Sunday, January 12, 2025

Shattered Glass

Movie Name:
Shattered Glass
Year of Release: 2003
Director: Billy Ray
Starring: Hayden Christensen, Peter Sarsgaard, Chloe Sevigny, Steve Zahn, Rosario Dawson, Melanie Lynskey, Hank Azaria, Mark Blum, Simone-Élise Girard, Chad Donella, Jamie Elman, Luke Kirby, 
Genre: Drama
Score out of ten (whole numbers only): 7
Watch it on Amazon

Synopsis and Review
Billy Ray made his name firstly as a screenwriter during the 1990s, having written films such as Richard Rush's "Color of Night", Mick Jackson's "Volcano", and Gregory Hoblit's "Hart's War" (sharing screenwriting credits that is). "Shattered Glass" was his feature directorial debut, of what has been thus far a very solid writing/directing career. The film which takes place in the late 1990s, is based on true facts, follows the story of Stephen Glass, a young journalist, who holds an associate editor role at The New Republic publication. Stephen is well liked by his colleagues and is somewhat sheltered by editor Michael Kelly. However due to internal conflicts, Kelly gets fired, and in his replaced by Charles Lane. Glass writes a story with the title "Hack Heaven", which reaches Forbes Digital Tool. One of the publication's reporters, Adam Penenberg, finds no supporting information/facts to corroborate the story. When trying to contact the individuals mentioned in the story, courtesy of a number Glass has made available, those calls go straight to voicemail. Charles Lane starts suspecting something is suspicious about the story, and as he pokes deeper into the details of the story, he realizes Glass made up all the events and facts that sustain the article. He confronts Glass about the situation, and decides to investigate prior articles he had written, only to realize the falsified facts were something he had equally done with his prior articles. 
Feature films focused on journalists have been a staple for decades. In the 1970s they took a qualitatively jump when Alan J. Pakula directed "All the President's Men", which is of course a classic, but since then other films have tackled life on the newsroom, some with a lighter tone such as Ron Howard's "The Paper", and others more dramatic such as Tom McCarthy's "Spotlight", Steven Spielberg's "The Post", and more recently, Maria Schrader's "She Said". "Shattered Glass" is an investigative story, but one that focuses on the integrity of one of the newsroom scribes, and essentially makes this film an analysis on the games of an impostor, who truly embodied the term impostor syndrome. The film deftly captures the relationship of camaraderie and trust between the characters on the newsroom team, simultaneously demonstrating how potent the illusion created by the central character actually was, and the amount of disbelief that occurred when the mountain of lies that had been created started to collapse. It's a testament to the quality of the writer/director that he doesn't demonize the central character, instead showing that character as someone who is crafting this made-up reality where he is an accomplished and trustworthy journalist, one that is being undone by external events, even if he is the one who has manipulated and fabricated most of the stories he had written. While what we get to know of these characters is somewhat limited, there's much to admire of the unfolding of the narrative as the lies become more and more evident. The cast is uniformly great, particularly Hayden Christensen as Stephen Glass, and the always underrated and superb Peter Sarsgaard as Charles Lane, though they all get additional solid support from Chloe Sevigny, Steve Zahn, Melanie Lynskey, and Hank Azaria. The production team is solid, including Mychael Danna's score, Mandy Walker's cinematography, and François Séguin's production design. A solid film worth watching. 

Madres Paralelas/Parallel Mothers

Movie Name:
Madres Paralelas/Parallel Mothers
Year of Release: 2021
Director: Pedro Almodovar
Starring: Penelope Cruz, Milena Smit, Aitana Sanchez-Gijon, Israel Elejalde, Rossy de Palma, Julieta Serrano, Ainhoa Santamaria, Adelfa Calvo, Julio Manrique
Genre: Drama
Score out of ten (whole numbers only): 7
Watch it on Amazon

