Louis Malle’s (Vanya on 42nd Street) second film, dating from 1958, is an entertaining look at noir. From its opening moments to its close the story spins out of control in unexpected ways, headed toward a conclusion that has many possibilities; none of them likely good. Hey, it’s noir. But it isn’t quite the noir you know and expect. This story owes much to Dassin’s Rififi, particularly its treatment of silence and its quiet building of character.
The story is primarily guided through the inner dialogue of an emotive Jeanne Moreau in her breakout roll. Moreau is a light amid the beautifully filmed, dark night of the story. It also boasts a score and performance by Miles Davis, which deepens the sense of emotion and thickens the Parisian night into something almost palpable.
Though over 60 years old, the movie manages to hold up in many ways, though it’s style feels a little forced and dated. But it is a taut 90 minutes and, though aspects feel like bad writing, much more of it comes together than you’d expect. And it is an early look at one of the huge influencers of cinema.
Surprising, sweet, and delightful, not to mention full of humor and genuine affection. I can’t say I knew what to expect going into this journey of Ravi and Geeta Patel and their family, but it engaged me almost immediately. This short, sort-of-documentary follows Ravi, better known as a character actor, as he attempts to find a wife. It is an open-eyed and open-minded look at arranged marriage and dating in the modern world.
Using rough family footage and interspersed simple animation, the two put together an overview-with-commentary of his year long journey. Though she tries to remain behind the camera his sister is part of this journey as well, by extension and comments, making this very much a family affair.
Unless you are part of the culture, this isn’t likely an area you know much about, other than at a distance or through the last season of The Big Bang Theory. Dropping into the middle of it all in a positive way is a story worth hearing. And, fortunately, it is done with a great deal of heart and humor that invites us not only into Ravi’s life and his family’s, but also into the clan Patel.
The story of Lizzie Borden has been told (and retold) many times. It has fascinated audiences for over 100 years. That’s staying power. Finding something new to say about it isn’t easy. To be honest, I’m not sure Craig William Macneill’s sophomore outing with first-timer Bryce Kass’s script manages to, but they give it a good try.
This newest story is told in a chronologically looping narrative to slowly uncover the proposed facts of the infamous killing. It concentrates first on the motives and emotions and then, finally, on the deed itself. It is a very slow burn and with only a modicum of tension. Where it tries to separate itself from previous tales is in the counterpoint of the cast.
Chloë Sevigny (Beatriz at Dinner) presents her Lizzie as an interestingly modern woman amid her more classically period fellow cast. It sets her apart in a subtle way. It isn’t quite enough to carry the movie, but it is a noticeable choice and difference.
Jamey Sheridan (Battle of the Sexes) and Finoa Shaw (Mrs. Wilson), as her parents and the fated victims, are fairly standard portrayals. They are solid, but nothing much new. And Denis O’Hare, as the n’ere-do-well Uncle is an interesting inclusion, but only again as backdrop. It is Kristen Stewart (Billy Lynn’s Long Halftime Walk), as the young Irish maid and Sevigny’s counterpart, who is the largest variable in this retelling. Her performance is good, but not groundbreaking. And, ultimately, doesn’t fully develop.
If you were looking for something new in this story, you will find tidbits. But it is far from historically complete or insightful. It includes some facts but omits others. It avoids recorded aspects and invents some never really in evidence as it posits a potential scenario. For those hopelessly fascinated by the story, it is probably more interesting. But the movie never manages to rise above its retelling enough to become a platform for something more. And that is a shame. There is some good work in this film, but it isn’t a must-see on any level, except perhaps as a chance to see Macneill and Kass’s early steps in cinema.
Making a story about life out of writing about death seems contradictory, but Vanessa Gould’s long-form documentary about the New York Times obituary desk manages just that. It is also a fascinating look behind a section of the paper you may not have put a lot of thought behind.
Our tour is constructed of interviews with the small crew of writers as well as an amusing look at the news morgue and its denizens. Through these Gould gives us a picture of the mechanics and the care brought to the often dry and sometimes entertaining encapsulations of life that grace the paper daily. It is a look back at an old craft as well as evolution of the craft in modern times.
It isn’t a brilliant documentary, but it is an interesting one, and crafted to carry you through. To be fair, it would be hard, without forcing it, to create a story around the subject, so it is more a behind-the-scenes and philosophical discussion. But whatever you think of obituaries or your interest in them, you will never notice them again in the same way.
As a bonus, while searching for this documentary I unexpectedly came across a clever short by the same name and did a double feature. Unlike the documentary, this is a short drama, but it makes a reflective coda to the evening. Director Brian Tolle is much better known for his effects work on major blockbusters, but this short drama shows his eye for structure and character, handling Reddy’s script deftly and guiding George Maguire through a complex character over the 10 minutes. Tolle is a bit less sure with Sandra Fish (Sense8), but she has moments. Add this one to your list when you’ve a small gap of time to fill. It is fine with or without the double feature, but it definitely added something to see them together.
