![]() ![]() What I am in the mood for this summer is a Glenn Close performance that could have the glint of awards potential, which is what I’m told we’ll find in The Wife (8/3), a drama about writing and marriage that earned Close rave reviews from the Toronto Film Festival last year. No knock against Todd Solondz-y miserablist slogs-they’re just not exactly what I’m in the mood for this summer. Though the film isn’t a rose-colored reminiscence of early adolescence by any interpretation (in fact, it’s often downright brutal to watch), writer-director Bo Burnham (yes, him!) manages to steer his film away from becoming a Todd Solondz-y miserablist slog. Richard: Your evocation of the magical, almost transgressive childhood feeling of walking across a mall parking lot on the way to see a movie on a summer night-a weeknight, no less-made me feel nostalgic for my youth, which then made me remember that Eighth Grade (7/13) is coming out this summer. is it just me, Richard, or could we be in for a pretty satisfying summer at the movies? Summer movie season has, for me, become synonymous with indistinguishable, high-budget drags-but extending the season into February, as you’ve said, feels like an occasion to make the actual summer releases stand out, like they used to. Which is to say nothing of the summer’s buzzy, boutique, but still crucial releases: Sorry to Bother You (7/6), Hereditary (6/8), Under the Silver Lake (6/22). Tom Cruise is still a movie star give me the movie that makes me forget The Mummy ever happened. It’s the latest entry in the only current film franchise that, for my money, consistently continues to surprise, delight, and re-invent itself. ![]() But my money’s on Mission: Impossible - Fallout (7/27) for the movie of the summer. Jurassic World: Fallen Kingdom (6/22), meanwhile, will probably be the movie event of the summer, at least per the box office. ![]() I’m not sure Oceans 8 (6/8) needed to be good for me to want to bathe in it-but I suspect people will love it. Unfriended: Dark Web (7/20) is probably-hopefully-a goofy grime-fest. I stand by my affection for Peyton Reed’s Ant-Man-as the director of The Break-Up, Down with Love, and Bring It On, he’s a continual favorite-and hope Ant-Man and the Wasp (7/6) proves me right, though as a rule I don’t let myself get too excited about Marvel Studios fare anymore, for fear of feeling disproportionately deflated afterward. But Incredibles 2 (6/15) ought to be pretty cute sort of hard to mess that one up. Will they all be great movies? We’ll sooner see an impeachment. ![]() This summer, though, it’s the blockbusters I’m mostly excited for-probably because it’s a summer of sequels, largely to properties I already like or love. Lately, it’s the summer’s pre-Oscar season indie fare-ostensibly less directly geared toward award campaigns-that’s gotten me out of the house. “Summer movies” became something I could pay about a third as much to rent later that fall-and at least curb my boredom and disappointment with a friend, on our couches, abetted by a fridge full of beer. That’s partially a symptom of a closed-purse-string approach to adulthood, but it’s more so a matter of increased options. Too many blockbusters turned out not to be worth my $15-let alone my two and a half hours. As an adult, I’d begun to feel very “in this economy?” about it all. ![]()
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