Synopsis and Review
Following the autobiographical "Dolor y Gloria/Pain and Glory", which featured one of Antonio Banderas' best performances, Pedro Almodovar returned with another female centric narrative. This time around the narrative focuses on the story of Janis Martinez, a professional photographer, whom we first encounter doing a photo shoot with an archaeologist by the name of Arturo. She asks him if it is possible that his foundation will help excavate a mass grave near her pueblo, where quite a few people including her ancestors, were shot during the Spanish Civil War. Families want to be able to put the remains in the cemetery, where they belong. Janis and Arturo have a romantic tryst, which doesn't go any further, as Arturo is married, and his wife is going through some serious health issues. Janis however discovers she's pregnant, and decides to keep the baby, even if Arturo isn't entirely on board. While waiting to give birth in the hospital, she becomes friends with another woman who is also giving birth, a young woman by the name of Ana. Both women give birth at the same time, and both their babies are held for observation due to some minor concerns. They decide to stay in touch with each other. A few months later Arturo connects with Janis in order to check on the baby, and much to her surprise, he openly expresses that he thinks the baby isn't his. Janis decides to do a DNA test on herself and the baby, and much to her shock, the test confirms that she also isn't the mother of the child. During this time, she reconnects with Ana, who is working at a coffee shop near her house. Ana tells her that Anita, Ana's baby, has died as a result of crib death. Janis decides to invite Ana to come work and live in her house. 
"Madres Paralelas" is another great female centric narrative from Pedro Almodovar. It's a film that once again has a variety of different layers to itself, one that examines the roles of women and the various nuances that exist between all of them, something that can be easily visualized by the perspectives that are given to Janis/Ana/Teresa. In parallel with this focus on women, there's also a thread dedicated on looking back to Spain's own history, and how some of the wounds from its Civil War are still very much open, and the longing that families have to find closure regarding it. All these threads make this film very compelling, something that is amplified because this film also manages to have a great central character, a modern woman, of a certain age, coming to terms with what she wants for her future, while also looking back at her ancestry, her roots, and what shaped her to be who she is. While the story itself isn't as inspired as "All About My Mother" or "Talk to Her" or even "Bad Education", it's nonetheless a film that is just as rich, since these characters are more nuanced, have more depth, and feel more authentic as a result of all the threads that are woven. Penélope Cruz is fantastic in the central role, composing a character that is unlike the effusive and dazzling ones she's created for Pedro Almodovar: Janis is a mature woman, someone who is conflicted by some of the unexpected swings life throws at her, but that somehow keeps moving along, not letting herself be deterred by anything. Her scenes with Milena Smit, particularly in the third act are heartbreaking. The supporting cast is equally solid, particularly Aitana Sanchez-Gijon, Julieta Serrano, and Rossy de Palma. The technical team is impeccable as always, with particular highlights going for Jose Luis Alcaine's cinematography, Alberto Iglesias' score, Antxon Gomez's production design, and Paola Torres' costumes. Another great film from one of the most gifted storytellers/directors currently working. 

Sunday, January 5, 2025

Best films of 2023

2023 had some knockout films and performances. A definite rebound from 2022, both qualitatively and quantitatively. Some of the films on this list are in my opinion, modern classics. 

Killers of the Flower Moon
Director: Martin Scorsese

Director: Alexander Payne

Director: Yorgos Lanthimos

Director: Hayao Miyazaki

Director: Justine Triet

Director: Todd Haynes

Director: Andrew Haigh

Director: Jonathan Glazer

Director: Ira Sachs

Director: Christopher McQuarrie


Favorite Performance of the Year: Natalie Portman ("May December")

Favorite Supporting Performance of the Year: Jodie Foster ("Nyad") (with a strong highlight for Julianne Moore for "May December", Mark Ruffalo for "Poor Things", and Ben Whishaw for "Passages")

Favorite Cinematography: Rodrigo Prieto ("Killers of the Flower Moon")

Favorite Score of the Year: Mica Levi ("The Zone of Interest")

Favorite Production Design of the Year: Jack Fisk ("Killers of the Flower Moon")

Favorite Costume Design of the Year: Holly Waddington ("Poor Things")

Favorite Director of the Year: Hayao Miyazaki ("The Boy and the Heron") (with a strong highlight for Jonathan Glazer for "The Zone of Interest")


Best films of 2022

Another year with less than compelling film offerings in my opinion, 2022 just didn't resonate with me quite as strongly as the prior one. Here are my highlights for that year.

Everything Everywhere All At Once
Director: Daniel Kwan, Daniel Scheinert

Director: Steven Spielberg

Director: Charlotte Wells

Director: Rian Johnson

Director: Anthony Fabian

Director: Luca Guadagnino

Favorite Performance of the Year: Michelle Yeoh ("Everything Everywhere All At Once")

Favorite Supporting Performance of the Year: Ke Huy Quan ("Everything Everywhere All At Once")

Favorite Cinematography: Larkin Seiple ("Everything Everywhere All At Once")

Favorite Score of the Year: Trent Reznor, Atticus Ross ("Bones and All")

Favorite Production Design of the Year: Rick Heinrichs ("Glass Onion")

Favorite Costume Design of the Year: Mark Bridges ("The Fabelmans")

Favorite Director of the Year: Daniel Kwan, Daniel Scheinert ("Everything Everywhere All At Once")


Best films of 2021

In line with the listings I'm currently updating, here's what I compiled for year 2021. A much better crop of films that came out that year, from very different and talented artists. 

Dune
Director: Denis Villeneuve

Director: Paul Thomas Anderson

Director: Jane Campion

Director: Guillermo del Toro

Director: Pedro Almodovar

Director: Kenneth Branagh

Director: Joachim Trier

Director: David Lowery

Director: Fran Kranz

Director: Rebecca Hall

Director: Michael Sarnoski

Director: Mariano Cohn, Gaston Duprat

Favorite Performance of the Year: Penélope Cruz ("Madres Paralelas") (other two include Benedict Cumberbatch for "The Power of the Dog" and Renate Reinsve for "The Worst Person in the World")

Favorite Supporting Performance of the Year: Kirsten Dunst ("The Power of the Dog")

Favorite Cinematography: Greig Fraser ("Dune")

Favorite Score of the Year: Hans Zimmer ("Dune")

Favorite Production Design of the Year: Patrice Vermette ("Dune")

Favorite Costume Design of the Year: Luis Sequeira ("Nightmare Alley")

Favorite Director of the Year: Jane Campion ("The Power of the Dog")


Best films of 2020

For what it's worth, I used to make yearly lists of the best films of each year, since I started this blog in 2006. When Covid happened in 2020, it upended release cycles, and changed the entire world as we know it, and these lists seemed to be so insignificant in the grander scheme of everything taking place. 
However, now that life has found a new momentum, I've decided to go back to the concept of lists and refine a bit of how I've been organizing them, add a few different categories as well, and provide a bit of a personal opinion on what I've seen for that year. Here's what I compile of the best for the year 2020.