While known for his acting, writer/director Brady Corbet comes at this movie with only one other feature under his belt. He attempts to employ some interesting story-telling techinques, with Willem DaFoe (At Eternity’s Gate) as the narrator to a faux documentary, but the story never really gels. Corbet, frankly, tackles too much, trying to create something like an updated Breaking Glass crossed with Rudderless. We do get a lot of realistic behind-the-scenes look at music, which helps set this sort of fantasy and commentary apart.
Ultimately, the only thing that saves this movie is the performances and a bit of the production value. Natalie Portman (Annihilation) as a hard-living, nasty-talking star is a magnetic trainwreck thanks to the underlying emotions with which she infuses her character. Raffey Cassidy (The Killing of a Sacred Deer) in two roles (which was an odd and un-utilized choice) holds her own nicely alongside Stacy Martin’s (Nymphomaniac) older sister/aunt. And Jude Law (Captain Marvel) as the sort of genuine, slightly corrupt producer is interesting, but without much depth.
Ultimately, there just isn’t a story here. It is more of an imagining about what is behind big production pop tours, both in the current time and what led to it. But the layering of the narration attempts to push it into something else, something grander, and on that level it simply fails, leaving you hanging at the end with no understanding of why you invested your time to watch it. At least in my opinion.
Making war real on screen is incredibly challenging. Making it personal without losing the greater issues is even harder. A Private War, much like the writings of its subject Marie Colvin, manages to do both.
It succeeds thanks to both the behind-the-scenes guidance and the on-screen talent. However, even with the likes of Jamie Dornan (Robin Hood), Tom Hollander (Bird Box), and Stanley Tucci (Patient Zero) on screen, the only person that matters, the only story as her character would have put it, was Pike’s Colvin. Rosamund Pike (Gone Girl) is this movie. Though I will say that Hollander delivers an uncharacteristically understated and sobering performance as Colvin’s bureau chief.
Colvin states it in her own words at the top of the film: fear comes later. Marie Brenner’s (The Insider) script captures how controlled and confident Colvin’s character was in war, and what a mess she was outside of it. An added aspect to this film’s success was director Matthew Heineman’s documentary roots. He manages to step back from the action to allow the story to tell itself.
In a growing collection of on-screen news-related tales, this one is a bit different. It isn’t about newspapers saving the world, like The Post, or destroying the world, like The Front Runner, or even being manipulated, like Vice. It is about war and the human cost on all sides. It is about what drives people to risk their lives to bring us the truth, without glorifying their choices.
In a fluke of the story and the timing, I was watching the film almost 7 years to the day from the last moments of the action, which provided one of the most chilling aspects of the film. I found myself doing the math and realizing that the horror of Homs, Syria being portrayed may have been from 7 years ago…but it was still going on today despite Colvin and other’s efforts and risks to get the world to notice; a final gift of the film reminding us that it is still up to all of us to act and not just observe.
If you like Christie, this is a must-see story. If you’re a mystery fan, it depends on your tolerance for a solidly standard BBC mystery with a bit of tongue-in-cheek. The movie stands on its own nicely, regardless of your familiarity with Christie and her works, but there is more to get out of it the more you know.
Many stories and speculations have been made about the 11 days that Agatha Christie disappeared in 1926. Even the facts are still debated and discussed because no definitive answer has ever been documented (one theory, another theory). Of the fictions posited, several, including a Doctor Who episode, presume she went off to solve a real-life murder, because it would be the most amusing assumption.
This latest look at that real-life mystery is really rather fun. Tom Dalton’s script is clever and nicely reflective of Christie’s work while remaining both a good mystery and very self-aware. Christie, played nicely by Ruth Bradley (Humans), gets to learn about the real world and and her public before our eyes. It is a delightful performance that is both strong and vulnerable, and even a bit naive about the world.
Joined by Pippa Haywood (The Bodyguard), the two dive into a cold case with, of course, many suspects and an obscure motive. A perfect Christie set up with a solid supporting cast. Of note are two character actors, Tim McInnerny (The Hippopotamus) and Ralph Ineson (The Hurricane Heist). Each delivers a number of unexpected moments and levels to what could have been dull roles. Some credit to that success is the script, but the actors had to sell it, and they do.
The story does take some liberties with the truth, but nothing that is overly concerning. And director Terry Loane shows he has learned a lot during his second-unit years, keeping the tale moving along crisply, and packing a lot into the 90ish minutes of the run. This may not be as slickly appointed as many of the recent remakes of Christie’s work, but it is very well done and entertaining.
Much like Cube and Saw before it, this collection of crazily conceived challenges for the characters offers a lot of dark entertainment, and some nice attempts at making it all believable. As a first feature script for Schut and Melnik, there is a real attempt to create just-believable-enough scenarios and people to drive the well-worn genre and provide some unexpected moments, if not exactly surprises. Adam Robitel’s direction, as only his second feature, likewise shows some nice talent with pacing and finding emotional threads to keep it all going.
