Starring: Adam Driver, Annette Benning and Ted Levine Directed by: Scott Z. Burns Rated: R Running Time: 120 minutes Amazon Studios
It’s easy to lose sight of things that happen with all the constant distractions that we have nowadays. Especially in 2019, it’s difficult to keep up with all the headlines, much less remember ones that happened in 2014. “The Report” is a reminder about one of those headlines that may have skirted under the rug, but it’s a sobering reminder that we shouldn’t let it go away anytime soon.
Adam Driver plays Daniel Jones, a real-life Senate investigator tasked with looking into the use of torture by the CIA during the War on Terror. It’s established early on that Jones is a meticulous, by-the-books staffer. He’s ready to shine his light into every crevice in the search for the truth, but he has one hand tied behind his back. The agreement between the Senate and the CIA means that he doesn’t get to take any findings with him from a pale, bleak, windowless underground office space at the CIA, and he regularly finds that files are being deleted as he searches. However, those hurdles aren’t going to stop Jones from uncovering what the CIA did and what the CIA doesn’t want anyone to know.
Despite the dense information that “The Report” has to condense, it does it in a reasonable amount of time. It’s the kind of movie that can feel like its three to four hours long, when in reality it’s barely two. That’s not necessarily a knock because Driver is magnificently engrossing as Jones, delivering these exciting monologues when everyone else is procedurally discussing things. This is the kind of political thriller that you’d expect to be flashy, but it’s not. Much of the scenery is straight-forward, the surroundings are bland and some of the characters have to repress their outrage or disgust because of the D.C. environment they’re in.
While Driver is a tour de force in this, its director/writer Scott Z. Burns who should deserve a lot of credit for making this film as entertaining as it is. He manages to whittle down a nearly 7,000 page report into a movie, while also hopping along a lengthy timeline flawlessly, without confusing or talking down to the audience. Anyone who keeps up-to-date with the news will surely be able to follow along and know what’s coming next, but most of the general public will be stunned, if not upset depending on their political affiliations.
Much of what Jones’ and the audience find out as the film progresses is absolutely horrific. Not only is the U.S. participating in immoral techniques, but they don’t work. There comes a point in the film where the CIA plays defense, saying that the facts are misinterpreted and that Jones’ work is nothing but a witch hunt. It might be saying something about temporary day and what’s going on in the nation right now, but I’d like to believe that “The Report” is doing its due diligence at highlighting the work of public servants. Jones’ was in a thankless position, under threat of prison time and espionage. He was doing, what many seeing this movie would believe to be, his public duty and looking for answers that the public needs to know.
Starring: Robert De Niro, Al Pacino and Joe Pesci Directed by: Martin Scorsese Rated: R Running Time: 209 minutes Netflix
There’s a lot of background noise surrounding Martin Scorsese’s “The Irishman.” On one hand, you have the general movie-going crowd groaning over the stuffed runtime, and on the other hand, you have industry insiders bemoaning the dispute that Netflix has had with cinemas. In a lot of ways, these issues stem from an older generation, wondering why they need to sit through a movie this long or would want to seek out a movie that isn’t at their local conglomerate movie theater. These feel like such miniscule problems when you watch this film and realize it’s one of the best movies of 2019.
When we first meet Frank Sheeran (De Niro), he’s beside himself in a nursing home. No one pays any mind or bothers talking to the WWII veteran turned truck driver turned hitman. He has a wild story to tell, but no one to tell it to. So, he tells it to the audience. It begins in 1950’s Pennsylvania, where his stonewalling in court earns the respect of local gangster, Russell Bufalino (Pesci). The two quickly develop a bond and appreciation, so Bufalino starts having Frank do odd jobs, not petty crimes mind you, but murder. Frank makes a big enough splash that he’s soon introduced to infamous teamster, Jimmy Hoffa (Pacino). That’s when things get weird and violent.
Unlike Scorsese’s previous crime and mob movies, this film moves at a confident, quiet pace. It’s not sexually bombastic like “Wolf of Wall Street,” or violently speedy like “Goodfellas.” It has a lot to say and it’s going to take its God damn time. It has two and a half decades to cover, along with various flashbacks, and flashbacks within flashbacks. The narrative structure is built around the most shocking revelation of this movie, which most anyone with an understanding of criminal history in the U.S. should know before turning this movie on, but just in case, I won’t reveal it. Despite the lengthy runtime and the years of story the film pours over, this movie is rarely boring.
Scorsese is a master at making overly long films. He makes three hours seem like a walk through the park. It’s the style in which he shoots, the way he tells the character’s story and the outlandishness that he captures on screen. It’s almost like he taps into this primal ID, making us feast on the depravity of others. But “The Irishman” takes on small, but major step towards a different path. “Goodfellas” or “Wolf of Wall Street” doesn’t end well for the film’s antagonists. Their punishment is generally a mundane end to their life, but “The Irishman” takes it a step further. It shows that this wild lifestyle, filled with action and fun, ends alone. The final 30 minutes are bittersweet.
It unfolds in such an interesting way, that we become more wrapped up in Frank’s life and how he manages to balance these violent side gigs with a picturesque home life, with a wife and kids. We get little breadcrumbs about the Bufalino crime family and how much their tentacles have penetrated the East Coast. We also get a lot of intriguing political dramas as Pacino pushes the limits of overacting through Hoffa. Pacino never quite reaches the unnecessary acting heights of a film like “Scent of a Woman,” but he comes precariously close. Hoffa is crafted in such a flawed manner, that you come to sympathize and loathe him from scene-to-scene. Meanwhile, Pesci, in his most reserved role, is just as menacing as ever behind the wrinkles of Bufalino. There’s a lot of creative supporting work here as well from the likes of Ray Romano, Bobby Cannavale and Harvey Keitel.
Putting a sweeping epic like this on Netflix seems bizarre to many. Decades ago, folks would have lined up around the block to see this film and theaters would have slapped an intermission in the middle so that people could refill on sugar drinks and salty popcorn. Instead this movie will be watched by people on their TVs at home, their computers, or even on their smartphone. There are a lot of people wondering why this film isn’t being shown the classic way. Maybe Scorsese recognizes the direction the industry is heading. He recently caught flack or making a negative comment about Marvel films, even though they were grossly taken out of context in the never-ending effort to satisfy today’s outrage culture. “The Irishman” feels like a bookend to a beloved genre, as Scorsese reflects on his past and says goodbye to the murderous crooks that made his career.
