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The Beekeeper (2024)
"You have laws until they fail... That's why you have me."
This is a movie made very much in the image of John Wick (2014). With its overly privileged mogul villain (Josh Hutcherson) and his gang, to its neon tinged settings and innovative fights. But this David Ayer (Suicide Squad) directed brawler has a suave style that sets it apart from its inspiration.
It stars out pretty traditionally. Adam Clay (Jason Statham) is contently raising his honeybees and living with elderly Mrs. Parker (Phylicia Rashad) who shares her home with him. When a grave injustice leads to tragedy, it's time for vengeance! Meanwhile, FBI agent daughter Verona (Emmy Raver-Lampman) tries to bring the criminals responsible to justice herself. As she figures out just how deep the crime syndicate goes, she slowly realizes what her new acquaintance is capable of and what his title actually implies...
The slow buildup of Statham's titular character mirrors John Wick's introduction exactly. They both share a bond with something or someone they care for. Both are killed by an arrogant crime lord. We get an expositional speech rife with one-liners, this time delivered by Jeremy Irons (The Lion King). The colour palette switches from a soothing beehive yellow and white to over-saturated fluorescent as the film progresses. They even have the old-timely phone operator scene. Switchboard and neon green computer monitors to boot!
The parallels to Wick are immediately apparent. One might even call it a new sequel... or a rip-off depending on your viewpoint. The lasting impact of a film can be evident in its imitations. The film White House Down (2014), is similar to the classic Die Hard (1987) as Beekeeper is to Wick. The beats and characters of those films are exactly the same, yet the two directors trademarks differentiate and make them uniquely their own. This film shows that if the formula works, it can still be successful and entertaining, even when repeated.
There's a purity to the fights themselves. Very well choreographed and interesting sequences mostly free of CGI. The film trades in Wick's smooth and streamlined long takes for more traditional "shaky-cam", however there's not so much static as to distract you from the brilliant fights. The action set pieces include a vivisection by a falling elevator, a mini-gun fight at a gas station and a Wick style mirror hall featuring a very South African mercenary with a metal leg.
Because of the practicality of the fights, the stakes are much easier to buy into. It feels much "realer" than most action blockbusters today. In this movie, they used special effects sparingly while what could be done without them was kept practical. They definitely understood the task of making a stunt-driven action flick.
It's by no means perfect though. There's some choppy editing and some pretty sweaty lines throughout, the majority of which are delivered by Lampman's character, agent Verona Parker. Her only purpose is basically to verbally speak the metaphors of the film to the viewers. The symbolism isn't very subtle by itself either. It has a real problem of underestimating viewer intelligence pretty frequently. The fact that she was allowed to be put in the case of her mother's death immediately without any regard for her being easily emotionally compromised is pretty unlikely.
The conflicting morals of her and Clay are actually very good conceptually. Verona represents the laws that exist to protect and to serve the public. Clay is that one that is willing to do whatever it takes, no matter what, to see that justice is served. Because of the corrupt system that allowed these horrible things to happen, Clay's only solution is the attack the system itself. There's essentially a battle between two sides of the same coin going on throughout. Because of that, although Parker is the weakest character, what she symbolizes makes dynamic between her and the Beekeeper stronger.
The film does hint at a broader universe throughout and also sets up future stories for Clay and the others he's met on his mission. While leaving many things open ended can be irritating at this point, it definitely does earn it. Given this movie's success, there's no doubt we'll be getting more of these movies in the future.
Like Wick, The Beekeeper is a fun adrenaline ride that will leave you wanting more.
Kokuriko-zaka kara (2011)
Another Charming Miyazaki Tale!
Anime legend Hayao Miyazaki, (Spirited Away, My Neighbour Totoro) teams up with his son, Goro Miyazaki (Tales from Earthsea) for this coming of age, high school romance set in mid-60's Japan.
Released in between Ponyo (2008) and The Wind Rises, (2013) From Up on Poppy Hill follows junior student Umi and her sister as they try to save their school's beloved clubhouse from a new housing development for the 64' Tokyo Olympics. To do so, she enlists the help of fellow junior Shun, who may have a closer bond with her than they know... One that threatens to end their growing relationship.
Unlike Hayao's directorial projects, which are expansive stories that take place in fantastical worlds where anything can happen, Goro's specialties are smaller, familiar, more grounded stories. His previous effort Tales from Earthsea, (2006) was a condensed story within a massive high-fantasy world of his father's design. There are no dragons here though. Goro's film is set in the real world.
That doesn't stop the Miyazakis from adding lots of fairytale charm to Umi and Shun's ordinary harbour town. Shun literally drops into Umi's life after jumping off the campus roof in protest of the Olympic housing. Their hands meet, and the feeling is mutual. Both Umi and Shum are identifiable, likeable, young students. Their young love will be instantly familiar to anyone experiencing or have experienced it in their life. Rocked by the loss of their loved ones, the responsibilities of adults are thrust upon them at an early age, yet their innocence is never lost.
The Latin Quartier Clubhouse itself has the vibe of a magical castle from a Tolkien story. It's brown aging frame small and filled with history. But upon entering, it becomes a massive multi-floored structure filled with quirky student clubs going about their business like the Seven Dwarves in their mine. Each club though separate, feels like a single community and their house carries the passion and memories of all the students who came before them.
The painterly visuals and classic soundtrack perfectly evoke the Japan of the times. The composer Satoshi Takebe, uses various acoustic instruments and 60's jazz riffs and blends them with traditional Japanese melodies. Images depict a Japan reeling from the aftermath of World War II. The colours seem to represent an optimistic view the Japanese had at that time, a possibility of a brighter positive future. It can also be said of Umi herself. Unable to let go of the past, yet hopeful for what will come.
At it's heart, the story is not only about two children coming of age, but also how the minority can be heard and how the world and it's people, despite how horrible it all seems, is still truly beautiful.