Nomadland
Director: Chloe Zhao

Director: Pete Docter

Director: Leigh Whannell

Director: Darius Marder

Director: Max Barbakow

Director: David Fincher

Favorite Performance of the Year: Frances McDormand ("Nomadland")

Favorite Supporting Performance of the Year: Maria Bakalova ("Borat Subsequent Moviefilm")

Favorite Cinematography: Joshua James Richards ("Nomadland")

Favorite Score of the Year: Trent Reznor, Atticus Ross, Jon Batiste ("Soul")

Favorite Production Design of the Year: Donald Graham Burt ("Mank")

Favorite Costume Design of the Year: Trish Summerville ("Mank")

Favorite Director of the Year: Chloe Zhao ("Nomadland")


Mystery Men

Movie Name:
Mystery Men
Year of Release: 1999
Director: Kinka Usher
Starring: Ben Stiller, William H. Macy, Hank Azaria, Paul Reubens, Janeane Garofalo, Kel Mitchell, Geoffrey Rush, Greg Kinnear, Wes Studi, Lena Olin, Eddie Izzard, Claire Forlani, Tom Waits, Pras Michel, Artie Lange, Ricky Jay, Jenifer Lewis, Louise Lasser, Ned Bellamy, Monet Mazur, Michael Bay, Noah Blake, Michael Chieffo, Mark Mothersbaugh, CeeLo Green, Stacey Travis, Doug Jones, Jack Plotnick, Dane Cook
Genre: Comedy, Action
Score out of ten (whole numbers only): 6
Watch it on Amazon

Synopsis and Review
"Mystery Men" is in many ways one very unique film in the sense that many of its creative team didn't work on any feature films following its release, starting with its director Kinka Usher, who went back to directing commercials. The narrative focuses on three friends, who moonlight as wannabe superheroes, namely Furious, Shoveler, and Blue Raja. They all fall under the shadow of the biggest superhero of Champion City, the dashing and invincible Captain Amazing. Captain Amazing finds himself in a huge predicament, much like his publicist indicates, since he has thwarted/imprisoned/or killed any supervillain that has appeared in the city. Fearing the loss of endorsements (since he has no one else to vanquish), Captain Amazing enables the release on bail of one of his most resourceful foes, the cunning Casanova Frankenstein. Casanova has plans of his own, and he soon takes over Captain Amazing. Fearing something truly nefarious is brewing in the city, Furious, Shoveler, and Blue Raja decide to recruit more unconventional superheroes for the their team with the hopes of becoming the saviors of the city (and of the captain). Their first attempt at uncovering what has happened to the Captain nearly results in catastrophe, when they take on Tony P., another master criminal. However Sphinx comes to their rescue, and also gives them a crash course in being a team of superheroes. 
"Mystery Men" could have easily fallen into the spoof genre and go for the facile laugh moment (and at times it does), however it's a film that smartly deconstructs the seriousness of the superhero genre, by placing normal individuals, some of them with questionable powers, at the center of the action. The creative team behind this film also smartly crafted a universe of its own, one where heroes and their villains portend with issues such as capitalism, surviving different family dynamics, and even the typical romantic challenges. The film is populated with cliched characters, but the creators know it so, and the film never assumes itself very seriously, something that the banter between the characters also highlights. There's a verve of irony across all these pseudo-heroes that makes the film always watchable, just as it borderlines on being a quasi-spoof type of film. The cast is another reason to be delighted by this feature, since they all play to their strengths, including Ben Stiller, William H. Macy, Hank Azaria, Paul Reubens, Geoffrey Rush, Greg Kinnear, Lena Olin, Janeane Garofalo. The production team is also top notch, with highlights going to Stephen H. Burum's cinematography, Stephen Warbeck's score, and Marilyn Vance's costumes. There are indeed aspects where the taste level is suspicious, but this is a film that doesn't take itself seriously, and ends up being quite enjoyable. 

Friday, January 3, 2025

Music with an Impact - 2024

 


2024 was an interesting year for the music arena. The Smile released two albums, both of which were great, and Charli XCX became an omnipresent figure in the lexicon of popular music. I personally consumed albums released in 2024, but also from prior years and decades, all of which were a pleasure to discover and admire for their point of view, freshness, and ambition. Timeliness is a quality that just grows in one’s eyes as we grow in age I suppose. The ability to bask in the newness of the recent and the foresight of the innovation of what has been released in the past.