Starring: Ed Skrein, Patrick Wilson and Luke Evans Directed by: Roland Emmerich Rated: PG-13 Running Time: 138 minutes Lionsgate
I haven’t seen the 1976 war epic, “Midway,” but unfortunately I’ve seen the 2019 “Midway.” Even though I haven’t seen the 70’s dramatization, I’m sure it’s still better than Roland Emmerich’s bombastic vision. Whereas the Jack Smight film had star power like Charleton Heston and Henry Fonda, Emmerich decided to see which one of the Jonas Brothers was available, what unheard of actor Ed Skrein was up to, and if Woody Harrelson could do some work for pennies on the dollar.
“Midway” is about one of the most pivotal battles in the Pacific Theater during WWII. This update begins with the surprise attack on Pearl Harbor by the Japanese, before it slowly transitions to the formulation of the Battle of Midway. The nitty gritty of this film, the abundance of characters, is at the core. Going over all the characters in this movie would be pointless, since the majority, while being real-life heroes, are forgettable. That’s because their heroics are delivered by wooden actors or are shifted into place in front of the camera so they can deliver some cliché dialogue and unnecessary exposition. This is the kind of movie that’ll make you appreciate “Dunkirk” if you weren’t a fan of that movie.
The big question though, for people interested in watching this film, is whether or not it pays tribute to the brave men and women who fought in the Second World War. Kind of, minus the brave women part. The only time we see women, they’re bothering their brave significant others or saying “I’ll go powder my nose,” as a euphemism for crying over the potential loss of their husband. “Midway” is the kind of movie you could compare to Michael Bay’s “Pearl Harbor” because of the way they both handled their subject material. It reaches a few gimmicky crescendos, plucking at the American heart strings, but not enough to be sappy, but slightly enough to honor the real heroes during this battle, especially towards the end. Throughout we’re introduced to characters that don’t matter or whose deaths should mean something, but it’s handled so haphazardly that you’re more likely to question who died, rather than mourn their loss.
I think my biggest complaint with this movie is how pandering it is to Chinese audiences. There’s been a lot of talk in the mainstream lately about China’s influence in sports and pop culture. The biggest finger pointing has been towards the NBA and Disney, who can’t be blamed for obeying the almighty dollar, who has commanded them to submit to Xi Jinping. “Midway,” Emmerich, and Lionsgate seemed to have committed the ultimate sin in this regard. Their intent ultimately feels disingenuous because they’ve decided to tell a tale about American perseverance, while bending the knee to their Chinese financiers. I think theatergoers expecting nothing, or unaware of China’s influence on Hollywood, will be pleasantly surprised by “Midway,” and may even have a positive reaction. I feel like most people will have the same problems I had with it. “Midway” has so many ethical and moral problems, that ultimately, any good intentions are torpedoed.
Starring: Willem Dafoe and Robert Pattinson Directed by: Robert Eggers Rated: R Running Time: 109 minutes A24
When “The Lighthouse” opens, we watch as two lighthouse keepers sourly look towards a tiny island dotting the vast ocean ahead. Towering above the horizon is the lighthouse that they’ll be in charge of for the next four weeks. We won’t learn who these lighthouse keepers are, much less their names, until much later in the movie. That’s because both don’t know each other or seem concerned about exchanging pleasantries. The younger lighthouse keepers, Ephraim Winslow (Pattinson), is given the more strenuous duties on the miniature island, while the older lighthouse keepers, Thomas Wake (Dafoe), mysteriously secludes himself in the lighthouse.
Taking place in the late 19th century, Wake, a curmudgeonly veteran of the lighthouse trade, holds on to several superstitions, which he rambles on about like its Sunday gospel. He warns his counterpart about bothering or harming the seagulls that permeate the island because the pesky seabirds house the souls of dead sailors. We also hear from him that the previous lighthouse keeper went mad, claiming to have been beckoned by the call of nearby sirens. Winslow, who’s initially suspicious of his superior and the tales he tells, finds a mermaid token stuffed into his mattress as he settles in. That seems to trigger an avalanche of bizarre happenings and sights on the miniscule space of land.
“The Lighthouse” finds a multitude of reasons for these lighthouse keepers to go inevitably go mad. Everything from cabin fever and mistrust, to the mass consumption of alcohol and the reality that their four weeks may become longer as a storm approaches. As the film progresses, it’s difficult to tell which lighthouse keeper is telling the truth, which one is hallucinating, and what exactly is happening, if anything, on the island. Dread drips throughout this film, thanks to a bombastic soundtrack and the movie being filmed in black and white. The terrors of the night and day are enhanced by the monochromatic landscape and sets.
On a technical level, this film is hauntingly gorgeous. When we see the lighthouse at night, we expect a monster to be perched on top, but instead it’s Wake, who appears to be bewitched by the light he claims to protect. When Winslow moves about the island with his work duties, whether it’s during blustery rain storms or in the dead of night, it feels lonely and isolated because all he has are his thoughts and visions. Neither have anything to attach themselves to, other than their work, especially since neither appears to have a busy work hobby, much less a book. Yet if something is on the island with them, we know that Winslow and Wake have no way to escape.
“The Lighthouse” manages to feel claustrophobic despite all the space given to these actors to play in. Despite their tiny lodging, they appear to have all the room in the world when they need to yell at or lung at one another. Dafoe, a natural in acting, seems to go through the motions at the beginning, as if he’s stretching the sea legs of his conniving character. He shines as bright as a lighthouse in the final act though, specifically in one scene I won’t reveal and another where his character delivers a chilling soliloquy. Equally impressive is Pattinson, who has the heaviest lifting throughout as his character descends into madness. The nightmarish visions and back-breaking work eventually tears down Winslow’s tough guy persona at the beginning. Pattinson channels fear and paranoia through his piercing eyes.