Mission: Impossible - Dead Reckoning Part One (2023)
Marvel should really be taking notes from these guys!
The Mission: Impossible films are blockbusters at their purest. They have groundbreaking action and witty humour, a phenomenal movie star performing the most insane stunts, some super badass women for him to court, they come out every six years and then we all completely forget about them. But with every new instalment, we're reminded of how much we should be loving them.
These days, they seem to treat films like products. Sequels and reboots are dominating our screens, beloved Spider-Mans and Star Wars, banking on the brand rather than the art. But in this algorithmic industry, Reckoning - Part 1 reminds us that the art of film still exists, even in an overworked franchise. From the fantastic introduction of Tom Cruse's Ethan Hunt to the big finale on the Orient Express, there is story and production value on par with other Cruse lead sequel, Top Gun: Maverick (2022).
This film once again takes the stakes to new heights and not just with its brand new action set pieces. The franchise began as a 007-inspired spy thriller with mask-wearing agents. As they went on, they became more stunt oriented. While action has always been the highlight of the films, it's the political espionage sequences that are a big part of what spy thrillers are, going back to their roots.
The team of Ethan, Luther (Ving Rhames), Benji (Simon Pegg) and Ilsa (Rebecca Ferguson) are back and better than ever. Hayley Atwell (Captain America) debts as a charming thief and Pom Klementieff (Guardians of the Galaxy) literally kills it as a silent but deadly assassin. Henry Czerny also makes his welcome return to the franchise since the first film.
Reckoning - Part 1 brings the political intrigue back to the forefront as the team use their sneaky spy tactics to bring down an all-knowing AI that has the power to seize control of all human knowledge. As over exaggerated as it is, it does makes sense that they would use something like a nihilistic computer for a Macguffin. The film is called Mission Impossible after all. They manage to ground it quite well too. It adds to the unseen element the spy movies have, but in this case, the villain is literally faceless.
The film creates a sense of dread and mystery that makes spy films so engaging. A false sense of security, The feeling of something unknown scheming in the shadows waiting to strike. There's a reality to spy films that if they slip up just once, it will mean total disaster. They're basically horror films without the "horror". Director Christopher McQuarrie (Jack Reacher) uses these similarities well. The fact that they have masks so realistic, that someone you really love could be someone else entirely is chilling in itself. They acknowledge this with Czerny and Cary Elwes (The Princess Bride) hilariously pulling and touching people's faces in public.
The series traditionally has the 61-year old Cruse perform a signature stunt so outrageous, that it definitely earns the title impossible. This time, it's driving off an actual cliff on a motorcycle into a moving train. And that's only the beginning of the climax! Characters are at their best when put into situations that no human would want to be put in and this is a movie about people whose job it is to do that. Keeping with the thriller style, the scenes are all shot and acted in a way that invokes horror. The alley fight and the cliff jump are specifically stressful.
Compared to most blockbuster franchises, this film is reliant on CGI effects while still going large scale. McQuarrie's direction insures CGI is used only if necessary and everything that can be done practically is done so. What you get is a tense, heart-stopping sequence stripped of all plot armour. There's no "Nuking the Fridge" here. Despite their superhuman acts, they're still mortal, and their job comes with monumental risks. You can almost say that in a way, Ethan Hunt is the fictional personification of Cruse himself.
Finally, most "2-parter" movies just stop in the middle of the story with no real resolution. This film actually feels complete. It resolves the arcs it sets up while setting up the events of the next film making for a much more satisfying experience when the cliffhanger hits.
As a continuation of Mission Impossible: Fallout (2018), Reckoning: Part 1 repeats the perfect combo that made it great. The film once again combines spy-film beats and the stunt-mastery of John Wick: Chapter 4 (2023), while remembering its beginnings as a cheesy super-spy show.
Cruse and McQuarrie have truly spared no expense.
Between the Lions (1999)
"Come in... The world awaits!"
Between the Lions began as an attempt by PBS Kids to spin-off its flagship program, kids show pioneer, Sesame Street (1969-). A bold move indeed. While not officially under the Jim Henson umbrella, the show was made by a group of Jim Henson and Sesame Workshop alumni, who broke away from their respective companies and released the show under WGBH (Arthur, Peep and the Big Wide World).
Considering how divorced it is from it's parent show, it feels cut from the same cloth as other shows in the Muppets cannon. It's not just a puppet show, but a multimedia program, using various animation styles, live-action and music to teach reading and phonics. What makes the show stand out, is that it was the first of its kind to focus solely on basic reading skills. As Street introduced toddlers and young children to the concept of learning, Lions focused on developing those learned skills. A "graduation" to the next grade if you will.
Street's format is very apparent. You have the main plot, featuring the titular Lion family working at their local library. Hungry for learning (and food), the family reads a different book each episode which takes them through a series of events, culminating with them learning the book's main lesson. Various "side-segments" feature throughout, using different visual mediums to enforce learning.
The show's predecessor Reading Rainbow (1983-2006), had an informational format like many adult PBS shows. LeVar Burton's (Star Trek: The Next Generation) teacher persona taught the subjects in a friendly, school-like manor. Lions' approach is not direct, but more story driven. The relationship that parents Theo and Cleo have with their cubs Lionel and Leona is generally charming, and their adventures are engaging as well as educational.
The segments themselves range from comical, to whimsical, to downright absurd. Favourites include the Monty Python-inspired "Gawain's World", a jousting match between two knights that taught the concept of syllables, "Fun with Chicken Jane" (a play on Dick & Jane) which taught episode subjects through rhyme, and a spelling segment where voice artist Fred Newman (Gremlins) would sound out specific words to the audience. And let's not forget the vocal stylings of "The Vowels", who put a funky spin on learning letters!
