‘We’re All Going to the World’s Fair’ Film Review: Debut Feature Dips Into the Web’s Creepy Side

th century France.“C’est pas juste,” Anne insists, as one moment after another is decided by people who don’t care about or even consider her needs. She’s right, of course; nothing about her situation is fair.

Madball designed by H.P. Lovecraft.)America, it turns out, is the only being who can hop from universe to universe, only she has no idea how to control it.

Legendary action director John Woo is making quite the Hollywood comeback. He’s currently working with actor Joel Kinnaman (“The Killing,” “The Suicide Squad“) for his new western pic “Silent Night” that is already in production, but another high-profile project will see the Hong Kong filmmaker take a crack at remaking one of his seminal movies from the 1980s.

threequel than an actual movie.And while the director has certainly pulled off some impressive action feats in the past, the staging here is often ludicrous. In one shootout scene, Alex blasts away at a chandelier, plunging the room into darkness.

“Hollywood is the ultimate dream factory … and I need dreams as much as the next man,” says Mr Molesley (Kevin Doyle) in Downton Abbey: A New Era. It’s a line that sums up the mission of the TV series’ second cinematic outing: to continue the “dream factory” tradition. And so the wishes of many a familiar character are granted over the course of two hours — along with plenty of drama.

The Amazon Western, metaphysical sci-fi hybrid, “The Outer Range,” is on Prime Video now; it’s fantastic, and obviously, lead actor Josh Brolin is doing the rounds doing press on the feature (read our review here). His appearance on the Happy Sad Confused podcast has been the gift that keeps giving.

The “Indiana Jones” franchise is making a comeback with a fifth and potentially final film as the long-delayed production finally went in front of cameras last year. After multiple development hiccups that led to director Steven Spielberg stepping back as a producer, Lucasfilm ended up hiring James Mangold (“Logan,” “Ford v Ferrari“) to help with the script along with taking on directing duties.

th anniversary is nothing to sneeze at, but learning that one of the groups to reach that milestone is the Norwegian trio a-ha might warrant not so much an achoo as a gasp, double take, or “Come again?”Since 1985, we’ve all lived with the sparkling earworm of syncopation, synth, and pop crooning that is the single “Take On Me,” the kind of breakout chart-topper (in 36 countries) that you just knew was going to define an era’s sugary, youthful romanticism. The dynamically conceptualized half-animated music video didn’t hurt its immortality campaign either, with lead singer Morten Harket’s chiseled, sensitive, pouty-rebel presence — someone, please, help him! — destined to adorn teenage walls everywhere.

for example, a white, male film critic said he disliked “Turning Red,” a film about a Chinese teenage girl, because he found it “limiting in its scope,” I would say that that man was experiencing a personal problem, not a cinematic one. “The Goldfinch” and “Dear Evan Hansen” both bombed in large part because, unless viewers were already fans of the texts on which they were based — an 800-page novel and an unhinged Broadway musical, respectively — they were unlikely to see past both films’ inherent messiness.