The result isn’t perfect, but it is entertaining. Nik Dodani (Atypical), in particular, gets ripped off as a character, never really becoming someone we care about. But Deborah Ann Woll (Daredevil) and Taylor Russell (Before I Fall) actually get to build quite a bit of backstory and sense of life. Logan Miller (Love, Simon) and Tyler Labine (Voltron: Legendary Defender), aren’t quite as lucky and Jay Ellis (The Game) is really just a parody. These uneven efforts work in this genre, but does make the film a bit less than it might of become.
So, if you’re a fan of these kinds of inventive evil mayhem that may or may not ever really make sense, make an appointment for the Escape Room. If you are hoping for something a bit richer and more complete, like It or some of the other more recent reinventions of horror/suspense, this is going to come up a bit short…primarily for the ending, but also because of the uneven character development.
If you haven’t sussed it from the title, this movie is in the third category. Sadly, the result here isn’t great, but it isn’t entirely without merit. As an early or first film for almost all involved, it is interesting to see who may grow from it. And the story certainly takes the idea head-on by making the center of the story a parody band of The Black Owls to add some layers to the movie. Fortunately, they’re also a reasonably talented group of musicians.
While the movie style is stilted, it is also full of clever and intelligent ideas and comments. That can’t carry the film, but it does help make it engaging. By having a parody band at the center of it all helps to set it apart from other movies in the genre, like Spinal Tap or A Mighty Wind. It accepts it is a parody from the beginning rather than having the band in earnest. One of the more unexpected thoughts in the script is why Liberty Mean, the parody band that drives everything, is a parody band: they consider it a tribute to The Black Owls.
But that brings up part of the challenge with this movie: you have to know The Black Owls and Foghat music to really appreciate the efforts here. If you don’t know their canon cold, it’s like trying to listen to Weird Al without context. It is also worth noting that both Foghat and The Black Owls have a real presence in the film, which is a huge bonus to its profile.
But, other than the editing, director and co-writer (with Mark Stewart) Ben Bacharach-White doesn’t do his actors many favors in this romp. Through interesting cuts and visual games, he keeps the pace surprisingly brisk given some of the issues that remain in the movie.
At the top of those issues: no one comes across as real or comfortable. There are some glimmers of potential beyond their musical efforts. Aditi Molly Bhanja stands out as the high point of the cast, providing just enough real moments to keep it all percolating along. Andrew Yackel isn’t far behind, though his timing needs some work on what are, admittedly, some truly challenging verbal riffs. But it isn’t like any of it feels real enough to carry the plot: Liberty Mean trying to raise money to get to SXSW to bring their brand of tribute to the masses.
Basically, this is a low-budget romp through and through, but with some real effort at making it whole, and with some good music to carry it. If you know the bands in play, you’ll get a lot more out of it. And, honestly, the better read you are generally, the more you’ll pick up in the dialogue. But this strikes me as a flick that works best with, shall we say, mood enhancers and, possibly, if you were/are in a garage band or on the younger side.
What is the difference between a legitimate sequel/prequel and a cash grab? The easiest answer is the quality of the movie. This prequel to The Conjuring series is full of surprises and nice visuals. It is creepy and relatively well performed. And, I have to admit, it had a great trailer that got me to watch the full flick. As one of its gifts to its followers, Taissa Farmiga (The Final Girls) takes over from her mother as lead in this outing. Demián Bichir (Alien: Covenant), as the travelling Vatican demon hunter, and Jonas Bloquet (Three Days to Kill) are fine as well.
Truthfully, however, no one really stands out as great. Part of the issue is the number of stupid things they do, like running alone toward danger. Director Corin Hardy (The Hallow) doesn’t even try and help the actors smooth over those moments, accepting the genre low-bar for expectations. Writer Gary Dauberman, who also penned the spin-off Annabelle series, was either rushed or simply didn’t put in the effort for the story which doesn’t quite hold together if you look at it too hard. The background ideas are engaging, but the execution is sloppy. I will grant him the humor and, rare, humanity he injects into the tale, but those moments stand out because of the story that surrounds them.
So, cash grab or not? Yeah, to my mind it is. This movie barely stands on its own. And, despite some fun moments, it is rife with bad horror tropes that make it too easy to stay ahead of dialogue or scares. If you’re a Conjuring fan, it is probably a lot of fun to see the genesis of the evil. And that’s one of the tricky parts: even knowing that it is a prequel helps give away a lot of the story, making a solid script even more necessary. As a distraction it isn’t a horrible 90 minutes, but it isn’t the first thing I’d queue up if you’re looking for an evening of chills and entertainment.
Art, writing, life explained… or at least commented upon…