But the most effective and entertaining of them has to be the adventures, or rather, misadventures of "Cliff Hanger". The bit takes learning and gives it a classic WB cartoon edge. His word-related schemes almost get him off that cliff he's been hanging onto for god knows how long. But in the end, a la Wile E. Coyote, Cliff always ends up back at square one. The charm and humour of the segments made them highlights of the show, and inspired countless internet memes.
Of course, every kids show from this era did come with its fair share of creepiness. Just get one look at "Arty Smartypants", or take in a exploit of "The Tummy Lady" (DONT' ASK!!!). Well, they can't all be winners right?
Guest Stars return from Street. Rather than the biggest A-listers, Lions leaned more toward less obvious TV stars. These included newscaster Al Roker, Bruno Kirby (When Harry Met Sally), even Big Bird himself. Their enthusiasm is apparent, sometimes a little too much. You won't be able to unsee John Stewart donning Arty's Smarty-Pants and singing along with him on the Daily Show Set.
In terms of a show, this pseudo-sequel remains overshadowed by the massive success of Sesame Street. But the formula is still effective and rings true to this day. Between the Lions is an underrated gem that deserves to be remembered with the more famous educational shows of our childhoods.
Evil Dead Rise (2023)
This Evil is Far From Dead!
There are 3 things that make Sam Raimi's Evil Dead franchise as memorable as it is. The shocking violence, demonic themes and unsettling, cartoonish comedy. This fifth instalment (and the first since 2013), continues to dip its toes into the infamous NC-17/X rated pool, and it's GREAT!
The prologue sets up a traditional cabin setting. But when we meet the new group of characters, each are immediately killed giving us a taste of the gruesomeness to come. Then, the movie quickly diverges to a new high-rise condo environment. Save for the medieval "Army of Darkness" (1992), the series has always took place in a cabin in the woods, so the city is a nice change of location.
We're introduced to a mom (Alyssa Sutherland) and 3 kids (Gabrielle Echos, Morgan Davies, Nell Fisher) being visited by their aunt (Lily Sullivan), who has her own child on the way. A perfect time for the son to find an evil book of the dead and unleash the armies of hell upon his family! There's a maternal theme throughout the film, as it relates to Sutherland's single mom trying to keep her family together, before violently turning on them. All the while, Aunt Beth goes through the most insane lengths to keep the youngest daughter and her unborn child from joining Deadites...
The film does a great job at wracking up suspense as we see the lovable relationship between the parents and the kids, knowing that they will be subject to the most brutal torture imaginable. The first 35 minutes are the most tense you'll feel in a while, but by the time the Deadites start doing their thing, you'll be having a blast. Each Evil Dead film is made in the spirit of "how much blood and brutality can we put into a movie?" and this film basically breaks its own record for the bloodiest movie ever made.
It's all here: We have evil mommy biting a dude's eye socket out, people shooting off their limbs with a shotgun, and in true Shining fashion, a elevator gets filled to the brim with actual fake blood (with a CHILD inside it!!!) and opens up with a satisfying splash. Finally after a classic chainsaw scene, we end with a big Carpenter-esque creature getting juiced in a wood chipper. And let's not forget that cheese grater scene!
This and the previous fourth film are well done sequels that are different yet fun and the big reason is the production team. After "Darkness", Raimi and Bruce Campbell have stayed on as producers and it seems that they really care about making a good movie. Not only that, they're not afraid for new directors to put their own stamp on something familiar.
Callbacks include and eyeball in the throat, a close up shot through a chained door and a turntable substituting for the tape deck. Each are shot in a way that feels like the director's own style instead of just copying Raimi's. The ending also sets up future films in a way that puts Ash's story to rest and opens up the series for new actors and characters.
Unlike other "industry-made" sequels and reboots, Evil Dead Rise continues to make the smartest decisions possible for the series and is a true testament to its longevity.
Groovy!
Babylon (2022)
How Pretentious Can You Get?
One of 2 films of 2022 about what film means to us and the people who make them. This film is set during the transitional period between silent films and "talkies". It follows several different characters as they make their way through the changing industry.
Unfortunately, this flick from Damian Chazelle (Whiplash, La La Land) is far from the feel-good charm of The Fablemans (2022) and it's flamboyant cinematography falls short of films like Elvis (2022). In fact, it'll take you just 1 minute to know that this film is a bloated, pretentious mess.
The beginning setup is the worst offender. Why is the first shot an elephant's crack, and why is it defecating on those poor truckers? That's followed up with an extended scene of mass fornication, substance abuse and spray-painted genitalia... To put is as cleanly as possible.
In The Fablemans, this would be the point of the film where we're introduced to the audience viewpoint experiencing film for the first time, discovering his want and meeting the conflict the comes with it. Here, all we get are Robbie and Diego Calva (Narcos: Mexico) snorting cocaine and talking to each other (and the audience) about how movies are so great. Then, it's right back to orgy mansion.
Chazelle is clearly trying to convey a sense of debauchery, but the way it's executed makes is seem like it was an exciting, fun time. In truth, it's pretty gross. It's so jam-packed with vulgarity that you don't feel good watching it, even during the times when it's supposed to be sexy. Margot Robbie's dance number is enjoyable, but I could think of 30 better ways to show the setting and tone of this film than a prostitute pissing in a fat guy's mouth.
After the horrible 15-minute (!) opening, things do pick up a bit with a frenzied multi-layered sequence. The first featuring Robbie on a silent film set, her fake tears crying Phoebe Tonkin (H2O, Tomorrow) out of her job. The other featuring TV actor Robert Morgan (Hacksaw Ridge) as a director desperately trying to complete his war film before losing the light, while Brad Pitt is writing it!
