Tag Archives: ShouldSee

Knives Out

[4.5 stars]

Director and writer Rian Johnson (Star Wars: The Last Jedi) began life as a humble indie director of such wonderfully dark and unique pieces like Brick, Brothers Bloom, and Looper. His foray into the force, while not yet completely over, wasn’t his most comfortable habitat. With Knives Out he has returned to his more natural setting.

Knives Out is subtly clever, amid some outright funny moments and twists. It is unapologetically modeled on TV mysteries like Murder She Wrote, Columbo, or Midsommer Murders (to name a very few) from its teaser opening to its act breaks. In many ways, it is an American remake of Gosford Park, but it isn’t entirely satiric. It is, in fact, in equal measure, an homage while recognizing the forced nature of the genre.

But, of course, this kind of story only works with a solid cast and a unique detective.

Enter Daniel Craig (Spectre ) as the “famous” detective. He is quick-witted and observant, but often gathering his understanding by simply stirring the pot. Lakeith Lee Stanfield (The Girl in the Spider’s Web) and Noah Segan are his on-loan police officers who fascilitate, but aren’t necessarily competent or professional. Segan, in particular, has some fun moments in this capactiy.

And then there are the suspects of Christopher Plummer’s (Boundaries) unusual death. As you might expect, they are primarily his family. The motley crew are all unique characters brought to life by Chris Evans (Gifted, Endgame), Jamie Lee Curtis (Halloween), Michael Shannon (The Current War), Don Johnson (Book Club), and Toni Collette (Velvet Buzzsaw), with Katherine Langford (Love, Simon) and Jaeden Lieberher (It) in the two younger roles. Many get to play against type, particularly Evans. But all are having a lot of fun.

And then, of course, you need the innocent under attack that our intrepid detective must exonerate lest justice go astray. For that role we have Ana de Armas (Blade Runner 2049) who delivers a great and layered performance with both depth and comedy.

There are also some nice bit parts from Riki Lindhome (Garfunkle and Oats) , K Callan, and Marlene Forte (My Last Day Without You), to name only a few.

And, believe it or not, I’ve only provided info here you get in the first five minutes of the film. And, of course, it isn’t as straight-forward as it may sound or it wouldn’t be a Rian Johnson script.

Suffice to say, Knives Out is clever and entertaining, with excellent pacing and a love of what it is doing. From its opening moments to its closing shot, it pulls you along without respite. Make time for this over the holidays, it is definitely worth your time. And it isn’t a remake, a sequel, a reboot, origin story, or spin-off…how’s that for a treat these days?

Jojo Rabbit

[4 stars]

Everyone’s goto for humor is Hitler and the Nazi regeim at the end of WWII; funny stuff, right? How Taika Waititi (Thor: Ragnarok) got this film made, I couldn’t possible explain, but it is a wickedly funny gut punch of a movie. (Appropriately [and amusingly] I found myself watching this satire on the 30th anniversary of the fall of the Berlin Wall, which added to the schadenfreud of it all).

Everything you need to know about Jojo you get in the first 10 minutes (in one of the funniest, most absurd film openings I’ve seen in ages)… all the rest is journey. And what a journey it is, and not one you’re likely to get much ahead of during the setup. The resolution becomes inevitible, but with just enough room for doubts to keep it interesting. And his use of music to get his points across is, at times, genius. Unfortunately, it is also at times way off base, clashing with the onscreen sound and action.

While Scarlette Johansson (Isle of Dogs) and Sam Rockwell (Best of Enemies) provide some adult framework for the story, it is told through the eyes of children. Primarily that is through Roman Griffin Davis’s Jojo. For his first film, Davis carries the story admirably, with all the gravitas and sincerity a 10 year old can bring. Opposite him, Thomasin McKenzie (Leave No Trace) serves as the friction point of his decision-making, while another newcome, Archie Yates, provides some peer comic relief. Watching these three young actors is great fun as Waititi keeps them honest in all aspects.

There are some other fun side bits that run through the film driven by smaller adult roles. Alfie Allen (Predator), Rebel Wilson (Isn’t It Romantic), and Stephen Merchant (Fighting With My Family) have the best, but there are many. Waititi’s Hitler isn’t really among them for me. I understand why he took the role himself in order to hit just the right tone he had in his head, but it is an uneven performance.

