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Hoffman on Wonder Woman: The Lasso of Truth

Wonder Woman is and will remain the pop culture sensation of 2017. Unless BB-8 gets married and has kids or something in The Last Jedi.
I explain just what it is that sets Patty Jenkins’ superhero sensation apart in a piece for Thrillst.
Additionally, I did not ignore just what Gal Gadot’s new stardom means for people of the Hebraic faith, and you can read about that in the Times of Israel.

Cannes Film Festival, 2017

I was at the Cannes Film Festival this year, and saw a lot of great movies. In fact, I saw 35 movies. (There were 90 or so that showed.) Of that 35 I picked my top 20, and you can read that article over at Thrillist.
Also at Thrillist, I drilled a little deeper on two movies I really enjoyed: Bong Joon-ho’s Okja and the Safdie Brothers’ Good Time.
At Vanity Fair I reviewed three films. Two were good. They are Noah Baumbach’s The Meyerowitz Stories (New and Selected) and Michel Hazanavicius’ Le Redoubtable. The not-so-good one was Based on a True Story by Roman Polanski.

Over at The Guardian lies the review for my favorite movie of the Fest, Sean Baker’s The Florida Project. Also, the fabulous new one from Agnès Varda (and JR) called Faces Places.
I also dug Takashi Miike’s Blade of the Immortal and Eugene Jarecki’s Promised Land. I was less enthusiastic about a South Korean crime movie the title of which I can barely remember. (The Merciless.)
Finally, I did as I always do: answered the question “Was this year’s festival Good for the Jews?” at Times of Israel.

A Chat with Terry Zwigoff

It took a little arm-twisting, but I was able to interview Terry Zwigoff for Vanity Fair. This is a director I’ve been somewhat obsessed with for nearly two decades, perhaps because he doesn’t work all that often. Mr. Zwigoff is as he seems: a brilliant but not very laid back individual. Check out the article.

The Memory of Justice

Marcel Ophuls’ “The Memory of Justice” is currently streaming on HBO Go. (I’m told it will be there indefinitely.)
It’s unlike anything you’ve seen.
I was lucky enough to see it projected, but even at home on your couch it ought it pack a punch.
I attempted to get my head around this movie in a piece for Times of Israel. Quite frankly, I don’t think I nailed it. Or, at the least, it’s tip of the iceberg stuff. Even though I worked on it longer than I’ve worked on anything in months. (I’m really not supposed to admit to any of this stuff, but there it is.)
Anyway, click over and see what it’s all about.

Why post-credits scenes are slowly ruining blockbusters

“Despite the large soda you slurped down during the blockbuster (Hollywood spectacle forms an adhesive bond with the mind while marinating in sugar water, dontchaknow) you must hold it for a few more moments once the movie has ended. Because it hasn’t ended. Years ago, only borderline-savant cinema-goers and the parents of fourth-listed visual effects computer jockeys would stay through to watch all the credits. Now it is a prerequisite.”
Read the rest of my drunken man’s screed at The Guardian.

Sandy Wexler review

“With the artistic freedom given to him by his eight-picture Netflix deal, Adam Sandler has made his All That Jazz.”
Read the rest of my review of the not that terrible “Sandy Wexler” at The Guardian.

Free Fire review

“I forgot whose side I’m on!” one of the pistol-packing players cries out during “Free Fire.” If he can’t keep up, what chance do the rest of us have?
You can read the rest of my review of “Free Fire” at the New York Daily News.

A Quiet Passion Review

“It may surprise you to hear it, but A Quiet Passion, the biopic about Emily Dickinson from the rather rarefied British director Terence Davies, would make a helluva double feature with 8 Mile.
The disses dropped from the second floor of the Dickinsons’ Amherst home mangle and maim anyone who dares enter her cypher, be they suitors, fans, editors, or, in time, members of her own family. Cynthia Nixon’s Emily hurls barbs with the precision of ninja stars in a “one for the ages” performance, making this, in a very strange way, a movie that screams for audience participation.”
Read more of my “A Quiet Passion” review at Vanity Fair.

Cristian Mungiu’s “Graduation,” a Lock for 2017’s top 10

You have no idea how good “Graduation” is. Well, that’s not true. If you’ve seen “Beyond the Hills” or “4 Months, 3 Weeks and 2 Days” you know precisely how good it is.
Go see this movie in the theater if you can, and feel its vise grip tighten around your soul.
You can read more praise in my review at VanityFair.com.

The Boss Baby and our babyish boss

I wrote about “The Boss Baby” and the obvious connections to Mr. Donald J. Trump, who some say is the President of the United States. (Ha! Tell me another one!)
Anyway, this was written rather quickly but there are a few zings. Check it out at VanityFair.com.

Lesser Known WWII Movies You Need To See

Pegged to the release of the not-very-good “The Zookeeper’s Wife,” I did a “10 Best List” for Guardian Film about lesser-known WWII movies that you should see.
Just between us, I don’t much care for the “…You Haven’t Seen,” title. It invariably gets people writing, “hey, pal, I’ve seen four of these!” But that’s showbiz. I’m still abundantly proud of this list and, moreover, quite jazzed that my editors at the Guardian, Praise Be Unto Them, allow me to write about esoteric cinema. Of further note: in the approx 700 comments below (not that I’ve read them all) you’ll see some other suggestions. A great many of them were on my initial brainstorm list but got cut to make an even 10.
Read at The Guardian.

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Welcome


Jordan Hoffman is a New York-based writer and film critic working for The Guardian, Vanity Fair, Thrillist, Times of Israel, NY Daily News and elsewhere.

He is the host of ENGAGE: The Official Star Trek Podcast, a member of the New York Film Critics Circle and challenges you to a game of backgammon.

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