The shenanigans that ensue are quite entertaining. Crew members being chased by legions of extras, actors impaled by flags and total neglect and damage to personal property. Although the self-aware nods to classic films and stars of the era are annoying. The highlight is an absolutely manic episode in which Robbie's character plays her first speaking role and just quite can get it right, resulting in chaos from the crew. Helped by the great performances, especially from P. J. Byrne (Cobra Kai, The Legend of Korra), it's easily the best part of the film.
After that however, things get boring. The protagonist is still unclear and the rest of the characters are so unsympathetic that it isn't engaging enough to stick with it for another hour. The worst thing is how fabricated it all is. It's dependent on deriving various scenes from similar films that are much better than itself. We're even treated to a scene where Toby Maguire (Spider-Man) basically plagiarizes Boogie Nights (1997). But not before Robbie gets bitten by a snake and has her bite wound sucked on! It's all leading up to a movie time warp ending so self-indulgent, it makes NONE of what you saw feel earned.
It's a shame because the film has so much potential. The music and design are top notch and it's super well acted. Robbie, Calva and Pitt are great and Olivia Wilde, Jovan Adepo (Fences) and bassist Flea (Back to the Future 2) all kill it in the one scene they each have.
This isn't the worst film ever made. But despite its high points, it doesn't deserve a 3 hour runtime.
Avatar: The Way of Water (2022)
THE WAIT IS OVER!!!
After 13 long years and a never ending swirl of rumours, the fabled Avatar: The Way of Water is finally upon us! Director James Cameron is well known for his massive sci-fi epics and groundbreaking special effects in the spirit of Spielberg and Lucas. But another thing that made him stand out as a blockbuster titan was his talent at making sequels.
His previous sequels, Aliens (1986) and Terminator 2: Judgment Day (1991) helped convince people that sequels can not only be great, but can connect even more deeply to viewers than the OG. The latter was his first film to beat Star Wars as the #1 movie of all time (Titanic and Avatar are the others in case your wondering!😉). So, one of the biggest questions was, how would he follow-up, such a mega-hit and how will it compare to his other sequels?
The verdict? It's not a "better movie", it's the same movie with better stuff in it.
It's actually a much more intimate story set on the same grandiose scale as the first one. Avatar centred on the whole of Pandora and protagonist Jake Sully (Sam Worthington) uniting its people against a common foe. This film sees Jake as a father who has been raising his 5 children, now teenagers. When the humans return, and this time stay, he then has to abandon his people and seek asylum to keep his family safe.
The first half is the weakest half. We get introduced to the family, a whole bunch of forced callbacks and a big freight train heist with dragons and choppers all at once. The rushed script makes it feel like Cameron fast-forwarding the film to get to the stuff that he wants us to see. But one could say that was true for the first one. Once we arrive at the undersea Na'vi clan, the film really starts going. The rest of the film is basically a repeat of the first Avatar but the action takes a dive to the unexplored depths of Pandora's oceans.
Cameron's sequels always follow the template of the original but the thing is, he makes them matter. The family dynamic is one way he adds new urgency to the movie. Each child has their own arc and each are good in their own way, particularly Spider (Jack Champion). Born human and raised by Na'vi, he finds himself torn by his true heritage and his new family, while Neytiri (Zoe Saldana) questions where his true heart lies...
A friendship between bullied Lo'ak (Britain Dolton) and an outcast "Tulkan" is surprisingly moving and Kiri (a 73-year old Sigourney Weaver) swaps the parental figure role her previous character Grace served in the first. Cameron's mixing of special effects, action and eco-centric story also impacts just as strongly as the first.
Finally, it's one of the coolest worlds ever created for film and it's such a delight to explore and experience new stuff in it. There aren't a lot of filmmakers out there bold enough (or crazy enough) to create a fresh new world with story that feels truly universal. But James Cameron is certainly one of them.
Maybe this long-awaited return to Pandora is something that movie fans really need right now...
Bram Stoker's Dracula (1992)
Beautiful and Terrifying.
I do enjoy a good horror dip every once in a while, so I was searching on Netflix and found this modern classic. I have to say, it is the most unsettling thing I've sat through in a long time! If you have Netflix, watch this before it goes away!
Many Dracula films have taken and added elements from the iconic book. But this is one of the first films to adapt the source material verbatim. A choice that sometimes works in its favour but sometimes doesn't.
Directed by the legendary Frances Ford Coppola (The Godfather), this is the film that cemented Dracula's character as a saddened, lovesick soul as well as just a bloodthirsty monster. He is motivated by love rather than just sheer hunger for human blood. The star-studded cast also stands out. Wynona Ryder (Edward Scissorhands) brings a romantic flare and avoids typical tropes of the "damsel in distress", and Anthony Hopkins (The Silence of the Lambs) as Van Helsing is a worthy nemesis to the Vampire.
The greatest triumph is the Oscar-worthy performance of Gary Oldman (The Dark Knight) as the titular Count Dracula, hungry for the body and blood of a helpless female. He is totally unrecognizable in this movie! The film is acted in such an over-the-top flare, I felt like I was watching a broadway theatre production.
The film is in fact, not just horror, but a sort of "dark romance" with a beautiful 19th century period pice back drop. Wonderfully shot, each scene is dripping with emotion and passion mixed with terrifying violence and satanic imagery. It feels like watching a nightmare from the mind of a drug addict.
The film does get points off for the casting of Keanu Reeves (The Matrix) as the male lead and the cheesy 80's love song for the end credits, but hey, them's the breaks.
Black Panther: Wakanda Forever (2022)
The King is Dead... Long Live the King.
The sudden and tragic passing of actor Chadwick Bosman (42, Get On Up, Black Panther) left quite a mark on the Marvel fan base as well as the entertainment industry as a whole. His performance as the first black comic book character was a defining one and with the sequel already announced prior, his death left everyone guessing, how will they follow up such a film with the high standard that Bosmen set.
