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.
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.
You’re allowed one big lie in a story to get it going. This is especially true in genre fiction. 2067 decided to go for three…starting with an absurd premise about “synthetic” oxygen. And I might have bought into that without the misunderstandings about fusion or the biggest McGuffin of them all: time travel (and, in this case, a conscious decision to create a paradox).
And OK, maybe I could have even gone along with all of that if Kodi Smit-McPhee (X-Men: Dark Phoenix ) hadn’t whined through so much of the action that he sounded like a 5 year old. At least Ryan Kwanten (The Hurricane Heist) balanced out the shrill noise, but he didn’t have much to work with. Smit-McPhee just didn’t have any chemistry with anyone, including his supposedly devoted wife, Sana’a Shaik, who seriously tried to make it all look believable.
Writer and director Seth Larney, who is more commonly behind the camera, stepped a bit closer for this release. Unfortunately, he really just didn’t have the story under control. There was no sense of pacing and no real tension after the first scene (which was rather well done, science aside). There are some interesting ideas and conundrums in the tale, and a reasonable resolution. However, it would work better as a short story than it does as a flick because so much of it relies on clearly the internal struggle of Smit-McPhee’s character.
I honestly can’t recommend this, despite the effort, ideas, and the production values. It’s overlong and just not particularly engaging. Larney has some ability, however. If he can learn from this, I’d be curious to see what’s next.
Despite the title and description, One Night in Bangkok is not an action flick. Wych Kaosayananda’s latest is, instead, an uneven revenge film with often questionable morals. The rough nature of the final product is in the pacing, the acting, and, to a degree, in the plotting. But this story still manages to keep interest and tug emotions thanks to the more verbally intimate scenes between Mark Dacascos (John Wick 3: Parabellum) and his driver. The louder, more confrontational moments between Dacascos and others are often just painful.
I’m used to seeing Dacascos centered and focused, even intimidating when needed. But this story gives him the opportunity to bring his Crow sensitivity to a new, mature level. At times, almost spiritual. We see his pain, his memories, his conflicts. And as the story slowly unwinds, we better understand them all. Though, to be honest, the script never really affords us a full picture of who the man is.
Ultimately, this isn’t a great film, but it has its moments and its value. There aren’t any really great fights or chases, but there is tension and resolution. If the acting had only been better across the rest of the cast, it could have been something more. But it manages to survive and not entirely embarrass itself. Sometimes that’s the best you can ask when making a film in a non-native language for the majority of the cast, some of whom have minimal experience.
I recently saw a couple of procedurals, each with their own twist on the form. Both are really quite good.
The main, and impressive, aspect of this 6-parter is the naturalistic dialogue of the specialists and the police. Other characters are more in keeping with a dramatic mystery, but when the experts talk, it feels real rather than forced or contrived. Led by the young but rising Molly Windsor as a very damaged survivor, we follow three crimes that influence one another. With Laura Fraser (The Loch), Jennifer Spence (Bletchley Circle: San Francisco), Martin Compston (The Aftermath), and Vincent Regan (Lockout) in some of the primary roles to keep it moving, the story manages a range of characters and complications. It also provides a nice forensics course and openings for a following season without feeling like they haven’t wrapped up what they needed to in the first. With the great Val McDermid providing the initial idea and guidance to show creator and writer Amelia Bullmore, the quality is built-in.
I don’t usually like true-crime based mysteries. They far too often come off as crude re-enactments or thin recountings of fact. This three-parter, however, just comes across as any BBC well-told mystery. The structure is a bit rushed as its main audience already knows the outcomes, but it is all done in very dramatic (as in original fiction style) ways so that even those of us who don’t know about these murders stay riveted on the discoveries and results. Luke Evans (Blitz) is the center of the story, though he’s surrounded by a solid cast.
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.
A unique anti-heist movie with a solid cast and steady pace. Anne Hathaway (The Witches) and Chiwetel Ejiofor (The Old Guard) give us a couple in their final throes, which the pandemic has only, paradoxically, both accelerated and restrained via the lockdown.
Steven Knight’s (A Christmas Carol) script submerges us in the couple’s frustration and despondency, while slowly exposing their secrets and emotional turmoil. He also slowly builds out a pathway that would, in most stories of this type, have been the focus. Unlike a typical film in the genre, like Ocean’s 8, Locked Down builds a deep foundation for the choices and manages a pathway to allow it to happen relatively without consequence. It is still fraught with tension and risk, but we’re presented with the options as the characters are, and we can fully follow their choices.
Director Doug Liman (Edge of Tomorrow) embraces the claustrophobia and lethargy of the pandemic, and also the desperate need for contact. We see people, but most only through video screens or through windows. But he still populated that background and interactions with a pile of great talent. People like Ben Kingsley (Elegy), Ben Stiller (Tower Heist), and Mark Gatiss (Dracula) stand out particularly. Sadly, the story is short on women. Though Mindy Kaling (Late Night) appears, she’s barely used, and few others have more impact.
This is definitely a slow burn story, and it must be to retain any credibility and still work. It isn’t about two bad people planning something nefarious, it’s about two desperate people taking advantage of a situation. It’s all still very morally ambiguous, but Knight’s script does it’s best to make it palatable, and Liman guides his actors in a way that makes it feel possible.
But let’s be clear. This is a story of it’s time and only works because we’re still going through it. While the journey is honest, our empathy will not last much past the end of the current pandemic. And for those that come after, it probably won’t stand the test of time. However, for now and for a fun escape (and a bit of a leap of faith) it’s definitely worth your time.
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.
If you like the nihilist humor of The End of the F***ing World, the wry and sad romance of Dead Pixels, and enjoy watching Maisie Williams (iBoy), this one’s for you. Especially as Al Campbell, the man who directed Dead Pixels, directed all these episodes as well.
Two Weeks, as a title, is a little misleading. The reference is an oblique nod to events. But, ultimately, it’s metaphorical and the driving sensibility to choices that need to be made. Primarily, the show is really a vehicle for Williams, though she has some nice support from Sian Clifford (Fleabag) and Mawaan Rizwan who provide solid backboards for her humor.
When you’re looking for short and amusing, with some entertaining surprises, this will do. It’s a bit violent and the ending certainly sets up another round, but the six half-hour episodes tell a complete story. For a bit of dark funny, it certainly worked for me.
Watching trainwrecks is not something that typically entertains me. Self-destruction is neither funny nor darkly fascinating. So I went into Flight Attendant with a huge deal of caution and concern because Kaley Cuoco’s (Authors Anonymous) flight attendant is the embodiment of self-destruction. So why did I stick with it? Because it’s apparent that there are reasons for her actions (which we slowly get to learn) and because the show sets up a series of nice mysteries and suspense to carry you along. In other words the self-destruction is a symptom of a bigger, human story, not the focus of humor, derision, or weird life lesson in and of itself.
This series could have been an episode or two shorter and been the better for it, in my opinion. The ongoing trainwreck of Cuoco’s character gets repetitive and loses sympathy as it continues on past bottom. And, frankly, some of the surprises just… aren’t. But the ride is highly bingeable, and the interactions and humanity of it all are surprising. But you do have to strap yourself in for a crazy ride full of mystery, sex, violence, and a mountain of bad choices. And, ultimately, it’s set up nicely for a new season with entirely different parameters.