Jim Hunter

HARRIET (2019):⭐️⭐️⭐️: Cynthia Erivo is fantastic, and the film ascends to being an “important” docudrama. But the “talking to God” bit, as portrayed, turns her into a superhero, though the reality was heroic enough to make for compelling drama.

MISSING LINK (2019):⭐️⭐️: It’s fun and expertly animated, but the story is thin, and the anachronistic jokes aren’t rooted in the characters’ realities.

HONEYLAND (2019):⭐️⭐️⭐️⭐️: Who would’ve thought that Macedonian beekeepers would be so compelling? I don’t think I’ve seen a documentary where the camera was more invisible than this one.

BREAKTHROUGH (2019):⭐️: There simply aren’t enough plot events in the story to fill a feature film’s runtime, so it includes a crowd-pleasing musical number that proves it’s more about proselytizing than telling a good story.

RT @screenrant: Netflix's #ThePlatform Is A Perfectly Timed Coronavirus Metaphor - https://t.co/Lby4Ha4zEh https://t.co/wF3evsqWoQ

#Onward might end up on the lower end #Pixar's box office draws. https://t.co/y5qS9e3TO7

RT @screenrant: The Simpsons Satirizes Fandom in Avengers Themed Episode https://t.co/9B6dc5Iyjf https://t.co/GaU5Ko7Rt7

THE CAVE (2019):⭐️⭐️⭐️: An embedded doc that deals with the Syrian catastrophe and gender bias, this film features some eye-searing sequences, but it lacks the narrative arc that propels FOR SAMA.

RT @screenrant: #StarTrekPicard gets Star Trek economics wrong: https://t.co/Zv8oXhcmDW https://t.co/3zqR3Lh6nC

THE EDGE OF DEMOCRACY (2019):⭐️⭐️⭐️: Watch this during the next impeachment – it's surreal watching parallel events play out in two countries at different times. As a film, it’s well-made, but its conclusions reduce to “this can happen anywhere," which is both true and unprofound

FOR SAMA (2019):⭐️⭐️⭐️⭐️: The framing narrative – a mother telling the story of Syria to her daughter – gives this doc a personal, immediate urgency that makes it more compelling than the news footage we should never ignore.

AMERICAN FACTORY (2019):⭐️⭐️⭐️: With nuance and care, this doc breaks down the cross-cultural divides at the heart of our global economy. Its ending doesn’t explore automation’s devastation on working class economies as deeply as I hoped, reducing that subject to an ending coda.

KLAUS (2019):⭐️⭐️⭐️1/2: A delightful, though predictable, Christmas fable with brilliant animation and strong voice performances, this film deserves its place on families’ Christmas movies lists. It’s not terribly ambitious, but what it does, it does well.

I LOST MY BODY (2019):⭐️⭐️: There’s an interesting idea here – if you can get past the sentient severed hand thing – but the film didn’t coalesce for me. And even at the end, the film’s themes weren’t fully coherent. Maybe I just couldn't get past the sentient severed hand thing

Happy to join @JakeBoswellNews, @gretchen_news, and @RonanRhodes on an early Monday morning to discuss the #Oscars and #Parasite's big win. Full Segment: https://t.co/U5PaS3I8iY

Jake Boswell @JakeBoswellNews

Thanks for coming in early @jthunter13 after a big night! #Oscars

RT @gretchen_news: Now: @JakeBoswellNews talks with @WEHTWTVWlocal @NewsDaybreak movie critic Jim Hunter talks #Oscars #Oscars2020 #OscarSu…

The last time my favorite film of the year won Best Picture was The Silence of the Lambs in 1991. So happy for #Parasite at the #Oscars.