Although, the absence of Bosman's T'Challa is severely felt, the film is still entertaining as far as Marvel movies go. Unlike Christopher Nolan's approach in The Dark Knight Rises (2012) in which The Joker is never mentioned in respect for Heath Leger, Ryan Coogler (If Beele St. Could Talk, Creed) decided to make Bosman and T'Challa's death the main driving force of the film.
Each character has a moment where they talk about what the Black Panther did for them and how they remember him, in the same way Bosman's performance impacted movie fans the comics community as strongly as it did.
Everyone experiences grief differently, yet people are united by it and Coogler truly made this film about that. The opening funeral scene is very powerful and Angela Basset and Danai Gurira make stellar performances as warriors broken by their loss. The introduction of Namor (Tenoch Huerta) is also a kick-ass scene that does justice to the cult favourite anti-hero.
One thing that this film suffers from however is, whenever they hire a director with a certain style such as Shane Black, Taika Watiti or James Gunn, Marvel's urge to stay slavishly faithful to the "superhero" format gets in the way of a lot of the interesting ideas that notable filmmakers can do with these stories and it has only been getting worse post-Endgame.
There are some that occasionally diverge from the format such as Iron Man 3, and Thor: Ragnarok (although these too end up wrapping it up with a depth-free CGI battle) and the first Black Panther was one of these. Coogler kept the story as contained as he could without shoehorning in many elements from the other films.
Coogler's return made certain that this entry stayed as intimate as it could be without intrusion from the other Marvel worlds in the universe, though IronHeart (Dominique Thorne) and the land of Talkoan, felt very forced in their inclusion.
Despite all that's annoying about it. Wakanda Forever is still a must-see.
Don't Worry Darling (2022)
Could Have Been Better...
Olivia Wilde's sophomore directorial effort was pretty hot on my radar when the first trailers came out. Her first film Booksmart (2019) was a fun teen comedy and this immediately feels like the exact opposite. What opens on a seemingly old school 50's romance, quickly turns into a dark paranoia thriller. Unfortunately this film is another example of Hollywood doing the bare minimum.
This film is not quite horror, Sci-Fi thriller or satire, rather it's all of those things but none of them at the same time. A young girl named Alice (Florence Pugh) and her husband (Harry Stiles) realize that the perfect sterile existence in 50's U. S. is actually a virtual reality program, run by a cult leader (Chris Pine). It's a familiar premise, but one you can do really neat things with. This movie didn't do that.
The script is generic, the execution lacking and a lot of choices made to cause suspense in the viewer feel forced and confusing. There are a lot of instances where they seem to be setting up plot points that lead up to a later revelation for for the audience but are resolved in an unsatisfying way. The basic rules of the film are very sloppy as well.
There are occasional earthquakes and instances of windows or lamps breaking throughout. Assumably, this is the simulation breaking down as Alice becomes more aware of it. Instances of paranoia and suicide in the other characters mean that she's not alone in her thinking there's something wrong with the perfect world she lives in. But because of the film's ambiguous ending, there's really no payoff to any of it. It's almost as if the studio shoehorned the scenes in there for the sake of shocking the viewer.
Having said all that, the script is the only big problem with the film. Everything else, from acting, to direction, to production design is well done. Olivia Wilde manages to squeeze what dread she can out of the messy script and the supporting cast keeps you in the dark on who's in on the facade until the film turns. Chris Pine plays a perfectly scheming villain and Pugh is delightful distressed throughout.
But the real star of the show surprisingly enough is Harry Stiles, who breaks out of his boy band persona and steps into the embodiment of gaslighting, toxic masculinity.
To conclude, there's stuff to love, but Don't Worry Darling could have been so much better.
Doctor Strange in the Multiverse of Madness (2022)
Great movie? No. Great direction? YES!!
Since the years after the release of Avengers: Endgame (2019), there has been a growing case of what is now called "Superhero Fatigue". Fans are wondering if the Marvel Cinematic Universe and other attempts at replicating it's success have overstayed their welcome. In response to the criticism, Marvel tapped famed director Sam Raimi (Spider-Man, Evil Dead) to bring his expertise in both horror and superheroes and make a combo that will bring some new life into Phase 4. The question: does it succeed?
The whole film is a special effects bonanza and they do a lot of cool stuff with them. There are scenes with the Doctor (Benedict Cumberbatch) and America Chavez (Xochitl Gomez) fighting an inter-dimensional demons, a kickass musical duel as well as some famous faces showing up on the council of Illuminati (Not telling you who though!). As the film goes on, the spells get more and more warped to the point where your watching Zombie Strange battle giant beasts with a cape made of Evil Dead 2 creatures! It's super fun to watch.
The addition of Witchcraft comes with the appearance of former Avenger Scarlet Witch (Elizabeth Olsen) who since the mind-breaking tragedy she suffered in WandaVison (2020) has taken a shocking turn turn to the dark side. Now a maternally driven psychopath, the witch goes on a Deadite-style rampage killing everyone in her way. This new element really allowed Raimi to flex his horror muscles.
While Raimi's directing staples are sometimes present in the film, it never really commits to being an all-out Raimi movie, as some people were hoping. Iron Man 3 (2013) was a Shane Black film through and through and Guardians of The Galaxy (2014) and Thor: Ragnarok (2018) retained the director's vision while still appealing to the overall fans of the MCU. This film is kind of both and neither.
The bland story doesn't really build on what the first one introduced, and new additions like The Illuminati are nothing more than fodder for Wanda's massive new power. Nevertheless as a hardcore Marvel fan, I was still satisfied.
What earns this film it's high rating was Elizabeth Olsen's fantastic turn as this new villainous iteration of Wanda. I can't say enough about her! It surprised me just how well she was able to deliver those evil lines with such intensity. Not only that, her physicality is the equivalent of a horror movie monster and her final scene showcases her acting chops as she goes from monster to mother who just wanted to have a normal life with her children.