Satire is hard. Waititi pulls it off in style, if imperfectly. The broad Monty Pythonesque humor will work for most people, while the political commentary may turn off others. However, this isn’t just Waititi playing silly buggers, it’s his reaction to the world today. He is far from the first to reflect that back to WWII, but, so far, he’s done it with the most belly laughs to get the point across.

So, yes, go see this and strap in for a wild, unexpected ride. While Preacher may have tried to get there, no one since Mel Brooks’ The Producers has managed anything close to the result here. It isn’t always easy to stomach, but it is one of the more unique films you’ll see this year.

Aniara

[3.5 stars]

I’m not often surprised by a movie, let alone a science fiction movie, but Aniara managed to. It may be based on an old trope, but co-directors and co-writers Pella Kågerman and Hugo Liljait managed to lay out their story thoughtfully and completely. It was also their first feature, making it even more impressive.

That it is an adaptation (from a nobel prize winning writer’s 1956 epic science fiction poem made of 103 cantos) rather than wholly original doesn’t diminish their result. Most science fiction gets over-simplified for screen, or leaves science behind for fantasy to create better visual or metaphyscial effects. What Ad Astra failed to get close to, where High Life just simply lost its way, and while Gravity (and even The Martian) over-simplified the situation, Aniara found a path and a statement to make by respecting the genre and the story. In fact, as an adaptation, I am even more impressed by the result. [You can read more about Harry Martinson’s work, but I’d highly suggest staying ignorant of the source material until after you see the film.]

Emelie Jonsson is the core of this story. Along with Bianca Cruzeiro the two hold together the narrative through its evolutions. In addition, Anneli Martini delivers a wonderfully dry and caustic performance that is at once funny and sobering. There are men in this cast and crew, but it is a decidedly female driven tale.

The result is solid science fiction, even with one or two winks at how things might work. And it is entertaining and nicely styled, even if it isn’t about the visual effects or action. The film is about the story and the impact of the situation. If you read Cixin Liu (Three Body Problem), you have a sense of this film’s vibe in both emotion and scope. It is definitely worth your time if you like the genre and, honestly, even if you don’t and have the flexibility to watch stories that take place outside your normal boundaries.

Gemini Man

[4 stars]

Movies, generally, shouldn’t be recommended solely for their technology. But there are exceptions. Avatar, was a lousy movie, but amazing 3D. Life of Pi was a gorgeous fantasy that pushed limits, but wasn’t a perfect film. Gravity took liberties with physics to tell its own (strained) story, but also used the value of 3D in exciting ways. In each of these cases, seeing the film in 2D was a disservice to the director and to the audience. They were conceived in 3D and were intended to be seen that way. You wouldn’t view a statue only as a photograph if it was there in front of you, why should we see a flattened version of story?

Ang Lee (Billy Lynn’s Long Halftime Walk) attacked Gemini Man very much in the same vein. He wanted to push the value of 3D and to create a new experience for his audience with a high frame rate (HFR) presentation. He succeeded, but far too few people will see the movie as intended. And, to be fair, without 3D and HFR the movie will seem like just a rehash of older adventure film without much to offer. See this movie as intended. It is either the swan song of 3D in movies or the genesis of a new approach and experience.

But let’s talk about the story first. One of the challenges with this film is that the original material had been in development for over 20 years. That sensibility continues to inform it. The studio also didn’t know how to promote it without giving away a huge portion of the plot, so we’re all in on the crux of the tale going in. It’s not as bad a reveal as ruining The Sixth Sense or The Crying Game for someone, but it certainly changes your viewing of it.

Will Smith (Bright) is compelling as an aging assassin and as his younger self. He isn’t just world weary, he is awakening. By his side, Mary Elizabeth Winstead (The Hollars) offers up a solid companion and comptent fighter, while Benedict Wong (Annihilation) helps focus the humor and assist in the action.

Clive Owen (Anon), on the other hand, is a little cookie-cutter in his bad merceny role. There were levels there, but they didn’t quite sell for me. This was as much a choice as a fault and part of the 80s/90s vibe of the overall movie that writers David Benioff (Game of Thrones), Darren Lemke (Goosebumps), and Billy Ray (Overlord) baked into the script. But the story is exciting, entertaining, and enjoyable…just not revelatory for spy thrillers.