The Smile — Cutouts
Empress Of — For Your Consideration
Charli XCX — Brat
Fennesz, OZMOTIC — Senzatempo
Akira Kosemura & Lawrence English — Selene
Jon Hopkins — Ritual
James Devane — Beauty is Useless
Peter Gabriel — I/O
Autechre — Garbage
Alison Goldfrapp — The Love Invention
Clark — Playground in a Lake
Abba — The Visitors

More favorites that are not illustrated in the list above.

The Divine Comedy — Fin de Siècle
KMRU — Dissolution Grip
Geotic — To Not Now, Not To Ever, Despair


Thursday, December 26, 2024

Apartment 7A

Movie Name:
Apartment 7A
Year of Release: 2024
Director: Natalie Erika James
Starring: Julia Garner, Dianne Wiest, Kevin McNally, Jim Sturgess, Marli Siu, Rosy McEwen, Andrew Buchan, Anton Blake Horowitz, Raphael Sowole, Tina Gray, Patrick Lyster, Rachel Atkins, Andre Lillis
Genre: Thriller, Horror
Score out of ten (whole numbers only): 6
Watch it on Amazon/Paramount+

Synopsis and Review
"Apartment 7A" is a prequel to the classic "Rosemary's Baby", which was released in 1968 and was an adaptation of the Ira Levin book with the same name. The film follows the story of Terry Gionoffrio, a young dancer from Nebraska who is trying her shot at stardom in New York City in the mid 1960s. She shares an apartment with two other women, one of whom is her British best friend, also a dancer, an another woman who doesn't particularly like Terry. Terry suffers a dramatic ankle injury while performing on Broadway, which renders her in surgery. Following her accident, she desperately tries to go for auditions, but the scars and frailty of her injury haunt her and prevent her from booking any additional jobs. She also starts to become too reliant on pain medication. Following a particularly grueling casting process, Terry follows big Broadway producer Alan Marchand home, the iconic Bramford apartment building. She hopes of convincing him of her willingness and talent to do anything to be a dancer, but becomes sick due to the medication she has taken. Following her incident, she meets an elderly couple, Minnie and Roman Castevet, who take an interest in her and offer her an apartment down the hall from them, rent-free. They claim they want to help her until she's back on her feet. She soon moves in and is invited to a social gathering by Minnie and Roman, where she meets many of the people living at the Bramford, and where Alan is also in attendance. Something in her drink makes her lose her senses, and when she eventually wakes up, she's in Alan's apartment in his bed, and he implies they've had sex (and that she made the chorus of his show). While her life starts improving, Terry eventually realizes she's pregnant, something that shocks her, but makes Minnie and Roman very happy. However strange occurrences and the persistent nightmares keep bothering her, until one evening she wakes up to find one of her neighbors inside her apartment wanting to attack her. Terry decides to investigate more and the threads she starts pulling raise a series of fears. 
It's fair to state that "Rosemary's Baby" is an iconic film that has withstood the test of time, and that to this day has been a hallmark in the horror genre. It's also fair to state that it is one of those films that does not need to be revisited, or for that matter, need additional chapters to its lore. The way the narrative of that film encapsulates both the time stamp in which it takes place and also some of the political motifs of the era, including the fear regarding sexual assault, women's autonomy and rights, and views on sexuality and marriage, are all handled in a very intelligent manner, something that "Apartment 7A" simply can't match. "Apartment 7A" ends up being an interesting thriller, with a well defined central character Terry, who is surrounded by a series of rather generic characters, save for Minnie and Roman, both of whom however get very little screen time, when in fact they're some of the most colorful and interesting supporting characters the "Rosemary's Baby" universe actually has. The claustrophobic sense of entrapment is well staged, however the characters fail to be as enticing or reptilian as the original feature presented them. 
The cast is solid, particularly the always reliable Julia Garner, who gets great support from the always formidable Dianne Wiest and Kevin McNally. The production team is competent, but highlights go to Simon Bowles' production design, which has some inspiring touches, the same going for Michele Clapton's costumes. While unnecessary, it's nonetheless a watchable feature film. 

Scream VI

Movie Name:
Scream VI
Year of Release: 2023
Director: Matt Bettinelli-Olpin, Tyler Gillett
Starring: Melissa Barrera, Jenna Ortega, Jasmin Savoy Brown, Mason Gooding, Hayden Panettiere, Dermot Mulroney, Courteney Cox, Skeet Ulrich, Jack Champion, Josh Segarra, Devyn Nekoda, Tony Revolori, Samara Weaving, Henry Czerny, Andre Anthony, Liana Liberato, Roger Jackson
Genre: Horror, Mystery, Thriller
Score out of ten (whole numbers only): 4
Watch it on Amazon

