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(Vogel’s work is based on a 1998 Esquire profile by Tom Junod as is the case with the film, Junrod’s piece sketches a beautiful yet enigmatic image of Rogers.) Where Heller’s film becomes transcendent is in its cinematic pressure points: The striking slowness of the narrative (it’s meant to emulate the pace of Rogers’ show, and you get used to it), the mirroring of Rogers and Vogel in their interview styles and drawn-out reaction shots, and a profound moment of silence that grips your heart like, “Did that really just happen? Why was that so intense?” SUZETTE SMITH Hanks is totally committed to Rogers’ appearance and manner, but A Beautiful Day is more about Lloyd Vogel (Matthew Rhys) a fictional journalist profiling Rogers. Director Marielle Heller ( Diary of a Teenage Girl, Can You Ever Forgive Me?) wisely avoids the visual slickness one might expect from a Tom Hanks-centric melodrama, instead employing a lived-in style and scene transitions that consist of miniature cities harkening back to the opening of Mister Rogers’ Neighborhood. It’s unusual to witness real cinematic magic these days, but the Fred Rogers biopic A Beautiful Day in the Neighborhood absolutely has it. It’s one of the rare instances of a film’s marketing actually benefiting the finished film, because of the way this knowledge is both paid off.
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“But wait,” you say, “isn’t the whole point of this movie that there aren’t any cuts? Why did they need an editor at all?” 1917’s hook (or less generously, its gimmick) is that it’s meant to unfold in a single, unbroken take. But the World War I movie is also one hell of a stunning storytelling experience from director Sam Mendes, co-writer Krysty Wilson-Cairns, and editor Lee Smith. Even if 1917 were solely the most impressive work of Deakins’ remarkable career-which it is-I’d be recommending it. Legendary screenwriter William Goldman once said of the film industry, “Nobody knows anything,” and this is still mostly true, with one exception: If cinematographer Roger Deakins shot the movie, that movie is worth seeing on the biggest screen possible. Jump to: Playing Continuously | Thurs Dec 19 | Fri Dec 20 | Sat Dec 21 | Sun Dec 22 | Mon Dec 23 | Tues Dec 24 | Wed Dec 25 | Fri Dec 27 | Sat Dec 28 | Tues Dec 31 See all of our film critics’ picks for the next week and a half below, and, if you're looking for even more options, check out our film events calendar and complete movie times listings.
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(On the other hand, film critic Charles Mudede brands The Rise of Skywalker as "boring.") It's also a great time to see one-offs like Ingmar Bergman's glorious Fanny & Alexander or Norman Jewison's Fiddler on the Roof, or to catch up on Golden Globe nominees like Knives Out. Perhaps you'll feel the same way as Chase? Regardless, you should not miss Greta Gerwig's lovely Little Women and the Safdie brothers' harrowing Uncut Gems. He was, it seems, one of the very few critics with any affection for those horny humanimals ( Portland Mercury critic Suzette Smith: " Cats is a horrorshow of computer-narrowed cat chins that can’t support singing, human-sized mouths"). Our digital editor, Chase Burns, loved the furry freaks in Cats.
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Whether you're looking for something to watch with family or a place to hide out from the season's festivities (and early darkness) for a few hours, the holidays are a great time to take in a movie (or three).