As evidenced by some of the more horrific or horror-centric films of 2019, “Midsommar” and “Climax” come to mind, “The Lighthouse” is a movie that you let digest. Having a gut reaction afterwards would do a disservice to the craft presented on-screen. As a reviewer, I’m in a pinch because a second viewing would solidify my overall attitude towards this film, but I do know that my initial experience was positive. Even though we’re trapped with these characters for nearly two hours, the film never feels long because it’s unnerving. Director Robert Eggers finds the right moments to be overtly creepy, violent and sexual, just like he did in his previous film, “The Witch.” There are also numerous light moments of humor that help undercut a lot of the palpable tension. “The Lighthouse” won’t make you jump or have you turning on a night light when you get home, but it may haunt your dreams like any good campfire tale of terror.
Starring: Roman Griffin Davis, Taika Waititi, Scarlett Johansson, Sam Rockwell Directed by: Taika Waititi Rated: PG 13 Running Time: 108 minutes Fox Searchlight Pictures
I don’t know how a movie featuring an imaginary Adolf Hitler managed to be one of the most heartwarming films of the year…but it’s 2019 and every day actual reality gets more ludicrous, so that sounds about right. Taika Waititi’s Jojo Rabbit is a masterful satire that nails its tone with a kind of supernatural precision that most filmmakers can only dream of and a story still more wouldn’t touch with a ten foot pole.
Jojo (Roman Griffin Davis) is a small boy who lives with his mother Rosie (Scarlett Johansson) in a village in WWII Germany. His only ambition is to fight for Hitler just like his absent father. Lacking any real warfront nearby and too young to be conscripted, Jojo instead joins up with the local division of the Hitler Youth headed by the one-eyed Captain Klenzendorf (Sam Rockwell). It’s a lot like boy scouts if all the participants were extremely racist and whose bonfires consisted of banned books. Jojo plays tough but gains his titular nickname when the older scouts test how murderous Jojo actually is and the kid fails to kill a bunny in front of the everyone.
Jojo is not only disappointed with himself but he’s royally failing Hitler! Specifically the imaginary Fuhrer, played by Waititi himself, who follows Jojo around and goads on Jojo’s tough guy persona. To be clear, Waititi isn’t actually playing Hitler (in fact when asked about ‘researching’ his portrayal, the director says he didn’t because that guy was “a fucking cunt.” Yep.) Instead, he is playing an icon to a child, which is an entirely different prospect. In Taika’s take just about the scariest thing about him is the unnatural blue contacts. He’s a playground bully who spouts back all the vile lies about Jewish people the boy’s troop leaders are trying to drill into him. Jojo’s whole bubble is popped when he finds an actual living Jewish girl named Elsa (Thomasin McKenzie) in his mother’s attic.
With McKenzie’s arrival, the film begins to become something much more than the riotous comedy that Waititi achieves in laying out Jojo’s life in the scouts. (Although if this film had only given me a burnt out Sam Rockwell demonstrating deadly weapons to a group of small children, I would have still considered it a cinematic gift, but I digress.) No, rather than being fearful, Elsa leans hard into the gross mythos the Nazis are spreading about her people in order to intimidate the young Jojo. It’s one thing to tell a ten year old that Elsa is a demon, entirely another to ask him not to then be terrified when faced with her one on one. Their bond is the heart of the film and McKenzie wields what small power she has over Jojo with ferocity while Jojo steadily moves from fear into fascination and maybe even friendship. Mckenzie’s is a stunning performance that has me more excited to see her in Edgar Wright’s next feature. As for Davis, putting the weight of this movie on the ten year old is thematically fitting but a huge risk. However just like Hunt for The Wilderpeople’s Julian Dennison, Waititi’s casting of Davis proves to be spot on.
Meanwhile these kids are surrounded by the grown actors putting in some truly beautiful work. Sam Rockwell’s one eyed captain is physically out of commission but maybe that’s not the only reason he’s not on the field. Considering there’s nothing remotely straight about him and second-in-command Finkel (Alfie Allen). Scarlett Johansson is fearless as Rosie who lovingly calls Jojo “Shitler” and whose drinking, smiling facade belies her own defiance. After all, her sheltering Elsa is a huge breech of the law. Still Rosie dances, she bike rides and she declares her dinner table neutral Switzerland. Johansson brings genuine depth and warmth to Rosie in both her bonds with Jojo and Elsa.
Jojo meeting Elsa and beginning to encounter the larger world is where Waititi really hits home. Rosie allows Jojo into the Hitler Youth only insofar as she is a single mother and there’s really no alternative daycare. But when face to face with his supposed enemy, Jojo’s whole worldview is challenged. Hate cannot flourish without ignorance and it’s the ordinary people in this film whose small acts make the larger world better for all. Taika’s crafted a film that’s not only timely but manages to earn tears both from laughter and sadness.
Starring: Joaquin Phoenix, Robert DeNiro and Zazie Beetz
Directed by: Todd Phillips
Running Time: 122 minutes
Warner Bros. Pictures
Much like the Joker’s origin in “The Killing Joke,” Arthur Fleck (Phoenix) is an aspiring stand-up comedian. Before he can reach that pie in the sky dream, he makes ends meet as a clown-for-hire, takes care of his ailing mother in a rat-infested apartment, and attempts to deal with several mental illnesses. There’s actually nothing particularly extraordinary about Arthur, and that seems to be casually ingrained into him by his co-workers, passersby on the street and even his own mother. But if the title of the film wasn’t a big enough clue, there’s a lot in life that’s in store for Arthur.
It’d be disingenuous to try and rank all those who’ve portrayed the Joker (minus Jared Leto) because of the drastically different material they were given. However, “Joker” stands tall in its own category because it’s surrounded by subpar films. Villain origin stories aren’t great fodder, just look at “Venom” and “Hannibal.” But “Joker” isn’t just an origin story for the clown prince of crime, it’s a character study, something that’s never been done before on screen. Breaking down the Joker is a tricky task and there’s really no right way to do it, but there’s definitely a wrong way to do it. While Phoenix does it magically nuanced way, director/writer Todd Phillips handles it in ham-fisted fashion.