Synopsis and Review
Following the success of "Scream V", the directing team of Matt Bettinelli-Olpin and Tyler Gillett quickly reunited with the writing team of James Vanderbilt and Guy Busick in order to continue the franchise, this time around focusing on the Carpenter sisters who survived the ordeal of the prior film (leaving Sydney Prescott out of the narrative since the studio refused to pay actress Neve Campbell her asking fee). The narrative focuses once again on sisters Sam and Tara Carpenter. Tara is now in New York going to college, and being closely watched by her sister, who has become an internet villain since rumors started swirling around that she had something to do with the Woodsboro murders, even though her ex-boyfriend Richie Kirsch and his accessory were in fact the killers. As it turns out, a new Ghostface killer appears, slashing across two students who wanted to kill the sisters, and who goes after the sisters and her close knit of friends. That group includes fellow survivors Chad and Mindy Meeks-Martin, their roommate Quinn Bailey, Mindy's girlfriend Anika Kayoko, and Chad's roommate Ethan Landry. As the killer goes after the sisters, causing more death and destruction in the process, a prior victim of the Ghostface menace, Kirby Reed, now an FBI agent comes to NY to aid the group, as does Gale Weathers, and also Detective Wayne Bailey, Quinn's father who is assigned the case. As the group theorizes the logic behind the killings, the slasher manages to cause more death amongst the group, until Kirby and the sisters decide to stage a killbox to trap and destroy the apparently invulnerable killer. 
"Scream VI" sadly doesn't quite get to the level demonstrated by the prior chapter, which deftly combined the introduction of a new set of characters, while integrating them into the universe created by the original series of films. At some point these extensions of the franchise become similar to a long standing telenovela, in which multiple threads find a way to attempt some integration with the original aspect of the initial storyline. At this time, the narrative feels more and more diluted from what made the original "Scream" a unique property, mostly because the creative team still hasn't decided to take a qualitative jump and simply start a new thread under the concept of Ghostface, but with a whole new character set. Therefore what we get is a bit of a rehashed narrative, which brings to mind "Scream 2", but with more gore and more gruesome and visceral bloody makeup effects. Concerning character development and considering all the time this group spends interacting with each other, most of what we learn about them is focused on the sisters themselves, as their friends and the newly introduced characters remain barely defined sketches (even Gale stubbornly remains something of a persistent question mark). This film does manage to create a suspenseful narrative courtesy of the progressive disclosure surrounding the next victim, but it's a film that accelerates its action, and seemingly strips some coherence from these characters lives, all with the goal of demonstrating an increased body count. It's a rather humor-less chapter in a franchise, though the cast tries their best with the material they have. Courteney Cox is the best highlight in this chapter, whereas the usually reliable Dermot Mulroney feels lost and out of place. Jenna Ortega plays the character on auto-pilot, the same going for Melissa Barrera. The production team is competent without being particularly memorable. It's a bloody but not exactly memorable entry into this franchise.

The Dead Don't Die

Movie Name:
The Dead Don't Die
Year of Release: 2019
Director: Jim Jarmusch 
Starring: Bill Murray, Adam Driver, Tilda Swinton, Chloe Sevigny, Steve Buscemi, Danny Glover, Caleb Landry Jones, Rosie Perez, Iggy Pop, Sara Driver, RZA, Carol Kane, Selena Gomez, Tom Waits, Austin Butler, Eszter Balint, Taliyah Whitaker, Maya Delmont, Larry Fessenden, Kevin McCormick, Sid O'Connell, Jodie Markell, Sturgill Simpson, Luka Sabbat, Rosal Colon, Jahi Di'Allo Winston
Genre: Comedy, Horror
Score out of ten (whole numbers only): 6
Watch it on Amazon

Synopsis and Review
Following the release of one of his most celebrated films, "Patterson", Jim Jarmusch returned three years later with a decidedly lighter tone feature, with another stacked cast filled with regulars he typically reutilizes in his features. The film follows the story of Chief Cliff Robertson and his colleague, Officer Ronnie Peterson, both of whom live in the small town of Centerville. They realize something is off when on their way back to the station they realize it's still daylight after 8:00pm, and their digital devices also stop working. They also hear on the radio some disturbing news about polar fracking. The relaxed vibe of the town is shaken when zombies start reanimating. Firstly two, who kill two diner employees, but soon there's zombies everywhere, and most of the inhabitants of the town get attacked and killed. One that seems impervious to the attacks or who manages to overcome them is Zelda Winston, the Scottish Funeral Home Owner, who has some unparalleled dexterity with her samurai sword. As Chief Cliff and Officer Ronnie decide to assess how the town is doing, Officer Mindy who usually minds the station, goes with them, asking Zelda to stay behind supporting the communications. The town is pretty much overrun with zombies, and as much as they try to destroy them, Cliff, Ronnie and Mindy are eventually stuck. Mindy gives in to her despair, but the two men decide to battle it to the end, though Zelda also has a surprise of her own in store.
Jim Jarmusch's films have a rhythm of their own, something that is tied with this relaxed atmosphere that he manages to create with his own brand of storytelling, which in turn is populated with all sorts of uniquely observed characters, some of which even break the fourth wall, and become very self aware of where they are in the scheme of things. "The Dead Don't Die" is his take on the zombie film, one that is lighthearted, yet observational of the way life is changing, and how those changes are impacting how the world spins, eventually resulting in the zombie anomaly in question. The characters that populate this film are all underdeveloped, but are simultaneously very endearingly so, in the sense that they all have quirky traits to them which makes them always interesting to behold and ultimately characters you want to learn more about and spend time with. The director gives just enough time and focus to each of these characters which draws our attention in, including some of the zombies who in some occasions display quite a bit of personality. It's a lighthearted film, one that creates a soft smile, something that can be attested for instance by Tilda Swinton's character, and even by the high strung farmer Miller, portrayed by Steve Buscemi. The goal of this film isn't to illustrate the grotesquerie of the zombie genre, but to call out how our behaviors are indeed having an impact on the overall ecosystem, and that even the quaint little towns, and their quirky inhabitants, as lovable as they are, won't be spared when the time does come. The cast of the film is fantastic, with Bill Murray, Tilda Swinton, Chloe Sevigny, Steve Buscemi, Tom Waits, Danny Glover, Caleb Landry Jones, all creating interesting and imaginative characters. The production team is also top notch, with highlights going to Frederick Elmes' cinematography and Carter Logan's score. While not one of his best endeavors, it's still an entertaining and humorous feature from a unique voice in film. 

