Skip to Content, Navigation, or Footer.
34th Street Magazine - Return Home

Film & TV

Scary new world

The scenery in The New World is very pretty. The trees are pretty, the water is pretty, the sun is pretty. Point being, love is as beautiful as the landscape. Now that that is settled in the first 15 minutes, let the characters do something. But the thing about this movie is that nothing actually happens. John Smith (Colin Farrell) and Pocahontas (Q'Orianka Kilcher) stare longingly at each other, or after each other, as they walk together in the grass, or walk away from each other in the grass. Then there's a shot of the water or a bird or a tree. There is little dialogue -- almost everything is done through excessively yearning voiceovers -- and what is said is hardly easy to hear, what with all the lushly loud music and historically accurate accents, which apparently means mumbling what few lines an actor has. As a result, the audience is often left wondering what exactly is happening and whether the scene is taking place in a dream or in the present or in the past and oh look, they're staring at each other again and there's another shot of the river. The New World is all mood and emotion, but even if the actors are saying everything with a look, they're not saying nearly enough.


More like this
ironlungdom.png
Review

‘Iron Lung’ and the Rise of the YouTuber Film

Iron Lung shows how a creator with a large online audience turned a low budget game adaptation into strong box office revenue through fan driven promotion and social reach. YouTube creators build direct audience ties, run production pipelines, and mobilize viewers to support projects across media platforms. The film’s performance signals a shift where online personalities compete with studio backed releases through community scale and digital marketing power.

Wicked Duology
Film & TV

‘Wicked: For Good’ is for the Theatre Kids

Wicked: For Good closes its story without awards recognition but with clear creative conviction. The film’s reception reflects a mismatch between its intentions and critical expectations. Designed as the second half of a continuous narrative, it prioritizes character depth and long-term emotional payoff over accessibility. In doing so, For Good succeeds less as a crowd-pleaser and more as a film made for those already invested in the world of Wicked.