Phillips is more well-known for his “Hangover” trilogy or juvenile 2000 film, “Road Trip.” Behind the camera, Phillips is more than capable of telling a gritty crime story, drawing from what I can only assume is movies he grew up on and influenced him to become a filmmaker in the first place, “Taxi Driver,” “Kings of Comedy” and “Network.” He encapsulates that late 70s/early 80s glow well, emulating its style, color palette and nihilism. Where he falls remarkably short is writing a script that’s on par with those classics. Phillips makes a lot of leaps in logic, despite grounding the main character in a very realistic Gotham.
There’s nothing supernatural or superhuman about Fleck’s life. There’s no vat of chemicals to fall in or scars that he’s telling conflicting stories about. Everything that makes Fleck the hero and villain of his own story, is inside. So what makes a lot of the “Joker” work is the acting and not Phillips. That’s because the director gives away several mid, and late, storytelling reveals by relying on clichés early on. Anyone familiar with the Batman lore or movies involving psychosis will be able to spot plot twists and turns involving characters or the plot. Phillips’ maturity with his hands behind the camera unfortunately doesn’t translate when the pen meets the paper.
I’ll give credit to Phillips for one aspect, and that’s at least using one of the film’s tropes to set-up discussion about the ending of the film. Since Phillips has noted this is a stand-alone film (meaning it doesn’t fit into the DC Cinematic Universe and won’t have a sequel), there’s a lot to take away from the final 15 minutes. That’s where I assume a lot of the pre-release controversy stems from. Several people have weighed in on what they believe Phillips is intending to say, but I’m in the minority because I’m not sure Phillips is actually trying to say anything in particular. I believe he structured it in such a neutral fashion, that the discussion will simply be guided by the ideology of the viewer.
But for all the hype, controversy, praise, condemnation and mystery, the only thing worthy of discussion for years to come is the performance by Phoenix; everything else feels like contemporary background noise. Phoenix, as he’s done in nearly every role he’s been given, is absolutely magnetic. Despite the derivative nature of the script, Phoenix keeps his character wildly unpredictable while combining antihero elements and sociopathic tendencies. We’re not just witnessing the birth of a supervillain, we’re watching a true descent into madness.
Starring: Bill Skarsgård, Maika Monroe, Jeffrey Donovan & Kyra Sedgwick
Directed By: Dan Berk & Robert Olsen
Running Time: 89 minutes
A pair of thieves with dreams of living it up in Florida make a couple of big mistakes during a gas station holdup sending them down a wildly different road in Dan Berk and Robert Olsen’s Villains. First, they swear this is their “last job!”—always a no no where movie characters are concerned—and second, they forget to, you know, pump their escape car with any of the station’s gas. Thus they find themselves stalled out on the road and scouring the nearest secluded home for anything to help them in their journey. The home they find just so happens to have a small girl shackled in the basement. Suddenly the mission isn’t just for gas for the car but an all out battle with the unsuspecting homeowners. As I said, it’s a much different path than Florida.
Villains grabs you quickly and easily thanks to the charisma of its two leads, Jules and Mickey (Maika Monroe and Bill Skarsgård, respectively). They’re goofy as all get out—we’re introduced to them fumbling through their robbery in rubber animal masks—but it’s so obvious they’re head over heels in love with each other that you just want to root for them. Of course Monroe (It Follows) and Skarsgard (It & It Chapter Two) are no strangers to the suspenseful or violent elements Villains throws at them eventually, but as these two crazy kids they both show off a genuine knack for comedy. I can’t imagine a better time to see Villains than if you’re in need for some comedic relief after a dose of Pennywise.
Now let’s get back to that girl chained up in the basement. Turns out she belongs to the equally tight couple of Gloria and George (Kyra Sedgwick and Jeffrey Donovan), the homeowners who combat Jules and Mickey’s manic energy with nothing but civil hospitality. The thieves are ready to fight their way out of the house with the chained little girl, but George and Gloria disarm them long enough to chat about what’s going on. Donovan in particular revels in George’s southern salesman draaaaaaaaawl to calm everyone down. The unlikely clash of these couples is strongly supported by candy colored production design and a nifty musical score that keeps the proceedings tonally in sync until very near the end of the film. The resolution of the wildcard chained child isn’t quite as much fun as how we got there, but with a runtime just shy of 90 minutes, it’s hardly an issue.
The fun of this Villains is all down to the perfect casting. The couples are equally unhinged but operating by their own internal logic while being totally devoted to their partners. Mickey and Jules are like excitable puppies in their eagerness to please each other while George keeps up a veneer of civility even though it’s clear that Gloria is way out of touch with reality. Sedgwick too puts in a delightfully bonkers turn as Gloria that includes a striptease for Mickey. Everyone is chewing so much scenery it’s a wonder anyone has room for Gloria’s shepherd’s pie.
Starring: Keira Knightley, Matt Smith, Matthew Goode and Ralph Fiennes Directed By: Gavin Hood Rated: R Running Time: 112 minutes IFC Films
At just 29 years old, British translator Katharine Gun became the center of UK headlines when she leaked a memo from her job at the Government Communications Headquarters to UK publication, The Observer. The memo detailed a plot between the US and UK to illegally strong arm smaller UN member countries into signing off on the ill-fated war in Iraq. When she admitted to as much, Gun spent nearly a year before being formally charged under the Official Secrets Act of 1989. Meanwhile the US and UK invaded Iraq despite lacking the support of the nations in the memo. The film adaptation of this case as directed by Gavin Hood is a well crafted political thriller driven by a top notch performance from Keira Knightley.
I had concerns going into this film that it would play out like so many Newspaper Movies (as brilliantly parodied by Seth Meyers and Co, in case you missed it) and I wasn’t entirely wrong. The hallmarks of that trope are all still here –Phone Acting, clandestine meetings on benches, the obstinate paper editor–fortunately they’re performed by a charismatic ensemble led by Matt Smith, Matthew Goode and a very shouty Rhys Ifans. As the film goes on it adds additional strong players to the field with the likes of Tamsin Grieg and Ralph Fiennes when the legal drama starts to ramp up.
More importantly though is that all those subplots and their cliches take a back seat to Keira Knightley’s tightly wound performance. As Gun, she is resolute but not without fear. Some of the most thrilling sequences of Hood’s film come as the enormity of Gun’s act bears down on the wide-eyed Knightley and she realizes how much she has at risk by forging ahead. Having an immigrant husband in Gun’s situation as she does, for example, truly raises the stakes when contending with the government. Often Hood makes some smart choices to elevate Gun’s bravery by highlighting that relationship. How easy it would have been for Katherine, as her barista husband suggests repeatedly, to just do her job and leave the consequences to her higher ups.