Wednesday, December 25, 2024

Nosferatu

Movie Name:
Nosferatu
Year of Release: 2024
Director: Robert Eggers
Starring: Bill Skarsgard, Nicholas Hoult, Lily-Rose Depp, Aaron Taylor-Johnson, Emma Corrin, Willem Dafoe, Ralph Ineson, Simon McBurney
Genre: Horror, Mystery
Score out of ten (whole numbers only): 7
View Trailer

Synopsis and Review
Following the critically well received "The Northman", writer/producer/director Robert Eggers has returned, this time around with a remake/retelling of the "Nosferatu" narrative, which was previously tackled by F.W. Murnau and Werner Herzog, respectively in 1922 and 1979. The narrative, which takes place in the 19th century, focuses on the tribulations which occur on the life of a recently married real estate salesman by the name of Thomas Hutter. Thomas is tasked with getting a series of papers signed by a foreign count, by the name of Orlok, who lives in Transylvania, but who wants to retire in the town of Wisborg, Germany. Thomas leaves for Transylvania, though his enamored and troubled wife Ellen pleads with him not to go. Thomas agrees to go since the commission from the sale will enable him and Ellen to have a good start to their married life. While he's traveling, Ellen stays with her best friend Anna, who is married to Friedrich, with whom she has had two children, and is expecting a third one. Thomas' trip is a challenge but he eventually finds his way to the castle, where he meets the Count. The elusive count is very strict about his wishes, and as it turns out, is in fact the source of the ominous warnings Thomas got from the populace he encountered on his way to the castle. The Count starts draining Thomas, who eventually manages to flee the castle, all the while Ellen's sleepwalking, vivid nightmares, and psychic connection to the Count become stronger and stronger. While Ellen gets the medical help of Dr. Sievers and eventually of Professor Von Franz, the Count starts his journey towards Wisborg, and his desire to claim Ellen. 
"Nosferatu" is based or inspired by the fantastic novel of Bram Stoker ("Dracula"), but also on the script of Henrik Galeen, which was the base for F.W. Murnau's 1922 classic, which was eventually also redone by Werner Herzog. Having recently watched Werner Herzog's take on the material, the retelling by Robert Eggers' is definitely a far more sumptuous and aesthetically superior take on the material, even if at its core the narrative is very similar. Most of the characters of this narrative are of course the ones which populate Bram Stoker's Dracula (of which the operatic and luscious take from Francis Ford Coppola remains my favorite adaptation of the material), with Thomas being a version of Jonathan Harker, whereas Ellen is a version of Mina, and so forth. Robert Eggers does manage to elevate Herzog's take on the material, not solely because of his refined aesthetics, but also because he takes time to explore the nuances of all the central characters. This group of characters, all of which eventually find themselves under the attention or influence of the vicious Count, are presented with enough individuality and traits to feel palpably convincing in their relationships and desires. All of them are far more than a simple cliché (the one that almost falls under the typical cliché is Knock, in reality the Renfield character, who can easily become an excuse for overacting, thankfully not in this interpretation). Robert Eggers also smartly emphasizes Ellen's guilt, her evocation of the creature, her psychic connection with it, and in turn spins the Count as a malevolent creature, but also one that is beyond redemption or salvation. The cast is uniformly stupendous, even Aaron Taylor-Johnson who usually flounders, though Lily-Rose Depp's Ellen is portrayed very one note. It would be unfair to single out anyone, since all these performers do an excellent job in bringing these characters to life. The production team is of course superb, with highlights going to Robin Carolan's score, Jarin Blaschke's cinematography, Craig Lathrop's production design, and Linda Muir's costumes. This adaptation may not reach the heights of what Francis Ford Coppola or F.W. Murnau did with their takes of Bram Stoker's novel, but it's a solid film from a very talented film maker. 

