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    Movie Review

    Sing serves up a heap of mindless, soulless entertainment

    Alex Bentley
    Dec 21, 2016 | 4:42 pm
    Sing serves up a heap of mindless, soulless entertainment
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    It has become readily apparent over the years that no other American animated movie studio is willing to challenge Disney when it comes to making films with complex emotions. Notwithstanding the occasional one-off movie, the other studios are content to stay within the fun/adventure mode, rarely approaching anything that resembles anger or sadness.

    Many films have succeeded doing just that, but the problem comes when a film focuses purely on surface storytelling, trying to force fun without actually engaging with its characters. That’s the biggest failing of Sing, a movie that’s designed to make you feel good through song, yet can’t do it because it never makes you care about its characters.

    Those characters include Buster Moon (Matthew McConaughey), a koala who comes up with the idea for a singing competition to save his failing historic theater. Among the ones attracted by the contest are pig Rosita (Reese Witherspoon), mouse Mike (Seth MacFarlane), porcupine Ash (Scarlett Johansson), elephant Meena (Tori Kelly), and gorilla Johnny (Taron Egerton), among others.

    And that’s basically all there is to the film. Writer/director Garth Jennings gives some insight into the personal lives of each main character, but he ping-pongs between each of them so much that nothing ever really sticks. It’s a manic kind of storytelling where they seem to be telling you a lot, but you actually learn nothing at all.

    The songs are obviously what the movie hinges on, but here too the movie falls down on the job. They're a mishmash of genres and time periods, assigned to characters with little thought as to why they should be singing that particular song. Unlike the recent Trolls, which integrated pop music into to its story to a fantastic degree, Sing throws out songs as throwaway gags, just hoping to get some kind of reaction.

    Its use of a variety of animal characters also makes it pale in comparison to another recent animated movie, Zootopia. In that film, each species, despite walking and talking like a human, had distinct animal characteristics that made it more fun and interesting. In Sing, having the characters be animals makes no logical sense in the context of the film. Aside from making them extra cute or scary as the case may be, they rarely act like animals; having them be humans would have worked equally as well.

    The voice actors work well for the most part, although, as usual, the use of big-name actors adds little of substance to the film. But having actors who can actually sing or, like Kelly, be an actual singer, at least serves to make their performances enjoyable. If only the rest of the film lived up to those abilities.

    It’s obvious that the makers of Sing viewed the film as mindless entertainment for families during the Christmas holidays. Audiences deserve much more than that; don’t waste your time with this forgettable film.

    Taron Egerton plays Johnny in Sing.

    Taron Egerton in Sing
    Photo courtesy of Illumination Entertainment and Universal Pictures
    Taron Egerton plays Johnny in Sing.
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    Movie Review

    Jodie Foster brings depth and wit to French thriller A Private Life

    Alex Bentley
    Jan 30, 2026 | 9:41 am
    Jodie Foster in A Private Life
    Photo by Georges Lechaptois
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    Jodie Foster has been a member of the Hollywood community for almost 60 years, first as a child actor on TV, and then branching out into movies. She earned an Oscar nomination at the tender age of 14 for her role in Taxi Driver, and she’s gone on to be nominated five times, winning twice. Now, at age 63, she’s showing she’s still capable of surprises by fluently speaking another language in the French film, A Private Life.

    Foster plays Lilian Steiner, a psychiatrist who sees patients out of her Parisian apartment. When she learns of the death of one of her patients, Paula (Virginie Efira), she’s sad but otherwise unaffected until a few suspicious things start happening. This includes the robbery of her apartment, in which a recording of Paula’s last session with Lilian goes missing.

    With the help of her ex-husband, Gabriel (Daniel Auteuil), Lilian becomes an amateur private detective, tracking the movements of Paula’s husband, Simon (Mathieu Amalric), whom she increasingly suspects of murder. At the same time, Lilian must navigate a tense relationship with her son, Julien (Vincent Lacoste), along with an unexpected rekindling of romance with Gabriel.

    Written and directed by Rebecca Zlotowski, and co-written by Anne Berest, it is a psychological thriller that at times feels like an Inspector Clouseau movie. With little to go on but her own perhaps misguided suspicions, Lilian digs herself deeper into a situation of her own making. And she further clouds her mind by indulging in a tryst with Gabriel, who’s all too eager to help Lilian pursue her criminal theories. While the film is not a comedy, there are elements of humor that pop in to keep the story light.

    Zlotowski plays with the competing tones of the story well, keeping viewers on Lilian’s side even as she indulges in things that might not be the healthiest for her. Lilian’s various eccentricities - an adherence to recording on old-fashioned mini discs instead of fully digital, keeping an emotional distance from her son and grandson - make her a fascinating character whose vacillating motivations keep viewers guessing as to what she’ll do next.

    In a lot of ways, the film is a study of how Lilian needs to try to find ways to heal herself. The possibility of Paula being murdered wakes Lilian up to the idea that she has not been as attentive a doctor as she should be. The sessions with different patients that Zlotowski shows give the impression that there’s a general level of dissatisfaction with her, with one patient outright breaking up with her.

    Foster is no less compelling speaking mostly in French than she is in English language movies. Her fluency is never in doubt, and she fits in seamlessly with the actual French actors in the film. Auteuil is a fun counterpart for Foster, showing an unexpected chemistry with her that keeps their scenes crackling with energy. Amalric, a Wes Anderson favorite, has a relatively small role but still stands out when he gets a chance.

    A Private Life is not the type of thriller that American audiences might be used to, but its slow, methodical storytelling and subtle humor make it an interesting watch from beginning to end. The film is not up for any awards, but Foster’s performance shows she remains a top-tier actor.

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    A Private Life is now playing in select theaters.

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