Gun had so much to lose but recognized an opportunity to avert a disastrous war and chose to act for her people rather than a lying government. Gavin Hood’s film adaptation of her story comes at a time when relations between the press and politics are arguably even more fraught than 2003, making her story well worth hearing.
Starring: Noomi Rapace, Yvonne Strahovski, Luke Evans, Richard Roxburgh Directed by: Kim Farrant Rated: R Running Time: 98 minutes Lionsgate
Angel of Mine, based on the French 2008 film, L’Empreinte de L’ange, sees Noomi Rapace as a woman convinced that her neighbor’s daughter is actually her own long-dead child. It’s a thriller that drew me in with its strong cast but passes too far over into melodrama before the credits roll to warrant much interest.
Rapace stars as Lizzie who drums up a tenuous relationship with the parents of one of her son’s friends (played by Yvonne Strahovski and Richard Roxburgh) for her own ulterior motives. Turns out the friend’s little sister Lola looks so much like her dead baby daughter to Lizzie that she is desperate to spend as much time around the child as possible. Lizzie’s obsession extends so far as her ingratiating herself with Lola’s parents by pretending to be interested in buying their newly listed house. This connection is already awkward but the film does not help itself by withholding the circumstances around Lizzie’s grief for so long in the film. Revelations over the loss of Lizzie’s daughter earlier in the film to the couple may have won some understandable sympathy points for allowing Lizzie around but as it is, it strains credulity as to why these parents would allow this random woman to have so many one-on-one interactions with their young child. Lizzie’s obsession with Lola is intriguing at first due to Rapace’s haunted intensity but without knowing much about her past, I found myself spinning off many different possibilities for where this could go and the ultimate resolution had me bored. Perhaps that’s on me for wanting something more outlandish or exciting while the film so wants to be grounded. It felt as though since director Kim Farrant wanted so much for Lizzie to be our sympathetic protagonist that they could not inject her obsession with a child with any sort of genuine menace.
Still more irritating is that so much of the film’s run time is spent with husbands choosing to downplay their wives’ legitimate concerns. This goes for both Luke Evan’s Mike as Lizzie’s ex, shunning her where she clearly needs mental help in her grief, and infuriatingly Richard Roxburgh’s Bernard who is for some reason A-OK with a woman wanting to spend time with his seven year old while his own wife sees red flags all over. Why would he take Lizzie’s word over hers? How their story lines end up in relation to Lizzie and Lola after all this drama rings hollow–and also doesn’t seem legally feasible.
I had been drawn in by the big name cast Farrant had assembled, particularly Yvonne Strahovski fresh off of her fantastic “Handmaid’s Tale” work (is there such a thing as ‘maternity battle’ typecasting?) but they’re working in service of a basic script that doesn’t throw anything more exciting at them than a Lifetime TV movie.
Angel of Mine opens in limited release on August 30th
Starring: Gerard Butler, Morgan Freeman and Jada Pinkett Smith Directed by: Ric Roman Waugh Rated: R Running Time: 120 minutes Lionsgate
You ever have that moment where you’re surprised that something is popular enough to still be hanging around? You know what I’m talking about. Like when you hear about how “The Simpsons” has been renewed for another season or when Woody Allen released another movie. Much to my surprise, 2013’s “Olympus Has Fallen” has warranted not one, but two sequels. I don’t have to wonder too long about why that’s possible because the third of this franchise, “Angel Has Fallen,” answers that question quickly with mind numbing action.
In the reportedly final installment of this franchise, terrorists are making yet another assassination attempt. This time they’re not only targeting a worldwide figurehead, U.S. President Trumbull (Freeman), but they’re using U.S. Secret Service Agent Mike Banning (Butler) as the fall guy for the whole affair. So not only does Agent Banning have to find out who the real perpetrators are, while fighting them, but he also has to deal with various federal government agencies chasing him down. That’s about as simple as I can whittle down the absolute mess that this story is.
While the film’s story is fairly cut and dry, the foundation of the plot crumbles underneath any sight of logic, but this isn’t a franchise or movie that lends itself to being intelligent. Everything about these movies, as well as the newest one, is loud and dumb, like a caveman shouting at the top of his lungs while swinging a big club. The use of graphic blood and violence keeps these films from being too cartoonish, on a level like the “Fast and Furious” franchise. There are several moments of self-awareness, though, that make it seem like the creators are sometimes in on the joke that these movies are silly trash.
That’s why it’s so odd to see so many dramatic elements being wedged in, especially with Banning’s character. The filmmakers start the movie off with breadcrumbs that Banning is dealing with some form of PTSD and work fatigue, even though that plot thread only pays off in one predictable way by the end. We’re also introduced to Banning’s estranged father (Nick Nolte), who’s living in the middle of the West Virginia forests, so that we can add a layer of family drama to the whole shebang. By the end, these components really feel meaningless because of how poorly they’re handled, unless you’ve somehow managed to grow attached to this character over the years.
“Angel Has Fallen” fails only because it strives to be something it’s not, a competent action flick like “Die Hard” or any “Mad Max” film. It earns gold stars for filling numerous scenes with vacuous shootouts, lunkhead fist fighting and earth-rattling explosions. It somehow manages to screw up some of that though, with poorly lit sequences or chase scenes at night that fail to illuminate what’s happening. Fans of these films will get their money’s worth; everyone else will feel too indifferent by the end to ask for their money back.
Starring: Samara Weaving, Adam Brody and Mark O’Brien Directed By: Matt Bettinelli-Olpin and Tyler Gillett Rated: R Running Time: 95 minutes Fox Searchlight
I guess a film like “The Hunt” was a little bit too on the nose. There were several disappointed horror junkies, back on August 7th, when it was announced the latest Blumhouse film would be shelved after several mass shootings in America, along with some rumored outrage by President Trump. Maybe those disappointed filmgoers, who are going this year without another “Purge” movie as well, can get a cathartic release from “Ready or Not.”