Now let’s get to the technology layer that brings this film over the top. First off, the digital Will Smith came across as completely real for me. However, I saw Gemini in a modified HFR 3D (60 fps/2K resolution). Unfortunately, only four theaters in the country can show the fim as intended (120fps/4K resolution)…and I envy those that could see it that way. Why? Because at even at half the rate and resolution of the intended viewing, it was astounding. The clarity was jaw dropping. The action was visceral. The use of 3D was mostly carefully selected to enhance the tale. The movie literally jumps off the screen putting you in it at points. HFR tricks your brain into making it feel real. Typical films keep you at a distance at 30fps. Your brain sees it as unreal. But at 60fps it can’t always tell the difference.

It does cause some cognitive dissonance. At least for me, when there were extreme closeups, putting giant heads into frame, my brain balked at the relative perspective issues. But action sequences were like being on a roller coaster. No motion sickness, but you do feel like you are strapped in with the characters. The point is that the tech doesn’t just make it all pretty (though wait till you see the water scenes) it changes your experience of the film.  An interview with Lee goes over some of the technology and story aspects if you want it from the horses mouth.

Go see Gemini in HFR 3D if you can. It is fun and it is something you haven’t seen before, unless you were fortunate (or unfortuanate, as some have claimed) to see The Hobbit in its HFR release. In 2D, Gemini probably will leave you a bit underwhelmed because half the story and experience won’t be there for you.

The Tomorrow Man

[3.5 stars]

Quirky love stories are catnip to me. Watching two unlikely humans find one another and navigate the terror and joy that is a true connection is affirming, funny, frustrating, and ultimately joyous. John Lithgow (Pet Sematary) and Blythe Danner (What They Had) definitely run through all those emotions, creating two very differently broken people stumbling through life until they careen into one another.

The odd pair are surrounded by a few, solid supporting characters as well. Derek Cecil (House of Cards) and Eve Harlow (Heroes Reborn), in particular, provide sounding boards and act as proxy for the real world outside Lithgow and Danner’s orbit.

Nobel Jones directed and wrote his first feature with a steady and sure hand. The absurdity of his character’s lives never vaulted into the ridiculous. Their quirks and issues, when exposed, simply brought out their humanity and a deep empathy from the audience. It’s a solid story about people and love, with a wonderful and entertaining arc that leaves you with an unexpected smile.

Maiden

[3.5 stars]

Back in 1985 there were barely any women involved in the Whitbread Round the World Race (now known as The Ocean Race after a series of changes in sponsorship). Tracy Edwards was one of them. Her first experience with the chauvinistic wall she hit convinced her that the only way to be respected and get the opportunities she wanted was to put together her own crew and sail her own boat in the race. In 1989, she did just that with a crew made up solely of women.

Director Alex Holmes tells the story of the Maiden as well as the very personal journey of Tracy herself. One of the most amazing aspects of the film is how much original footage from the race, on the boat, that they had. Much like Free Solo, at some point you’re just as amazed that someone was taking the images as you are with the people in the situation.

While the story is fairly simple, the documentary pulls you along expertly, making you hope and gasp and shout…not to mention feel a sense of joy. It is a film every young woman must see but it speaks to everyone who has ever had what others determined was an impossible dream.

Hail Satan?

[4 stars]

Hellz yes, you should see this film.

Documentarian Penny Lane (Our Nixon) provides an entertaining and informative look inside the The Satanic Temple… and it’s most likely not what you think at all. Her film is a timely piece of reporting and a fascinating mental shift to experience. The way she walks you away from your preconceptions to the reality also demonstrates her command of the story.

But this isn’t a dry and boring tale. I laughed a lot…in all the right places. Lane, and the members of the TST, are full of wry humor. Given the situations they are involved in, that alone will up-level your sense of respect.

So, yeah, make time for this.

