Justin Chang

Justin Chang is a film critic for the Los Angeles Times and NPR's Fresh Air, and a regular contributor to KPCC's FilmWeek. He previously served as chief film critic and editor of film reviews for Variety.

Chang is the author of FilmCraft: Editing, a book of interviews with seventeen top film editors. He serves as chair of the National Society of Film Critics and secretary of the Los Angeles Film Critics Association.

Blue Bayou moved me a lot more than I expected or maybe even wanted it to. Scene by scene, this story of a Korean American adoptee facing deportation is frequently heavy-handed and overwrought. There were moments when I was certain I loathed it — only for it to reel me back in. By the end, I found myself wiping away furious tears, a little angry perhaps at the filmmakers for their sledgehammer tactics, but much angrier at the injustice of what they show us: an immigration system that can tear families apart.

The signature Paul Schrader image is of a lonely middle-aged man nursing a glass of booze and writing in his diary, pouring out all his dark thoughts and guilty secrets. In the 1992 film Light Sleeper, it was a drug dealer having a midlife crisis.

The best moments in Shang-Chi and the Legend of the Ten Rings are the ones where you almost — almost — forget you're watching a Marvel movie. Some of the hallmarks are still there: the deft comic banter, the high-flying action, the passing references to other characters and events in the Marvel universe.

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The average musical biopic — and most of them are pretty average — follows a predictable arc: the troubled childhood marked by flashes of genius; the record deals and hit album montages; the marriages torn apart by affairs, addiction and the ravages of fame. Even when these clichés are drawn from real life, it's disappointing to see great artists reduced to formulas.

2021 is shaping up to be a significant year for movie musicals: We've already seen In the Heights, and several more stage-to-screen adaptations are headed our way, including Dear Evan Hansen; Tick, Tick ... Boom!; and Steven Spielberg's remake of West Side Story.

As powerful a grip as King Arthur and his Knights of the Round Table still exert on our imaginations, there haven't been enough great or even good movies made about them. There have been some, of course — I'm fond of the lush Wagnerian grandeur of John Boorman's Excalibur and will always love Monty Python and the Holy Grail — but they're more the exception than the rule.

The 60-year-old South Korean writer-director Hong Sang-soo is one of the most tirelessly productive filmmakers working today. He's made more than two dozen films over the past couple of decades, sometimes churning out one or even two a year. The consistency and quality of his work have earned him a significant following at film festivals and among arthouse audiences, who've come to love his wry and melancholy movies: slender, low-budget dramedies that are often focused on the fractious dynamics between women and men.

Having been fortunate enough to attend the Cannes Film Festival every year since 2006, skipping this year's event wasn't easy. Cannes is the most important event of its kind: a thrilling, maddening 10-day marathon of red-carpet glamor and behind-the-scenes deal-making as well as a showcase for some of the best new movies from all over the world.

Eight years ago, Steven Soderbergh announced his retirement from feature filmmaking. Happily for us, it turned out to be short-lived.

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