It’s Grace (Weaving) and Daniel Le Lomas’ (Brody) wedding day. The young couple is getting married at the Le Lomas’ mansion, which was built on a card and board game empire. Daniel’s family, which he begrudgingly introduces to Grace, is an eclectic bunch. Which is a nice way of saying they’re a bunch of snobby 1%’s who believe Grace is a gold digger. Whether or not they warm up to Daniel’s love seems to come down to strange family ritual, a game. Grace must draw a playing card from the film’s McGuffin, and play the game that’s printed on that card. She’s told by several other people who’ve married into the family that they simply played a game Chess or a round of Old Maid. She draws Hide and Seek.
You’ll be disappointed if you go into “Ready or Not” expecting a rich satire about politics and class, but if you’re expecting a gory good time you’ll be stuffed. The goal of Hide and Seek, for the Le Lomas’ family, is to hunt down and kill Grace. This isn’t supposed to be for sport, but to maintain an otherworldly pact, which is certainly a dig at the corrupting power of wealth. If you start thinking about some of the film’s inherent flaws, the set-up quickly falls apart and you’ll begin to wonder about things like logic. So don’t think too hard during this one.
The film isn’t short on violent deaths, blood and visually graphic tomfoolery. It’s all played for comedic effect and eye-wincing shock. Some of the more comedic moments are when one of the drugged out members of the Le Lomas family continuously manages to find accidental ways to kill mansion staff, while some of the most visually disturbing scenes include one where a character makes unfortunate use of a gaping wound in their hand. The scenes unfortunately smack audiences at a blistering pace. There’s a lot of downtime for the characters to wordlessly linger from scene-to-scene and discuss inconsequential plot points.
“Ready or Not” promises a fun cat-and-mouse game, but ends up repeating the formula of Grace being captured, but only to escape. This happens about half a dozen times, if not more, including three times in the climax. At least the movie wrings out a strong performance from Weaving, who has the makings of a scream queen. She has a cold icy stare when her character is in vengeance mode, as well as a perfect high-pitched scream during moments of physical agony and mental anguish. Everyone else is casually fine. The problem is that the actors portraying the Le Lomas clan can’t decide whether or not to be cognizant of the absurdity of it all.
“Ready or Not” sits in between the two extremes of horror content in 2019. It’s not a complete misfire like “Ma,” but it isn’t as intricately put together as “Midsommar” or “Us.” It’s a film that’ll satisfy the late night sweet tooth for people wanting to gnaw on a dark comedy and have guilty belly laughs. It’s the kind of genre mash-up that would have developed a cult following in the 80’s.
Starring: Jacob Tremblay, Keith L. Williams and Brady Noon Directed By: Gene Stupnitsky Rated: R Running Time: 89 minutes Universal Pictures
More than lately, it feels like we’ve been inundated with coming-of-age movies. Just off the top of my head, we’ve had “Lady Bird,” “Eighth Grade,” “Booksmart,” “Call Me By Your Name,” “Love, Simon,” “Blockers,” “Mid90s,” and to some extent, “IT.” Most of those movies are natural extensions of the genre which now include women, the LGBT community, Millennials and Generation Z. So “Good Boys” just feels like a casual dose of more of the same before the arrival of the 2010s.
To say that “Good Boys” has a story, feels a bit disingenuous to the film’s true narrative which feels more like several sketch ideas strung loosely together. To cut straight to the core of what’s happening; Max (Tremblay), Lucas (Williams) and Thor (Noon) have skipped school to fix several spin-off problems caused by Max’s invitation to a party where he and his pals will finally be able to kiss a girl. The problems this invitation have caused involve the destruction of a pricey drone, the theft of drugs, the need to buy drugs, and being chased all around their neighborhood by some angsty high schoolers. It’s nothing we haven’t seen before and several shenanigans feel reminiscent of “Superbad.”
This plot doesn’t really take shape from the get-go. “Good Boys” actually looks and feels amateurish for the first dozen or so minutes, coming off like a string of riffs on preteens being clueless preteens as they navigate a tricky minefield of sex talk, sex toys and dirty jokes. At least the movie is smart enough to recognize that most 12-year-olds talk a big game, but are as clueless as any kid entering a sex education class for the first time when it comes to the actual act of doing it. The inherent comedy of young kids saying four-letter words quickly loses its luster, but it’s the personalities of our three boys that the film actually finds some real comedy in.
Lucas is like Lincoln, he cannot tell a lie. His inability to fib further dooms the trio during their perilous journey or confuses adults because of how blunt he’s being. Thor is a theater geek who’s burying his own passion so he can try and impress other tweens. Unfortunately he’s not privy to the fact that they’ll never like him, no matter how many sips of a beer he’ll take. Max is the only one invested in this adventure, since he was the only one to actually be invited to the kissing party. He actually had to coerce the cool kids into allowing him to bring Lucas and Thor. It sets up the film’s final act fairly well. For a movie that’s as foul-mouthed as “American Pie,” it’s good to see that there’s an actual attempt at teaching a lesson in maturity and growth.
“Good Boys” is a passable entry into the coming-of-age films, but it isn’t unique or funny enough to stand tall with classics in the genre. It also suffers from some of its best jokes being in the trailer and a somewhat scatterbrained story flow that hiccups when it comes time to deliver a wise crack or sight gag. The three child actors manage to elevate a so-so script and they’ll certainly win over the adult crowd that sees this, as well as those young ones that sneak in to see what all the fuss is about.
Starring: Dwayne Johnson, Jason Statham and Idris Elba Directed by: David Leitch Rated: PG-13 Running Time: 137 minutes Universal Pictures
At this point, all that’s missing from the “Fast and the Furious” franchise is a TV show, Saturday morning cartoon, McDonald’s Happy Meal toys and breakfast cereal. The unexpected Universal Pictures franchise has its first spin-off, giving the two men who helped rejuvenate the series their own side adventure. Luke Hobbs’ (Johnson) affable character pairs naturally with the rough around the edges Deckard Shaw (Statham). The two have spent the last two movies at each other’s throats in a jokingly, sometimes serious, manner. So it’s a little disappointing to see them relatively toothless and hollowed out in “Hobbs & Shaw”.