Without a doubt, this film is the first to finally do justice to the immensely powerful character.
The Northman (2022)
"I will avenge you father... I will save you mother... I will kill you Fjölnierl..."
Robert Eggers (The VVitch, The Lighthouse) is back with a Viking action epic! While some high-brow viewers might complain of the film's simplicity, I'd say, sometimes you need a solid, straightforward revenge tale once and a while, and this one is pretty darn entertaining.
Weirdly enough, the film is co-written by Scandinavian writer Sjörn, who wrote such bummers as Lamb (2020) and Dancer in the Dark (2000), so it's surprising to come out of a movie that doesn't feel that upsetting. The story is told with such an over-the-top flare that is easy to get caught in the sheer metal attitude of the movie. That's not to say there isn't any upsetting imagery in the film. In fact, the film doesn't shy away from the brutality of Viking society.
The film's 12-minute intro opens with our young main character Amleth (Alexander Skarsgård) and his father (Ethan Hawke) partaking in a disturbing "pretend-dog" rite of passage ritual with a masked Willam DeFoe. Egger's dreamlike direction is a perfect counterpart to the film's mix of these ancient Viking practices and tinges of the supernatural. Scenes of Bezerkers chanting and Valkyries ascending to Valhalla are particularly among the stunning visuals in the film.
Of course, when you have a story about a viking avenging his family from his evil uncle, you know even the good guys are going to do some pretty messed up stuff. The film is littered with violent blood rituals, implied rape and a shot of a wood cabin filled with children burning down. All of these include a hallucinogenic feel as well.
Also, the film seems to be about exclusively bad guys. The central theme is the cycle of violence and the the horrible cruel world that sustains it. This pure child is born from a slave owner's sin and is immediately thrown into this brutal Viking tribe world and continues on to honour himself and his family line by killing all the people who wronged him. Even though the people he's fighting for are evil in themselves.
The film is made all the more fun through its deeply committed cast. From Hawke's opening monologue to the final battle atop a volcano, the performances captivating. Skarsgård gives a haunted side to the brutal Amleth and Anya Taylor-Joy plays the part of an innocent healer who desperately wants to break the dark cycle Amleth devotes himself to.
The real stars of the show though, are the supporters. Ethan Hawke and Nicole Kidman rule the screen with what little time the have on it and Björk slays in her first film role in 17 years.
Back to the Future Part III (1990)
An Unusual, Yet Satisfying Send-Off.
This final instalment of Robert Zemeckis' Back to the Future trilogy is a Sci-Fi Spaghetti-Western starring Marty (Michael J Fox) and Doc (Christopher Lloyd) and is regarded as the least loved. But when you watch it, you'll find the quality supersedes its reputation.
In the second film, Marty is much less sympathetic. With the emotional stakes of Part 1 resolved, he just stumbles through the events of the movie. This third film solves that by putting the character of Doc centre stage and Marty in the "voice-of-reason" position that Doc once had.
As the film opens, he is strictly clear with Marty to leave him in the old west, go back to 1985 and destroy the DeLorean to prevent anymore cosmic mishaps. When he encounters a lonely schoolteacher (Mary Steenburgen) he throws his caution to the wind, abandons his rules and finds himself questioning every action he has made in his quest through time and space.
Having been convinced by Marty to end the relationship while he still can, the decision seems to break him more than her and he goes to "drink" his sorrows away. It's a very compelling situation for the character and the performance by Lloyd is fantastic as a Doc now stripped of his urgency, motivated by love rather than blind science. Steenburgen shines as Doc's love Clara and Tom Wilson once again steels the show as an oafish gunslinger version of Biff.
A strange instance is the choice of Fox playing Marty's ancestor Seamus and Lea Thompson as his wife, given they played mother and son in the previous films. The character also seems like it could be more than what's on the screen. There's a scene where Marty and Seamus have an exchange where he explains how his brother (who just so happens to have the same name as Marty) was killed trying to picking a fight with an outlaw.
Rather than have Seamus be that same reckless character that represents what Marty has become, he sort of the flawless, exposition-dumping character. It's also untrue to the McFly family trait of never amounting to anything. It's in a classic problem of avoiding the "show, don't tell" rule of filmmaking.
However, like some trilogy enders I've seen. The goods definitely outweigh the bads. The way the film opens with it's subdued long-take and goes into it's moody setting is a welcome dial-back. Particularly due to the overly-cartoony second film.
Repairing some of the problems that Part 2 had and putting new spins on what made Part 1 famous, Back to the Future 3 is a fun and, triumphant end to this iconic series.
Midnight Mass (2021)
This is his blood...
This is another Netflix horror mini-series from Mike Flanagan (The Haunting of Hill House, Bly Manor, Doctor Sleep). This time he tackles the topics of religion. Specifically, the difference between faith and blind faith, the human fear and acceptance of our own mortality and life after death. But this time he does it with a straight up, vampire invasion story!
The series is instantly intriguing with the characters exploring their stance on how religion has affected them. We're first introduced to the character of Reilly (Zack Gilford), a recently released drunk driver who's lost his faith, and his estranged lover Erin (Kate Siegel). Unlike Reilly, she's still devout. Then we have the arrival of a new Muslim sheriff (Rahul Kohli) who buts heads with the racist God-fearing Ms. Keene (Samantha Sloyan).
Expect some other Flanagan regulars to show up as well. Carla Gugino's (Hill House, Bly Manor) voice can be heard in the pilot, and Henry Thomas (the little kid from E. T.) and Anabeth Gish (Hill House) make appearances too.
What was interesting to me as a religious man as well as a fan of horror, was the disturbing parallel between the Dracula myth and the Christian lore. Very twisted and obscene, yet it works so well as a horror concept. It has an almost Stephen King feel to it.