[And for the heck of it…and completely off topic, though topical: a Quartz Obsession on the history of Hell]

Dark Crystal: Age of Resistance

[4 stars]

This series, a prequel to the classic and beloved movie, fully captures the sense and production design of the original. That is both its blessing and its curse. But that said, this story grew on me as it played out, unlike the same-day-launched Amazon fantasy Carnival Row, which diminished over time for me.

Let me get the “curse” comment out of the way. Having just rewatched the original flick, I was looking forward to some significant updating of the approach, particularly the Gelfling designs to make their mouths move more naturally. I can see the bind the producers were in…update a classic and risk the wrath of fans, or cleave closely to the original and risk a more dated feel. Definitely no-win. But there were subtle updates, especially to the Skeksis, whose tongues were truly a thing of creepy beauty.

Also, in order to provide a launching pad for the series, they twisted the known facts a little. If you haven’t seen the movie, don’t worry about it. If you have, you’ll need to be more than a little patient to accept the setup and await it all to make sense. Of course the big question is how long before the movie does this series take place? No one seems to know or want to commit. My best guess was about 100 years or so, though it could be longer. The studio was purposefully vague and won’t pin it down.

The voice talent is an astounding list of folks; far too long to enumerate here. The puppeteering is top notch. The production design clever enough to link to the movie but still make it their own. The world of Thra is expanded and gorgeously designed. There are familiar characters and new ones to enjoy. The story is richly complex, despite its clear aim to pull in a younger audience as well as adults. And this installment of the story finally plumbs some of the dark depths the original movie touched on but wasn’t willing to dive into. In fact, the writers and director Louis Leterrier (Now You See Me) helped marry the tale to current times in wonderful ways.

They also left plenty of room for more stories and a whispered about second season, but not in an unsatisfying way…well, at least if you know the movie. However, if you’ve not found the movie yet, wait to see where the series goes and then get to the end of the story.

As both a revival and a continuation of the tale, Dark Crystal: Age of Resistance is a winner for me. There is something about the craft of bringing these inanimate creatures to life that sparks the imagination in ways CGI, or even most stop-action animation just can’t touch. Here’s hoping they get to continue the story and fully complete the sequence.

Hustlers

[4 stars]

Probably the funniest sad movie you’ll see in a long while. Writer/director Lorene Scafaria (The Meddler) tackled the world and people of Hustlers with open eyes. No one comes off great in this film, but everyone comes off as someone real. Which isn’t to say the story isn’t stylized and energized, but it also isn’t entirely sanitized.

Constance Wu (Crazy Rich Asians) and Jennifer Lopez (Second Act) are the primary focus of the movie. While Lopez sells the hard as nails aspect more than Wu, Wu captures the desperation and emotional drive for their decisions. Both performances are gripping and win you over. And then, of course, there is the delightful, though somewhat throwaway role, for Mercedes Rheul. Rheul, other than her “motherly” role, exists in this story for continuity and information, but she sells it well. There are plenty of other fun performances populating the film as well, but Julia Stiles (Jason Bourne) is the only other major player to stand out. In fact, Stiles does so with much less screen time than anyone else, not to mention hardly any lines.

Hustlers is an entertaining and fascinating peek inside a few different worlds. We’ve seen these worlds before, though often from very a different perspective. And rarely has the result felt as honest without becoming a diatribe or so dark that the watching was a chore.

Hustlers will let you laugh (a lot) and enjoy the story, it just won’t apologize for not covering up at least some of the darker realities of the lives it is sharing. And, more importantly, it is definitely a film and performances worth your time to see on the big screen, where the intimacy is forced upon you. On a small screen this movie will lose some of its punch by providing you distance and the ability to more easily look away from what you don’t want to see.

 

I Am Not a Witch

[3 stars]

Disturbing is an understatement for this film. Using harsh simplicity, writer/director Rungano Nyoni examines what it is to be a woman, an immigrant, and a society through a fable-like tale of a young girl accused of witchcraft in Zambia.

The mostly untried cast is likewise raw in their presentations. In fact the entire story rests on the slim shoulders of Maggie Mulubwa. She is an intense and vulnerable young girl who has learned the lesson that less is more on screen.

Nyoni’s film certainly received a lot of notice on the festival circuit, winning about half of its nominations.  It isn’t a fast film, but it is well designed, bleakly funny, and able to drive home its points with a stiletto.