Unexplained super-powers is becoming an overdone trope, which is why when you find one that tries to do something new, it’s a particular delight. André Øvredal (Scary Stories to Tell in the Dark) returns to his Nordic, Trollhunter roots to bring us a slow but intense tale of a young man, Nat Wolff (Admission), who suddenly acquires powers he can’t control or explain.
Iben Akerlie (Little Drummer Girl) plays opposite Wolff and balances him out well. In fact, she and Per Frisch are about the only clear-headed folks in the movie while Priyanka Bose (Lion) serves to remind the world of why Americans just shouldn’t be trusted. A sad cliché, but she navigates it relatively well within the bounds of the script.
As you can imagine, tragedy and stupid government decisions begin to occur. But this isn’t quite the story you expect, nor does it unfold exactly as others of its ilk. Sadly, it also doesn’t quite get to a conclusion so much as a beginning. Whether the tale will continue I imagine is still in flux, but the path is certainly there. In the meantime, if you can handle being left hanging (think a Brightburn kind of ending in style, though not in content), give it a shot. Definitely something a bit more interesting than the typical version of these tales.
You have to love a film that can suck you in early and then drag you along, guessing, right till the end. Writer/director Jacob Estes (The Details) delivers a driving suspense thriller that keeps going right up to the final credits. And that’s what you want from a ride like this. No time to really think. No slow moments to lose the momentum.
David Oyelowo (The Midnight Sky) is the primary driver of the story. His ability to give us a tough cop with a heart and screwed up family is really wonderful. He’s propelled through the story by his niece, Storm Reid (A Wrinkle in Time), who’s entertaining, but not entirely on the same level. Some of that is the writing and some the directing, but a good portion of it is on her. It’s a subtle role and she doesn’t always have the levels under control. Still, their relationship is compelling enough to keep it all going.
When you need a solid distraction of a good mystery with a bit of woo-woo mechanics, this one is definitely worth the time.
Timing is everything in entertainment and The Stand, well, it couldn’t have picked a worse time. Despite the long anticipation, and the desire to see this epic tale told with the breadth it deserves, watching a story of a pandemic (even if it is just a McGuffin) doesn’t quite ring right at the moment.
But timing isn’t its only issue. The show suffers from all that was good in the book and all that was bad. Some of the casting works nicely, like Amber Heard’s (Aquaman) Nadine, Odessa Young’s (Shirley) Frannie, and even James Marsden’s (Sonic the Hedgehog) Stu. Other characters like Owen Teague’s (It: Chapter Two) Harold Lauder, and Nat Wolff’s (Admission) Lloyd, aren’t credible…and, in fact, Lauder isn’t even afforded some of his evolutions from the book despite the available time in the series.
Other changes to the story, like making Flagg the actual devil and Mother Abigail potentially an angel (though really more of a prophet) removes too much of the interesting aspects and struggles. Part of the real suspense in the book is that people have to choose (including Flagg and Abigail). That Flagg actually has a supernatural hand in causing the pandemic is just so frigging cheap a choice and shows no imagination on the part of the writers. It’s too easy and lets people off the hook. I do admit that Alexander Skarsgard (The Hummingbird Project) is a near-perfect choice for Flagg. Whoopie Goldberg is a bit less perfect as Abigail, but that felt more like the writing than her efforts.
There are also some nice smaller appearances that work nicely. Natalie Martinez (Self/less) gets to have a nice arc. And Brad William Henke (Bright) delivers within the limitations of Tom’s boundaries nicely. Even Ezra Miller’s (Fantastic Beasts: The Crimes of Grindelwald) Trashcan man, for all its outlandishness, works for the need and the part. But Nadine’s story gets rushed at the end. And the Vegas crew, generally, is just so over the top as to be entirely ridiculous. You never wonder about the outcome. Only the Colorado side feels real and sustainable (which has its own commentary and point eventually).
When the book came out 40+ years ago, it was something really new. That just isn’t the case anymore. And, worse, it feels culturally old. Despite having been updated in time the characters and situations haven’t been updated for a 2020 sensibility in politics, identities, nor culturally. That gap is squarely on the writer’s and directors. While a lot of the plot is sadly timeless, how we deal with one another has changed and the rhythm and language just feels off.
Ultimately, I wish the writers had been willing to really rework the story without losing its main premise and tension. Good vs. Evil doesn’t have to be extremes. In fact, some of the biggest impacts on both sides are often small gestures or choices that ripple out. Sure, we want it to build to a great crescendo, but the series even pulled that moment from us in an odd throwaway, supernatural event that doesn’t even really fit with the rest of the tale. In fact, the choice utterly cheapened all the efforts of the people involved because, ultimately, they didn’t matter. I do like that they had a coda episode that shows that stories just continue, that they don’t end just because of a plot milestone. Using it to create a second climax, another Stand, was clever. However, again, it cheapened everyone else’s choices and lives by forcing the God/Devil fight directly into it all rather than done at a distance. Deus ex machina is not a satisfying solution for a 9 part series, even if it can be used as a point in shorter fare.