Their characters remain the same, but we spend a little too much time with them, making these godlike characters a bit more human. That isn’t necessarily a bad thing, but having them play into the long steady “family” trope of this franchise feels disingenuous. The two feel more like ancillary characters that were created to offset the eye-rolling “we’re all family” dynamic that Vin Diesel’s character has yammered on about for years. Seeing Hobbs and Shaw degraded to that level may play to the franchise’s hardcore fanbase, but not for the casual fan like me who enjoys these movies as mindless eye candy. Also, there’s only so many times we can hear Hobbs and Shaw verbally get out the measuring sticks for their manhood.
As for the story, it’s somewhat interesting, building off of “The Fate of the Furious.” The bad guy of this film, Brixton Lore (Elba), works for a secret dark web syndicate known as Etheon. Lore is part man, part android, to the point where I’m glad Hobbs name drops “The Terminator.” Lore is on the hunt for a virus that could be weaponized to eliminate the “weak” parts of the human population, i.e. mass extinction for the betterment of humanity. But before Lore can get his superhuman mitts on it, an MI6 agent injects herself with it so that Etheon can’t obtain it. Of course, who that MI6 agent is, is a twist. I won’t spoil it, but you should be able to figure out who it is before it’s revealed, if you’re operating your brain at a primitive level.
Putting aside my opening salvo, I think this movie is still enjoyable because of how absurd it is, like when Hobbs tackles assailants scaling down the side of skyscraper and landing without a scratch on top of an SUV several stories below. My qualm is that the action pieces never really reach the highs that we’ve seen before in this franchise, specifically when Justin Lin and James Wan were behind the camera. Director David Leitch gives the duo plenty of fun settings to blow-up and chase sequences for audiences to ogle at, but none of them quite have that spectacular oomph that we’ve come to know and love. Even some of the lesser movies of this franchise have that memorable moment of Herculean feats or car acrobatics, but this one didn’t quite land one. Luckily the film stops short of dragging to the two and a half hour mark, so you don’t begin to get sore in your seat from its CGI fireworks.
“Hobbs & Shaw” delivers enough mindless fun, ludicrous fight and action sequences, and wink-at-the-camera cameos to put a smile on even the curmudgeonliest of viewers. While it sometimes lacks in those aforementioned categories, it never feels unnecessary, especially since it’s a franchise stuffed with preposterous reasoning and farcical realism; Common sense be damned. Just like the rest of the franchise, “Hobbs & Shaw” doesn’t benefit from the viewer attempting to apply any kind of logic. Once you flip that switch on, you can’t unflip it. So setting your brain to cruise control is the optimum way of enjoying “Hobbs and Shaw.” Enjoy it for what it is, big, dumb action porn.
Starring: Florence Pugh, Jack Reynor and William Jackson Harper Directed by: Ari Aster Rated: R Running Time: 140 minutes A24
I don’t use superlatives a lot in my reviews, but I think it’s fitting this time because “Midsommar” has one of the most unsettling and gripping openings to a horror film I’ve ever seen. The movie begins on a snowy night in the states with Dani (Pugh), frantically trying to get a hold of her parents after a trouble set of texts from her bipolar sister stating that the darkness is too much, along with remarks about their parents. Compounding the issue is Dani’s boyfriend, Christian (Reynor), who seems disinterested in her concern about her sister, and why her parents aren’t picking up their phone. In fact, we find out, he’s at the bar getting drunk with friends, mulling over a potential break-up with Dani, instead of showing a single shred of worry. Christian is about to pull the trigger on their nearly four year long relationship when he gets a phone call from Dani. As soon as he answers, we hear the most horrifying cries of agony. Dani learns that her sister has taken her own life, and the lives of their parents, via carbon monoxide poisoning.
Cutting ahead to the summer, their relationship is still strained, Christian is still distant, and Dani is still dealing with grief. Escapism, for both, comes in the form of Pelle (Vilhelm Blomgren), one of Christian’s Swedish friends. Pelle is inviting Christian and their mutual friends, Josh (Harper) and Mark (William Poulter) to Pelle’s small village of Halsingland. They’ll be privy to a true once in a lifetime event, a festival that’s only held once every 90 years. Despite this village’s knowledge of the outside world and how advanced we’ve become, the people of Halsingland hold on to some incredibly archaic, brutal and terrifying beliefs that’ll slowly unfold over the course of a few days.
Unlike Director Ari Aster’s last film, “Hereditary,” nearly all of “Midsommar” is in the bright light of day, as the rural village sits nearly at the top of Scandinavia, so the sun, if ever this of year, doesn’t ever set below the horizon for the time that our characters are there. So much of the film’s horror doesn’t even happen in the cloak of darkness. The terror of the unknown, the secrets that this village holds, what their plans are, and what’s behind every closed door, happens in the optimistic shine of daylight. If anything, the moments in the dark are a part of a dream-like sequence or in the midst of a heavy dusk when the characters are lurking about the village, when they shouldn’t be.
The Americans in this movie should know better since the village is one constant red flag after another, but the slow boil of the plot plays into Aster’s hands as he’s given enough time to establish why each character remains there despite the overwhelming amount of evidence that says, “Run.” Josh is an anthropology student, looking to do his dissertation on the little researched village of Halsingland, shrugging off morbid rituals as cultural differences. Mark is a stereotypical horndog, thinking a lot more with his second, believing that a European excursion will get him high and laid. He’s half right. Dani seems aimless and lost in the world after the death of her entire family at the beginning, still pondering how she could ever move forward. Meanwhile, her boyfriend, Christian, whose seemingly non-commital to everything, is genuinely indifferent to danger. In fact, having any sense of self-preservation in these kinds of movies gets you killed first. Two ancillary characters, who were also invited to the village by Swedish friend from England, are the first to sound the alarm, but they soon disappear.
Maybe it’s because I watched “Hereditary” and knew that Aster loved sprinkling his movie with copious amounts of breadcrumbs, but I didn’t find myself completely shocked about the things that eventually transpired, nor was I shocked by the various, gruesome revelations that stacked on top of one another. That being said, I’m sure there are dozens of breadcrumbs that I missed because Aster is meticulous. Nothing seen in this film is incidental or by accident, it all serves a purpose towards the film’s numerous themes and subject matter. As to what this movie is about, that’s a lot to unpack. I’m certain that a movie as thematically open-ended as this is sure to leave a different, long lasting impact on viewers. That might mean that there is inherently no wrong way to interpret this, but only Aster is privy to how to correctly take it all in.