What impressed me about the concept was, not only was it compelling and twisted, but put a new fresh spin on the Vampire sub-genre. Reimagining an idea, specifically for Horror can be difficult because all of the clichés and movie monsters have been done to death, and I have a big respect for filmmakers who can achieve it.
Being Catholic, the whole concept of "the devil in disguise" was a concept that has occasionally crossed my mind. He comes to people who are desperate and weak and turns them against those who they love. That idea is disturbingly characterized in Father "Paul" as he's come to be known as. He suffered greatly in his last days and is consumed with fear of his own death. This vampire descends upon him and feeds him the lie that eternal life lies with it... And his people follow him.
The conclusion of the arc finally has him realize that he was a coward, consumed by his own fear of death, which has allowed this evil being to for to the island to begin with. He realizes that he is that devil and has lead his flock astray.
The thing this movie amazingly pulls off is that it deals with both the positive and negative aspects of religion without casting religion itself in a negative light. Flanagan does this by showing us all sides of what religion is and what it deals with through character development. It's not about the religion, its nearly a device to tell the stories of these different characters and their relationships with one another.
We have characters that use religion to put themselves on a pedestal and spread the very hate they claim they're against, and then we have the people who are against that toxic ideology. I guess you can say it's more a negative view on dogma other than religion as a whole.
So if your thinking, "how can a show that likens the catholic religion to a cult of blood-sucking vampires not cause any outrage or controversy?" Well, then you've missed the point entirely. But still, don't let your parents catch you watching the Easter vigil scene. They will have a cow.
What this series really reminds us, is that we may not know what happens after we leave the earth, but what ever we believe happens, we will never truly die.
Warrior Nun (2020)
Dumb Concept that Falls Short of It's Potential
Don't know why this series was popular.
The titular demon-hunting sisterhood hardly does any demon hunting to begin with, and the Zack Snyder-esque dialogue (David Hayter actually wrote a couple of episodes!) feels like it's was just lifted from the comic that it was based on.
Some positive notes, the two female leads are generally charming and I hope to see them in more shows to come, and the scene with the new pope walking in slo-mo down the Vatican to a song that might as well be from Money Heist is ridiculous and hilarious.
Overall, this is a skipper.
Vis a vis (2015)
A Haunting International Debut by Nimri and Pina
Before writer/creator Alex Pina became a Netflix household name with Money Heist, he made his breakthrough with this dark, gruesome series about female inmate abuse, fascism, and how far one is willing to go to survive.
At first, it feels like another "Orange is the New Black" clone, centring on the wrongfully accused Maca (Maggie Civantos), and her brutal yet lovable rival Zulema, played by Najwa (Alecia Sierra from Money Heist) in her international debt.
But you'll realize that the show is on a whole new level as the focus shifts from the singular character to an ensemble piece starring Zulema and the rest of her fellow prisoners as they revolt against their dominating, male oppressors.
The show is relentless, with it's gory violence, torture scenes and gut-wrenching cliffhangers, but it wouldn't be as powerful as it is without its performers.
Civantos shines as Maca who starts a innocent and ends a killer, and Zulema's friend Saray, played by other future Money Heist actress Alba Flores (Nairobi) brings a twisted levity to the episodes.
But it is Najwa's signature blend of heartlessness, trauma, and charm that she brings to Zulema that carries the series, as one of the greatest female protagonists of this generation.
What Happened to Monday (2017)
A Tour de Force Performance by Rapace
A surprisingly action-packed dystopian future thriller that proves family love is truly the strongest bond there is.
Noomi Rapace (Prometheus, The Girl with the Dragon Tattoo Trilogy) plays septuplets, each with different personalities and nails every one of them. I generally cared for each one of them and wanted them to make it out alive. When the movie starts it seem to be moving towards the direction of a generic drama, but suddenly they throw all these fight scenes and gunplay straight at you.
Turns out, this thing is a legit action movie that still contains all of the heavy, gut-wrenching moments that you think it will deliver when you start watching. I was pleasantly surprised. Willem Defoe also shows up at the sisters foster father and Glen Close co-stars as a shady, simmering villain.
Dune (2021)
A Visually Enjoyable Sci-Fi Marvel
Dune is perhaps the most infamous franchise of all time, most likely due to its seaming impossibility to adapt. There have been numerous attempts to translate this 1964 sci-fi novel in the form of TV shows, video games, and a 1984 motion-picture scored by TOTO. Thing is, aside from the video games, they've all been unsuccessful. It wasn't long before the novel would be thrust into niche Sci-Fi culture and declared "unfilmmable".
Then along comes a Canadian director named Denis Villenueve, who creates a little movie called, Blade Runner 2049 (2017). A sequel to a film nobody saw in 1982, that ended up rivalling the likes of The Godfather Part II (1974) and Aliens (1986) in terms of quality.
While also a bomb, it got significant praise from critics and he (Villenueve) proved that you can create a sequel to a 40-year old cult-film that nobody watched and have it be as well made and entertaining as the first. With that challenge overcome, the next one was obvious: making a Dune remake for the modern age. And now, after much anticipation, its finally among us.
First, let's get the negatives out of the way:
My main complaint is, it would have helped a lot if the first act of the movie was not the entire movie. You have to sit through a whole bunch of boring world-building that while interesting is quite dense. You have to be a real sci-fi head to find this movie's dialogue engaging. For the first hour and a half (the film is 2h 40m), It's all just plot and space politics, and then the film ends right after what is basically the enticing incident.
And I think Denis knew that. I think he realized that some people weren't going to connect with this movie narratively, so he put all of his effort into making it the most cool-looking movie of all time.
