Maria

Movie Name: Maria
Year of Release: 2024
Director: Pablo Larraín
Starring: Angelina Jolie, Pierfrancesco Favino, Alba Rohrwacher, Haluk Bilginer, Kodi Smit-McPhee, Valeria Golino, Caspar Phillipson, Lydia Koniordou, Vincent Macaigne, Aggelina Papadopoulou, Erophilie Panagiotarea, Alessandro Bressanello
Genre: Drama, Biography
Score out of ten (whole numbers only): 7
Watch it on Netflix

Synopsis and Review

Following the well received (and gorgeously shot) "El Conde", director Pablo Larraín is back, closing the trilogy of portraits focused on iconic women of the 20th century, which he began in 2016 with "Jackie", which was followed by "Spencer" in 2021, also written by Steven Knight, whom he partners again for "Maria". "Maria" focuses its narrative on the last week of Maria Callas' life, when she was living in Paris, September of 1977. The film tracks Maria's daily interactions with her support staff, namely her butler/chauffeur Ferruccio, and the quiet but supportive multi-tasker Bruna. Maria is attempting a comeback into singing, following a semi-retirement/abandonment of the stage, following issues with her voice. With that in mind she's been meeting with a friend from the past who accompanies her on the piano, while she attempts to sing arias from operas she loves and feels connected with. Simultaneously she reminisces about the past, being a teenager during World War II, her relationship with her husband, with her lover Aristotle Onassis, and even crossing paths with President John F. Kennedy. She reconnects with her sister, who warns her about her mental and physical state, however that does not deter her from keeping her diet of pills and very little nourishment. Her mental state also leads her to believe in interactions that are not taking place, namely with a reporter who is attempting to create a profile on her. Through it all, she remains a Diva, the voice that no one is able to forget.

"Maria" probably more so than the other two films of the trilogy, is the one that feels less abstract and stripped from some of the artificial aspects that rendered those films somewhat overtly intellectualized reflections, ones where at times there was a barrier in understanding the emotion behind the facades. "Maria" because it ties itself with a musical icon, one where the expressiveness of the music and the voice is so thunderous, also strips away the glossiness of the public figure and showcases the vulnerabilities of someone who reached great heights of adoration, and who suddenly sees herself in a humbler place in life. It's a wonderful portrait, of someone who knows their narrative is coming to an end, but who does not fear it. The fear for what lies ahed for Maria is not death, but failure of her voice, of everything that made her who she is, at least in her own mind. The construct of the Maria she made for herself, is so tied with the singer, the performer, the voice, that everything else almost falls to the wayside. Her loneliness, the passing of her lover to whom she was so devoted, is also something that haunts her, humanizes her, and eats away at her well being, at her ability to move on. It's a beautifully rendered portrayal of a complicated individual, filled with talent, ego, frailties. The film doesn't provide much dimension to the supporting characters, though the brief interaction with her sister is a powerful statement. The cast is superlatively good, with Angelina Jolie bringing an intensity and vulnerability to the role, unlike anything she's ever done before. Everything aligns in this film for her. She gets great support from the always excellent Pierfrancesco Favino, Alba Rohrwacher (who shined so brightly on Luca Guadagnino's "I Am Love"), Haluk Bilginer, and the always luminous Valeria Golino. The production team is superb, including Edward Lachman's cinematography, Guy Hendrix Dyas' production design, and Massimo Cantini Parrini's costumes. A solid film from a great director. 

Emilia Perez

Movie Name: Emilia Perez
Year of Release: 2024
Director: Jacques Audiard
Starring: Zoe Saldana, Karla Sofia Gascon, Selena Gomez, Adriana Paz, Edgar Ramirez, Mark Ivanir, Eduardo Aladro, Emiliano Hasan, James Gerard
Genre: Crime, Musical
Score out of ten (whole numbers only): 3
Watch it on Netflix

Synopsis and Review

Celebrated writer/producer/director Jacques Audiard is back, following his well received "Paris, 13th District". "Emilia Perez" which premiered at the 2024 Cannes Film Festival, where it won the Jury Prize, and the best actress award for the trio of Zoe Saldana, Karla Sofia Gascon and Selena Gomez, is his most recent directorial endeavor. The film follows the story of drug lord by the name of Juan "Manitas" Del Monte, who wants to go through gender-affirming surgery, and start a new life. In order to do so, he procures the help of a hard working lawyer by the name of Rita Mora Castro, who decides to support this transition, and help the drug lord sort both business and personal affairs, before starting a new life. Rita finds a surgical team to perform the surgery, and also goes through the process of relocating Manitas' wife Jessi to Switzerland, for their own safety. Manitas stages his own death, and eventually surfaces and begins a new life as Emilia Perez. A few years later while in London at a social function, Rita encounters Emilia and soon recognizes her. Emilia wants to get her children back, and Rita helps bring Jessi and the kids back to Mexico City, introducing Emilia as a distant cousin of Manitas, who is ready to help the family. While Jessi is initially against the move, she eventually caves in as she sees it as an opportunity to reconnect with a past flame. Emilia and Rita create a non-profit to assist people dealing with the aftermath of the cartel wars, and though Emilia finds love with Epifania, her life takes a turn as Jessi decides to marry her lover Gustavo. 