Since Aster had made this film deeply personal, “Midsommar” is most certainly a contemplation of death, literally and figuratively. One could muse that Dani seems unable to let her relationship with Christian die. Even though she mentions to a friend at the beginning of the movie that she suspects Christian is ready to dump her. She seems indecisive about confronting him, while sub-consciously knowing that it should come to an end. Even as they both walk like zombies through their relationship, Dani shows another layer to this toxicity, a fear. Despite taking a leap by going to a strange country, strange village and take part in their strange customs, she holds on to this belief that letting go of what’s she become accustomed to is the end, when it’s not. It’s odd finding that nugget of commonality in humanity amongst the gore and paganism. As for Christian, the movie does a fantastic job making the audience care less and less about what happens to him, showing over and over again that he’s emotionally detached from his friends and the world because he’s inherently selfish. Dani pines for a sense of unity, while Christian views people as a means to an end. In that regard, their individual fates are fitting.
It’s hard not to compare “Midsommar” and “Hereditary,” even though they’re drastically different in several categories. For example, “Hereditary” was a horror grounded in Satanism and the paranormal, whereas “Midsommar” is horror grounded in heathen ideology and violent ceremonies, without the use of supernatural forces. However both require a great deal of effort by its cast to read and act out these bizarro scenes with the utmost, straightest of faces. It’s hard to spot a flaw in any of the performances, with Pugh being the standout here as her character deals with so much emotional turmoil. One standout bit of acting by her is the opening scene where she mourns. In my line of work, I’ve had to edit clips of mothers at the scene of a homicide, sobbing loudly through the most tragic of griefs as they find out that their child is dead. Pugh captures that bone chilling wail flawlessly and it should cut into anyone.
“Midsommar” is an unsettling nightmare, showing unflinching carnage, all while smiling back at you. Aster’s sophomore effort will certainly be criticized by the mainstream audiences for being heartlessly malicious, crass, and boring, as evidenced by the handful of people that walked out of my screening at the first sign of violence in the film. I, like others, will be endlessly picking it apart in my mind, discussing it with others who’ve watched it and reading the insurmountable online articles by cinephiles attempting to do the same. I have yet to say a negative thing about this movie, which would usually necessitate a higher rating than the one I’m giving it, but this is an instance, much like “Climax” from earlier this year, where a second viewing would help me solidify my opinion on this film, and whether or not I’d rank it higher. My only hesitancy with “Midsommar” is its rewatchability, mainly because I didn’t find “Hereditary” as enjoyable the second time, nor would I ever want to watch it again. Like some high-concept films, enough time has to pass for a viewer to rewatch, analyze and appreciate during a second time, as opposed to a Hollywood blockbuster. I’m also fully aware that’s a critical cop out my end. However, “Midsommar” may be that, once every few years, trip to the museum, where you need a healthy amount of time to mull over and appreciate the art for what it is.
Starring: Tom Holland, Samuel L. Jackson and Zendaya Directed by: Jon Watts Rated: PG-13 Running Time: 129 minutes Sony Pictures Releasing
If you haven’t yet watched “Avengers: Endgame,” then there’s a couple of things I’d like to say. 1. How have you not? 2. Why are you reading this if you haven’t? 3. You know there will be spoilers abound in “Spider-Man: Far From Home” for “Endgame,” if you haven’t watched it yet, right? Now, while my review will not have any spoilers, because Marvel fans are becoming incredibly irate about the slightest drip of a reveal and I generally find it to be disingenuous to do so in a review, I think it’s important for those who haven’t seen “Endgame” to know that they’ve been warned.
Seemingly weeks, maybe even days, after the events of “Endgame,” “Far From Home” wastes no time getting us up-to-date on what’s going on in the world of Peter Parker/Spider-Man (Holland). As comically explained in a high school TV news update, the Thanos snap threw a curveball and some students are now towering over the other students because of the five-year gap. Meanwhile, there are fresh reminders that the world continues to mourn the loss of Tony Stark/Iron Man, and immortalize him in whatever way they can. However, the movie isn’t too clear on where we’re at chronologically within this world or Peter’s world, but who cares? He’s going on a European trip, hitting the proverbial FU button on his phone when Nick Fury (Jackson) calls, and trying to get in good with MJ (Zendaya).
“Far From Home” may have actually worked infinitely better as a high school comedy, as opposed to a superhero movie. That’s because the villain(s) of this movie aren’t that interesting, nor is there a lot of peril when Peter has to quickly throw on the Spider-Man suit and save the day. The movie works a lot better when Peter and his classmates are goofing around in Italy, Austria, or whatever European country they find themselves in. The movie makes this odd choice of trying to convince us, as well as S.H.I.E.L.D., that Peter is the savior of Earth, and to some extent, the next figurehead for hope like Iron Man was. That’s hammered home a lot, even though the film repeatedly shows us that Peter is too young or inept at being a hero, sometimes to cataclysmic effect.
I did have some fun here and there, warming up to the characters like a fire in a snowstorm, but there’s too many boneheaded decisions, and pivots in tone and direction. I’m also not entirely sold on the relationship between Peter and MJ, mainly because the movie seems to just assume that we already know why they like one another and why they should be together. It’s almost like “Far From Home” suffers from being sandwiched between the most climactic finish to a series of films and the beginning of a new cinematic phase. That really puts the teenager superhero, and the filmmakers, in precarious situation. It’s also quite possible that superhero fatigue is setting in after the “Endgame” sugar rush.
“Far From Home” is a fun epilogue to “Endgame,” but it isn’t strong enough to stand on its own merits. Thankfully this movie doesn’t hit the lows of other Marvel sequels, like “Iron Man 2” or “Thor 2,” thanks to the charm of its lead, Holland, and his pairing with Jake Gyllenhaal who, as per usual, gives it his all. I didn’t love it as much as “Homecoming” and I probably won’t rewatch it as much as “Guardians of the Galaxy” or “Infinity War,” but it’s passable enough that you’ll leave with a smile, although it’ll fade by the time Marvel churns out another one of these.