Carry-On

Movie Name:
Carry-On
Year of Release: 2024
Director: Jaume Collet-Serra 
Starring: Taron Egerton, Jason Bateman, Danielle Deadwyler, Sofia Carson, Theo Rossi, Tonatiuh, Logan Marshall-Green, Dean Norris, Joe Williamson, Sinqua Walls, Curtiss Cook, Gil Perez-Abraham, Josh Brener, Benito Martinez, Edwin Kho, Reisha Reynolds, Adam Stephenson, Michael Scott
Genre: Action, Crime
Score out of ten (whole numbers only): 5
Watch it on Netflix

Synopsis and Review
After tackling the not so successful comic book adaptation "Black Adam", Jaume Collet-Serra is back with a genre film more in line with the films that originally put him on the map, namely "Orphan", and the Liam Neeson starrer series which included "Unknown", "Non-Stop", "Run All Night", and "The Commuter". "Carry-On" focuses on the story of Ethan Kopek, a young TSA agent, who has had ambitions of becoming a police officer, but who has settled into his current profession. His partner, Nora, who also works at the airport but for an airline, advises him to try again for what he really wants to be doing, particularly has she's pregnant, and wants to see him pursuing his dreams. Ethan decides to ask instead for a promotion, and gets assigned a baggage-scanning lane. While there he receives an earbud, through which he gets placed in contact with a traveler, who is in reality a mercenary who knows everything about him, and threatens him with Nora's life unless he does exactly what he asks. Ethan is being monitored by one of the accomplices of the traveler, who has access to the cameras in the building. The traveler wants one of the people going through security, to have no glitches, and for the bag not to be flagged. Turns out the bag has one of the most dangerous gasses in existence, and the intention is to detonate it on a flight. While Ethan is dealing with this situation, an LAPD detective by the name of Elena Cole is investigating a double homicide that eventually ties with the situation that is taking place at the airport. On her way to the airport the agent going with her turns out to also be involved in this conspiracy. Ethan tries to sabotage the traveler's plans, commencing with the passenger carrying the bag with the gas. But the traveler is always one step ahead, and he and his associates will stop at nothing including harming Nora. 
"Carry-On" is written by T.J. Fixman who has a career largely focused on writing video games. The film comes across as a modernized take on action B-films of the 1980s, very similar to what Cannon/Golan-Globus were releasing at the time. There are nods to the higher budget action films of the 80s directed by John McTiernan, most obviously of course being the "Die Hard" series, however "Carry On" doesn't quite reach the heights of intelligence (and humor) of that particular classic. The characters are fairly quickly established, with the central hero Ethan getting just enough dimension to be more than a typical cliché, while the supporting characters have a far more limited bandwidth in terms of what they get to play and be. The central villainous character is similarly played off more like a hyper-focused professional, as opposed to a rather brutal criminal, something that is also closer in tone with some of the villainous characters that action series such as Doug Liman and Paul Greengrass's Jason Bourne films have illustrated for the past 20 years. Overall it's a film that manages to display a fairly suspenseful tone, without ever being truly unexpected in its direction or its outcome. The cast is fairly competent, particularly the trifecta of Taron Egerton, Jason Bateman, and Danielle Deadwyler, whereas Sofia Carson is terribly miscast (she appears to be on a completely different world than everyone else on this film). The production team is competent, with highlights going to Lorne Balfe's score, and Elliot Greenberg, Krisztian Majdik, and Fred Raskin's editing, the latter team making the film have a momentum that would otherwise steal the whole aspect of a narrative that is happening in real-time. It's a watchable, but also rather forgettable endeavor. 

Sunday, December 22, 2024

The Inheritance

Movie Name:
The Inheritance
Year of Release: 2024
Director: Alejandro Brugués
Starring: Bob Gunton, Briana Middleton, Rachel Nichols, Peyton List, Austin Stowell, David Walton, Reese Alexander, Keith Arbuthnot, Chris Wood
Genre: Thriller, Horror
Score out of ten (whole numbers only): 2
Watch it on Amazon

Synopsis and Review
Alejandro Brugués has made a career of directing various horror films, mostly segments in anthologies, and also TV shows, including "Into the Dark" and "From Dusk Till Dawn: The Series". "The Inheritance" is focused on the events surrounding a family who come together to celebrate the birthday of one of its members, in this case the father, Charles Abernathy. All his adult children are drawn in, with his son Drew bringing along his wife Hannah. There's some tension between all the siblings, but they all go into the manor to meet their father, who then proceeds to tell them how the evening is going to take place. He makes a shocking revelation, factually stating that he is going to be killed at midnight. He also states that all security has left the house, and the only people staying in the house are himself and his children. He wants Hannah to leave, as she's no Abernathy. He then explains the rest of the scenario. If his children manage to protect him until midnight, they will all have access to an equally divided part of his inheritance. If he dies, the funds will be distributed amongst a series of charities. Everyone decides to stay, and the house goes under a tight lock-in. As the evening evolves, strange occurrences start taking place, and each of the siblings come under threat. 
Upon a quick first observation, one would assume this film is in the same vein and style as Rian Johnson's "Knives Out" series, or even an Agatha Christie "whodunit" type of mystery. Sadly as the film evolves, and the film changes directions and opts to move in a supernatural direction, its thrill and the effectiveness of its atmosphere quickly diminish, leaving the shallowness of the character development and relationships between the characters all the more exposed. The initial setup for the narrative is quite effective, bringing to mind some similarities to what Tyler Gillet and Matt Bettinelli-Olpin for instance did with "Abigail" and even their other film "Ready or Not", or the aforementioned Rian Johnson's "Knives Out" films, sadly the tilt into the supernatural feels undercooked, and upon the development of the film as further details are revealed, it also fails to provide the crackling twist the creative team was expecting to deliver. The third act of the film is indeed underwhelming, since the atmosphere and tension that were created was originated by the brief interactions between the family members, which means by the time the supernatural aspect of the story comes along, it just doesn't organically blend with everything else that has been taking place and that these characters have established. The film almost feels like a rather insipid, bloodless pilot for a tv show, one that refuses to probe deeper, and give the characters and the entity something more substantial to do with their screen time. The cast led by the always reliable Bob Gunton sadly can't salvage the film, though Rachel Nichols and Peyton List try their best with the archetypes they're given (and writers need to come up with a different way to portray social media influencers on screen, since this angle has been repeated ad nauseam). The production team is rather generic, and fails to entice much gloom or even a gothic aspect to the set itself. It's a film that is not particularly memorable. 