Despite some good performances, incredible scope, and solid production values, this version of The Stand still isn’t the one we deserved after so long. Much like Dune, it struggles to find an artist who can breathe life into its rich and complicated world without making it feel like a farce.
David Tennant (Staged) plays a great sociopath. He can go from affable to cold in a split second. But the interesting aspect of this 4-parter is that you don’t know if he is involved with the crime or not till near the end. That’s a credit not just to Tennant but also to writer Daisy Coulam (Grantchester) and the somewhat less storied director Lynsey Miller.
The series itself has a familiar tenor…small Scottish village experiences a tragedy and all the secrets come spilling out as the seams that bind the residents together fall apart. It’s a tried and true formula that has been echoed across the globe for entertainment, but particularly around the UK.
While Tennant is the the better known face in the cast, he’s part of a great ensemble. Cush Jumbo (Vera) is his primary foil, even though it is Anna Madeley (The Children) who plays his wife. And Matthew McNulty (Doctor Who), as Jumbo’s partner, has his own path to forge. Around the periphery is Maureen Beattie (The Decoy Bride) as Tennant’s mum. The interplay of this group is what drives the four episodes to their soul grinding end.
As dark as the story is, it is compelling. The plot isn’t over-stretched and the performances all combine into a wonderful Greek chorus. It isn’t the best mystery, but it is a solid distraction and very much of its sub-genre.
Some writer/directors have a signature to their work; a flavor that identifies their efforts but that can be executed in many different ways. Justin Benson and Aaron Moorhead are such a pair. They have returned with another brainbender in Sychronic. Their previous couple of movies, Spring and The Endless, were solid proving grounds for pulling together this much more mature piece of film. They keep learning with each release how far they can push ideas and how much they can leave unexplained. They also managed to snag a talented cast to pull it off.
In the primary role, Anthony Mackie (Outside the Wire) drives the story. Mackie has had wide-ranging taste in his recent roles, but they’re always characters with an inner strength and sense of morality. Synchronic, despite its dark overtones, is no exception to that list. And, in this case, the script and story are actually a match for his efforts. Opposite him is Jamie Dornan (A Private War) who anchors the story, quite literally, for the drifting Mackie. The two long-time friends and co-workers butt heads but they are a solid pairing against the dark and seedy life of being New Orleans EMTs.
The story, like Moorhead and Benson’s previous offerings, slowly reveals itself, though not in a straight line. It teases and plays with you. And, more importantly, it tries to cover all its bases as it goes. We learn with the characters what the issues and possibilities are. And, in the end, we are left with a sense of wonderfully incomplete completeness that is sure to generate conversations while the credits roll. It also has to be called out that the cinematography and edits are in beautiful support of the story.
I wasn’t sure what Synchronic would be when I started it. And that is probably the best way to go into it. Just enjoy the ride. The road is dark, but the destination holds warm fire, friends, and family at the end, even if in unexpected ways.
There is definitely something brewing in the zeitgeist these days. What arguably began when The Matrix released (though it wasn’t a new idea then, and it isn’t now; it was just a fun and inventive adventure) has expanded and grown in the media. With stories like Devs, Upload, and others coming out with increasing frequency, people seem even more intrigued with the central questions of “what is reality”? The latest is Bliss, which tackles the same base questions and adds in addiction as a subplot. We know all of this within the first 5 minutes of the movie, but it is how it all plays out and plays with us that makes the next 100 minutes fascinating.
The journey is really just a dance between three characters. Salma Hayek (The Hummingbird Project) and Owen Wilson (Wonder) are the main core. We experience the world primarily through them. But Nesta Cooper (Travelers) adds a third axis to the story that is unexpected as it develops. Her performance is also extremely well controlled and modulated in a heartbreaking way. The three together create a pathway through the story that is as gripping as it is dark and wonderous.
I will say that the “truth” such as it is, is definitively presented and laid out by writer and director Mike Cahill (I Origins). But the resolution and choices are what the movie is really ultimately about. So even if you miss the clues, it really doesn’t ultimately matter. Cahill accomplishes what I honestly had wished the Wachowski’s had with their classic…which while fun, never was really willing to tackle the deeper and scarier questions about the world as a simulation. Of course, this also means Bliss doesn’t have super-fast pacing, but it is brimming with tension and suspense. At least it was for me.
Give Bliss a try, but don’t expect big effects, though there are some very subtle ones throughout (keep an eye on the background particularly through the first 15 minutes). The production is also beautifully designed with great care to enhance the ideas. And do expect some challenging science fiction and social questions. In other words, check it out when you want to think a little while you’re being entertained.
