And binding it all together is the language of ASL, rarely seen on screen, and performed with the ferocity of people who use it every day. CODA ebbs from broad oh-God-what-are-my-parents-doing-in-the-other-room sex comedy to shouting matches that cut deep, vérité scenes of fishing work on the rough seas to gorgeous musical numbers of Ruby performing with her school choir.
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Set along the sea in Gloucester, Massachusetts, Heder constructs a coming-of-age story around a sliding-doors moment that everyone can see coming: If Ruby leaves for college, how will her parents’ fishing business survive? Who will do the talking? How will she afford school? How can she live out her dreams if she’s an essential crutch?Ī stint on Orange Is the New Black made Heder a natural for matching stark reality with bursts of laughter, and she surrounds Jones with a cast - including Marlee Matlin, Troy Kotsur, and Daniel Durant - that brings lived-in dimension to an earnest family dynamic. CODA, the latest feature from writer-director Siân Heder ( Tallulah), earns the description, following Ruby (Emilia Jones) as she navigates her senior year in high school as the sole hearing member of her predominantly Deaf family. Ĭheap Hallmark movies have made us forget that “heartwarming” can be a flavor of great cinema. Joshua Riveraīo Burnham: Inside is streaming on Netflix. Inside considers horrors without and within, using a time of isolation to contemplate the ways we’ve already been isolated, in a lockdown of our own design. It’s pandemic art that never explicitly mentions the pandemic, because Burnham doesn’t have to - instead, he contemplates the accelerated attention economy of the Internet and his relationship with it, the impulse of whiteness and celebrity to center itself in moments of tragedy, and his deep, overwhelming depression, stemming from being a part of a generation that could have helped save a dying world, but may have only just made it worse. A darkly funny, vulnerable, and specific response to the first overwhelming year of the COVID-19 pandemic, Bo Burnham’s surprise one-man show blends deadpan monologues and an eclectic set of songs that use comedy to work through tragedy in real time. Īn open wound with a sense of humor and an arsenal of synthesizers, Bo Burnham: Inside is an odyssey of millennial angst springing forth from the Netflix algorithm. Matt Patchesīarb & Star Go to Vista Del Mar is streaming on Hulu. The pandemic meant Barb & Star Go to Vista Del Mar was unmercifully dumped on streaming platforms in 2021, but for a movie so personal and giggle-worthy, that destined-for-cult-status dumping may have been fit for it. There’s a sense that the two Midwestern dames have existed in Wiig and Mumolo’s minds for years, and now they arrive fully formed, ready to cackle about Red Lobster, Don Cheadle, and shades of pastels. Like MacGruber or Popstar, Barb & Star Go to Vista Del Mar’s colorful stupidity is an acquired taste, but like that of a fine wine. Like a pair of culotte-wearing Derek Zoolanders, Wiig and Mumolo’s Barb and Star are joyously ignorant to reality as they carry on in their sketch-character ways.īut after meeting beach hunk Edgar (Jamie Dornan), they’re also the only ones who can save Vista Del Mar from genetically enhanced mosquitos (unleashed by Wiig’s second character, a Dr. Instead of delivering sequels, spinoffs, or generic repeats in the 10 years since their 2011 mega-hit Bridesmaids, the writing-performing duo reunited for an original oddity about two middle-aged women who are fired from a Jennifer Convertibles in Soft Rock, Nebraska and take solace in the jubilation of a Florida beach resort. Kristen Wiig and Annie Mumolo are using their powers for good. The ending sequence is one of the most startling and emotional scenes 2021 brought to the screen.
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The music, by Ron and Russell Mael of the band Sparks (subject of Edgar Wright’s first documentary, earlier this year) is circular and repetitive in a way that makes it viciously catchy, but that also drives home the themes, as the characters wallow in their emotions, getting caught up in destructive cycles they can’t break themselves. When he’s left alone to raise their young daughter (played, in a chillingly symbolic decision, by a puppet), he turns her into a star too, and devotes himself to running her career.
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Driver plays a superstar comedian married to a superstar opera singer (Marion Cotillard), whose success pushes him to jealousy and resentment. Typical for Carax, Annette is an incredible oddball project - in a year of many, many musicals, this musical stood out for its surrealism and vivid visual and emotional attacks on the senses. But he hit his most startling mark of the year in Annette, Leos Carax’s first film since 2012’s stunning Holy Motors. Adam Driver seems to be in every other movie that hits the screen these days, doing that weird, intense thing he loves to do.