Titane

Movie Name:
Titane
Year of Release: 2021
Director: Julia Ducornau
Starring: Vincent Lindon, Agathe Rousselle, Garance Marillier, Lais Salameh, Mara Cisse, Bertrand Bonello, Myriem Akheddiou, Marin Judas, Diong-Keba Tacu, Adele Guigue, Dominique Frot
Genre: Drama, Horror
Score out of ten (whole numbers only): 6
Watch it on Amazon

Synopsis and Review
Following her auspicious debut with "Raw", writer/director Julia Ducornau presented "Titane" at the Cannes Film Festival of 2021, where it went on to win the Palm D'Or. The narrative focuses on the journey of Alexia, whom we first notice as a child having some friction with her father while on a car drive. Due to her raucous behavior in the car they suffer an accident which results in her having to get a titanium plaque on her skull. 10 years later Alexia is grown up and is working as a showgirl/dancer on a car/motor show. She has a series of fans who reach out to her for autographs. One of them however, stalks her after the show is over and chases her to her car. He admits his obsession over her, and while they start kissing, she kills him using her hair pin. As she goes back in the building to take a shower, she ends up having sex with the Cadillac that was on the showroom. Alexia goes back home, where she lives with her parents, and later on goes to a house party where Justine, her coworker from the car/motor show, is also in attendance. They start making out, but Alexia's violent streak turns off Justine. Alexia takes a pregnancy test which returns a positive result, and she attempts to perform a self-abortion, which fails. She then kills Justine and everyone who was at the house party. Wanting to shed evidence of what she's done, she torches her clothes and items from some of the people from the party, and in the process sets fire to her parents home (she also locks her parents inside their bedroom). Turns out Alexia has been on a killing spree with other victims being mentioned on the news. Hoping to escape the police she pretends to be Adrien Legrand, a boy who had disappeared 10 years ago. She makes her claim to the police, and Vincent, a fire captain who is Adrien's father, comes to collect her at the station, and accepts her as his missing son. 
There's a lot to unpack on "Titane", in the sense that the narrative has so many different threads that it touches upon. There are aspects which are very indebted to David Cronenberg, namely the body horror aspect that it sets in motion as Alexia's body mutates during her pregnancy. There's also a thread of queerness that permeates all the relationships that appear throughout the film, and also a devastating observation of the life of a father who never got over the disappearance of his child, and whose guilt and loss haunt and cripple every single aspect of his existence. And all this is tied with this imminent violent streak that the lead character exhibits. All these threads co-exist and definitely make for a very interesting narrative, though not for one that is necessarily the most coherent. Alexia's journey and her relationship with her own family for instance, is very underdeveloped, and something that deserved more attention, whereas when Vincent shows up in the story, his saddened stance, his longing, and his guilt, take the film in a very different direction, as if suddenly this wallop guttural punch of someone's crushing journey comes by and makes the narrative into something else. Suddenly Alexia/Adrien's presence becomes secondary to what Vincent is going through, something that the film doesn't really know how to address very properly either. The writer/director knowingly crafts two powerful narrative threads, but they never really gel in a very organic manner, which is why this film doesn't soar as much as it should. Vincent's thread needed a film of its own, something that gave more dimension to who that character is, what relationships he has had since the disappearance of his child, and his despair in getting his son back, to absolve himself of something. There's a lot to mine on this thread of the narrative, however the ties with Alexia/Adrien's journey stunt this development, and ultimately stunt the film as well. The cast is solid, particularly the phenomenal Vincent Lindon, an actor who is typically fantastic in everything he does, but who embodies this character with a depth and authenticity that is exemplary. He has a solid partner in the shape of Agathe Rousselle, though Alexia as a character feels less resolved than Vincent. The production team is also impeccable, particularly Ruben Impens' cinematography, Jim Williams' score, and Laurie Colson and Lise Péault's production design. It's not entirely well sorted out, but it's a fascinating watch.