanimous.
The ever-voracious appetite for nostalgia that has engulfed American media over the last decade has led to the resurrection and remaking of several television programs and calls for reunions of now-defunct musical groups. “The Nostalgia Factor” has so far seen varying results in the world of American cinema, with classic films such as “Wall Street” and the “Indiana Jones” franchise releasing sequels decades after their predecessors. These films were met with a lukewarm reception from viewers and critics alike. Looking to break this mold, “Blade Runner 2049” seeks to please viewers 35 years after the release of Ridley Scott’s original “Blade Runner” in 1982.
“Blade Runner 2049” very literally is a film that needs to be seen to be believed.