This dark little mystery is brought to you via a triumvirate of talent. Led by Denzel Washington (Equalizer 2) and backed up by Rami Malek (Papillon) and Jared Leto (Blade Runner 2049), this is a steadily paced tale of justice and redemption. While there are numerous smaller roles, the movie is really these three. Washington provides the quiet, intense gravitas while Malek brings the youthful intensity and Leto…well, Leto brings the crazy.
John Lee Hancock wrote and directed this tale of a serial killer stalking 1990’s LA. And while it is quite clever, you can get rather far ahead if you try. Fortunately, that doesn’t really matter as confirmation feels just as good as surprise because of how the story unfolds. It isn’t so much a police procedural as it is one of introspection and personal demons.
Enjoy the ride of this one, and be prepared to contemplate the outcomes and revelations. It is a story that is very much of its time, but not necessarily an antidote for any of the issues. But it isn’t about corruption so much as a drive for doing the right thing to the exclusion of all else, and the cost of failing that mission.
In many ways this is a fairly standard war flick, in the modern style. But it does have a bit of a twist and it ultimately asks some good questions and makes some real points (even if it does so a bit ham-handedly).
With a script by, primarily, a video game writer and directed by Mikael Håfström (Escape Plan), the somewhat quest-styled, surfacey approach to the story isn’t too surprising. It’s still entertaining, and the plot isn’t entirely without flare, but it isn’t brilliant.
The real source of any levels and nuance is brought by Anthony Mackie (Altered Carbon) who adds a sense of gravitas, though he isn’t the main character. The lead is taken on by Damson Idris (Snowfall). Unfortunately, he doesn’t have the presence to dominate the screen and his subtle approach to the role doesn’t manage to provide background, only in-the-moment responses. It’s clear there is a backstory to Idris’s character, but it’s never really revealed either by reaction or script. That leaves us with just the mission we can see, and any questions that may raise.
A few small roles keep it rolling, primarily Emily Beecham (Hail, Caesar!). But others, like Pilou Asbæk (Overlord) are thrown away.
Ultimately, after a nicely tense climax, it all sort of devolves into the obvious with little learned and little impact for those that remain. The questions certainly still exist, but the story of the movie seems to be just a full circle with, perhaps, a bit more empathy on the part of Idris, though exactly what he’s learned is a little muddy.
For a fun bit of escapism, this isn’t a bad choice. The production is rich and the tension kept nicely high. Just don’t expect it to have the meat it hints it may contain.
Some movies just sucker punch you because you’ve no idea what to expect. In terms of quality, this one’s right up there with Soul, Trial of the Chicago 7, and Palm Springs…among the best this season.
Even more impressive is that this is writer and director Emerald Fennell’s (Killing Eve) first feature; she’s better known for her acting chops. But Promising Young Woman makes an impressive application of all she’s learned over the years in front of the camera.
And then there is the woman at the center of the on-screen story, Carrie Mulligan (Collateral). She flattens you with her powerful performance and shoulders the film on screen with her charisma, intelligence, and sense of humor. From the moment she appears you can’t take your eyes off of her. And once you understand her, you can’t help but cheer her on and not turn away.
The movie does have its weak moments, but they’re few. One aspect is around some of the soundtrack, which goes just a bit overboard at times, not trusting the actors and situation to make the point. The other is around some transitional moments that are less than smooth. But in the face of the rest of the film, I forgive them all.
Promising Young Woman grabs you by the soft bits and drags you through to the end. And it manages to remain triumphant despite the subject and the situations. It is sure to generate controversy and contemplation for the actions and probably even leave a few in the dust as to the title. But that’s all part of the point. Make time for this one, both for the central performance and the story itself. Despite the weird festival season, it’s been making itself heard, and I expect that to continue through the majors over the next few months.
There have been many shows from this area of Europe of late. Most are straight-up mysteries. Some are supernaturalish hybrids, like this offering. Led with intensity by Danica Curcic (The Bridge (Bron/Broen)), this is a tale of inevitability as well as mystery. It is less about surprise and more about trying to identify what is real and what is just a symptom of something else.
The six-episode arc will keep you intrigued. The craft of the show as it bounces between past and present, fantasy and reality is a bit awkward and confused at times, but it generally works and is sometimes purposefully vague. The story is, however, complete in the one go, though they may decide to come back to it. They certainly didn’t answer all questions to my satisfaction. And it’s no Dark, or Les Revenants. While the story is somewhat layered and complex, it won’t make your brain bleed.
Ultimately, this is nice distraction from the standard. It delivers fairly on its promise and it’s reasonably well executed. I realize this isn’t screaming praise…I think I wanted a bit more from it given the setup and potential. But that was more a problem with expectation than delivery.