When it comes to Monty Python and the Holy Grail, it's tough to imagine who wouldn't enjoy it. Some people like broader physical humor, others might prefer satire. Not every comedy appeals to every palette. The medieval setup makes way for some of Monty Python's most memorable jokes the Knights who say "ni", the French soldiers who sling insults at Arthur and his knights, the entire "'Tis but a scratch" sequence. Well, it'd be more accurate to say that they pretend to ride on horses while their servants provide the coconut-based sound effects. King Arthur (Graham Chapman) and his Knights of the Round Table ride off in search of the titular goblet. It also comes coupled with a documentary, They’ll Love Me When I’m Dead, which is just as endlessly fascinating and re-watchable as the source material. It’s a fantastic pastiche of modern and classic cinema, and is Orson Welles giving something new to the medium he dedicated his life towards.
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Not only is this a piece of movie history (having previously remained incomplete after Welles’ death), The Other Side of the Wind is unmissable for several reasons besides that. Not a bad way to start a movie, that’s for sure. The kicker, too, is that the audience is told straight away that this is Hannaford’s final day on Earth. The movie-within-a-movie spoofs both the Golden Age of Hollywood and the experimental cinema that punctured much of the late-1960s. Enola HolmesĪ previously-lost Orson Welles film, The Other Side of the Wind features Jake Hannaford, an elderly Hollywood director, hosting a screening for his new movie, also titled The Other Side of the Wind. What really resonates are the shocking parallels to the current political landscape, the death of George Floyd, and the ensuing protests that were met this summer with tear gas. Trial of the Chicago 7 makes for an emotionally tough watch – though an exhilarating one too, given the torque of Sorkin’s talk. However, thanks to a heavy-weight cast (Eddie Redmayne, Sacha Baron Cohen, Jeremy Strong, Joseph Gordon-Levitt) this is as gripping as they come. An eighth defendant, Bobby Seale (played here by Yahya Abdul-Mateen II), was also bundled into this "all-star team" of revolutionaries by Richard Nixon’s Attorney General John Mitchell.Īaron Sorkin could have directed this as a straightforward courtroom drama. In September 1969, seven members of the radical left were lumped together and charged with conspiracy and inciting to riot the charges related to anti-Vietnam War and countercultural protests held in Chicago during the 1968 Democratic National Convention. The desperate, eloquent force of his performance gives this muscular film added punch and poignancy. Boseman’s wiry, angry Levee brings the film’s real charge, however, giving every rippling horn improv, fierce God-taunting rant, and soft-shoe shuffle the urgency of a man racing to make his mark with his art. The film is swept along by its two potent central performances, Davis generating hefty diva-power with her proud, obstinate, blues-preaching Ma, determined not to be reduced to a ripped-off voice. The film is adapted from the August Wilson play of the same name, and Denzel Washington produces. Scott calls the film “a powerful and pungent reminder of the necessity of art.Containing Chadwick Boseman’s final performance, Ma Rainey’s Black Bottom stars Viola Davis as the eponymous Ma Rainey, a singer known as the "Mother of the Blues." Set across the course of one afternoon in 1927, tensions rise as Ma Rainey challenges her manager and producer – while Boseman’s Levee, a trumpeter, has ambitious plans of his own. Davis is superb as Rainey, chewing up her lines and spitting them out with contempt at anyone who crosses her, and Chadwick Boseman, who died in 2020 and won a posthumous Golden Globe best actor award for his performance, is electrifying as the showy sideman, Levee, a boiling pot of charisma, flash and barely concealed rage. The setting is a Chicago music studio in 1927, where the “Mother of the Blues” Ma Rainey (Viola Davis) and her band are meeting to record several of her hits, though that business is frequently disrupted by the tensions within the group over matters both personal and artistic. Wolfe brings August Wilson’s Pulitzer Prize winner to the screen, quite faithfully - which is just fine, as a play this good requires little in the way of “opening up,” so rich are the characters and so loaded is the dialogue.