And I'm not exaggerating, cause it really is. Everything else about this movie is incredible. I could not take my eyes off the screen! A lot of the reviews have compared it visually to what Avatar was and when I watched the film I totally agree. All of Villenueve's films have been visually stunning and each one I've seen has gotten better. This was no exception.
The worlds the film takes place in are so wonderfully realized as well as the different characters that inhabit them. Zendaya (Euphoria) looks like an angel in this movie. She's not the kind of beautiful you think of when you picture "hot girl in a sci-fi film", they give her this other-worldly, alien beauty about her that seems like she came straight out of a Sci-Fi/Fantasy novel. Similarly, this strange aesthetic carries over to the landscapes, architecture and actor performances. I don't think I talk about everything in this movie without making this review 10 times longer than it is.
The performances are pretty much all on the same level: muted to overacted, back to muted. Doesn't really come off as relatable for most of the film. Timothée Chalamet's (Call Me by Your Name) performance does have a high point at the end of his arc. As he is overwhelmed by his role as the messiah of the future,his outburst quite palpable, showcasing is dramatic acting chops. The only "human" character in the piece is Atreides warrior Duncan Idaho (Jason Mamoa). Mostly your regular sci-fi badass, his relationship with Paul adds much needed heart to the alien society they inhabit.
Despite all that's wrong with it, I really have to give this film and the filmmakers a lot of credit. There are so few creators this bold and crazy enough to make something like this. The likes of David Lynch and Alejandro Jotorowsky couldn't even muster a faithful rendition of this property and I can honestly say that this is the closest we're going to get to a decent film adaptation of this story.
In a world where Superhero's and Cinematic Universes run rampant, this film is a welcome change of pace. I look to the sequel with a sense of refreshment.
Cloud Atlas (2012)
EVERYTHING IS CONNECTED...
Once in a while, there comes a movie that changes your views of the universe forever, and for me, this was one of them. I've seen and loved a lot of crazy, ridiculous Sci-Fi movies, and the Wachowskis are the true masters of the style. But I tell you, I've never seen anything quite like this!
A high seas sailor flick, a Neo-Noir detective thriller, an English comedy, and a Science-Fiction action movie all in one! And it's directed by the Wachowskis and Tom Tykver (who also composed the BRILLIANT musical score), and each actor plays SIX different roles! It seems impossible that it all worked as well as I thought it did. I would expect no less from the creators of The Matrix.
It's not a "Time Travel" movie per-say, but rather a visual chronicle following groups of characters of all different races and genders and how their actions shape coming events from the early 19th century to the post-apocalyptic future. And, it's not an anthology like The Animatrix (2003). All of the "movies" are interconnected as if they were one movie.
Each of the characters, though completely different in each narrative, are essentially one another, reincarnated from past lives. To the point where they have the same actors playing different genders and races themselves! We have black people playing white people, Korean people playing Latino people, Susan Sarandon plays an old Indian man at one point! It's wild!!
While this may seem problematic in 2021, the Wachowskis justify the choice by using it as a device to move the story forward. The idea is, each character they play as sort of an extension of a character they play in another narrative. The make-up is also very good for the most part.
The hallmark of the film is the seamless combo of Tykver's more personal character driven pieces and fantastic performances from the actors, combined with the Wachowski's mix of philosophy, religious undertones, and existential questions of free will.
The result is something both absurd, complicated, yet very bold (or self-indulgent for some), and it's ultimate message is one that continues to move me in every film it is used in:
We are all one people and it's our ability to love and forgive that will sustain us. The love we have for one another will transcend all of time.
The Matrix Resurrections (2021)
The Matrix Awakens
Unfortunately, this doesn't even measure up to that nostalgia trip. The Force Awakens, though unoriginal, had a formula that still worked and was pleasing to audiences. This film does not.
I really didn't want to hate this movie as much as I did. I thought I was expecting a film that, though terrible, would still have the elements that make their movies so appealing to me. But this film was so focused on nostalgia, that they just forgot to do that. The movie is put together in such a way that it was impossible to decipher what was studio interference and actual filmmaking choices.
Among these irking choices is the first act of the film being basically a Funny or Die sketch on a budget. There's Rom-Com vibes, Keanu's doing comedy bits (and failing), there's even cameos from Wachowski faves like Chad Stahelski (John Wick) and Christina Ricci (Speed Racer). I did think the meta-fictional take on "what makes The Matrix great" was entertaining, but weirdly out of place. Honestly, it could just be taken on it's own as a 35-minute Youtube Premium short film.
Before I go any further, as a defender of the worst Wachowski films, It really hurts me to write this. Watching this film, it's clear that this was a very personal project for Lana. Coping with the loss of her parents and the split from her sister/directing partner Lilly, the film was clearly meant to be comfort food in a time of hardship. It's clear from the narrative that Wachowski is just as big of fan of the movies as we are and this film is a celebration of that. That's something I have a lot of appreciation for.
Before this film came out, I had an idea what I wanted, but after this viewing, I don't know what I wanted at all. If you want a nostalgia trip just watch the first one again.
Forgive me Lana.
Insiders (2021)
Najwa's Better Than This.
Najwa Nimri is MILES above this material.
As the host of a "realty show within a reality show" it's her job to guide us through the lives of 12 "contestants" who must survive a gruelling audition process to become the next contestant on a Netflix reality show. But what they don't know is, there already on the reality show.
Not only are these terrible people who's pride goes right to their heads, the mere premise of the show is terrible in itself. Forcing people to relive their horrible lives, unknowingly filming them in their most uncomfortable, vulnerable moments, all of the sake of sadistic entertainment. It made me sick.
As a huge fan of Nimri, the mere fact that this is her follow up to Money Heist (2017-2021) is shocking. She had to have been contractually obligated to do this because there's no way she would have willingly chose to do so.
Even her presence couldn't stop me from being reminded of this fact: reality TV is cruel, gross and just plain BAD!
I feel sorry for her.