I must admit it took me three attempts to get through this film. This feature isn't similar to the maligned "One from the Heart" from Francis Ford Coppola, nor the celebrated "Dancer in the Dark" from Lars Von Trier, though at times it tries to cover similar ground, in the sense of being a modern musical. However it does not have the aesthetic, romanticism, and vision of Coppola's film, nor the unbridled dramatic hues, and majestic soundtrack of Von Trier's beautiful feature. This film surprises in the sense that it plays much like a musical telenovela, without ever reaching the heights of drama (or comedy) that can occur on those. It's a film that doesn't really know where to stand in terms of style and tone: it does not have the Almodovar flair or point of view, the one that richly captures the interactions between women, and specific (and marginalized) communities, the same way it doesn't know how to capture the carnality and desire from these women. It's a film that tries to be many things, but one that doesn't feel authentic or truly invested in having a solid point of view, treating these characters and their tribulations as pale episodes of a pseudo-exotic telenovela. It never illustrates an emotionally satisfactory journey of its leads, much like Pedro Almodovar did with "All About My Mother" for instance, where even its supporting characters existed as women with motivations, flaws, and a rich interior life. Rita and Jessi have very little to do or very little opportunity to be more than their clichéd roles, whereas Emilia's story plays out as a quasi musical fantasy, but one where you never really understand much about what makes her take certain decisions. Personally I also found the "songs" from this film not very successful, and they didn't elevate any of the events that were taking place, or made the characters more interesting in the process. The highlight of this film is Zoe Saldana's performance, who goes all in, demonstrating vulnerability and strength, even if her part is somewhat limited in its arc. On the opposite spectrum, Selena Gomez is simply not very good (neither is her accent). The production team is solid, particularly Paul Guillaume's cinematography. This feature didn't work in my opinion. 

Afraid

Movie Name: Afraid
Year of Release: 2024
Director: Chris Weitz
Starring: John Cho, Katherine Waterston, Keith Carradine, David Dastmalchian, Ashley Romans, Havana Rose Liu, Lukita Maxwell, Wyatt Lindner, Isaac Bae, Bennett Curran, Greg Hill, Riki Lindhome, Todd Waring
Genre: Horror, Mystery
Score out of ten (whole numbers only): 3
Watch it on Amazon

Synopsis and Review

Writer/director Chris Weitz has had a colorful career, starting with the "American Pie" series, and other high profile projects such as "About a Boy", "The Golden Compass", and "The Twilight Saga: New Moon". "Afraid" is his first foray into the horror genre, and he is doing so with the backup of Blumhouse, the studio that has become well known for their variety of horror/mystery/thriller features. The narrative focuses itself on an affluent family, comprised of Curtis, Meredith and their three kids. Curtis works for a small firm, while Meredith has put her career on hold, including her PHD dissertation, to take care of their children. Custis and his boss Marcus meet with a new potential client, a client who is wanting to go to market with a brand new AI product, named AIA. For the sake of better understanding what AIA is all about, the client suggests that Curtis takes it for a spin, by installing it in his household. While the family has some reservations at first, AIA quickly learns about who each one of them is, and starts providing recommendations and taking initiative with certain tasks to make everyone's lives better. Iris, the teenage daughter of Curtis and Meredith, is being pressured by her boyfriend Sawyer to have sex, suddenly realizes he and a friend of his, have posted a video of hers having sex, and that her all class has watched it. AIA intervenes, and creates a rebuttal video, explaining how her video had been fabricated, and threatens Sawyer with legal retaliation since Iris is a minor, and he can face jail time. While Iris is initially grateful for the help, AIA takes her actions even further. Worried that AIA has been dictating and influencing their lives too much, Curtis decides to turn her off, only to realize that walking away isn't as easy as it seems.

"Afraid" had, in principle at least, all the ingredients to make an interesting thriller on the premise of A.I.'s invasion (and corruption) of every day life. A bit like an"Hal" gone rogue only in a domestic realm, as opposed to in outer space which was the case for Stanley Kubrick's seminal "2001: A Space Odyssey". However many of the issues with the film start with the fact that there are tremendous gaps in both understanding who these characters are, but also what they do, and what makes them particularly relevant (ultimately, why should we care about these individuals). The family dynamics, and even the children themselves, feel like a check-list of topics that have been discussed on public forums, more so than realistic representations of what a family and their children actually are. Another aspect of the film that doesn't necessarily work lies with the fear factor or "horror factor" that the film is meant to illustrate, and that sadly is missing. The overall paranoia and suspenseful environment that is or should be part of this narrative, namely the creation of unease that characters should have by way of having someone watching their every move, is never properly created, the same way the sense of inescapable dread is ever effectively constructed, something that for instance D.J. Caruso managed to do, even if with some flaws, in 2008's "Eagle Eye" (with Michelle Monaghan and Shia LaBeouf). It feels like a rather rushed endeavor, something that needed further maturing and development. The cast tries their best with what they have, with the always great Katherine Waterston being underused, the same going for John Cho, David Dastmalchian, and the fantastic Keith Carradine. The production team is comprised of very talented professionals, including Javier Aguirresarobe's cinematography, Alex Weston's score, and David Brisbin's production design. It's just not enough to save an endeavor that feels rushed and undercooked. 

Smile 2

Movie Name: Smile 2
Year of Release: 2024
Director: Parker Finn
Starring: Naomi Scott, Rosemarie DeWitt, Lukas Gage, Miles Gutierrez-Riley, Peter Jacobson, Ray Nicholson, Dylan Gelula, Raul Castillo, Kyle Gallner, Drew Barrymore, Zebedee Row, Jon Rua
Genre: Horror, Thriller
Score out of ten (whole numbers only): 6
Watch it on Paramount Plus

Synopsis and Review

Writer/director Parker Finn is back, following the critical and commercial success of the first "Smile". The sequel has benefited from a bigger budget, which has expanded his stylistic and narrative choices as well. This time around the narrative focuses on Skye Riley, a well known pop star, who is back in the limelight, and about to start her comeback tour, following a brutal car accident, from which she barely escaped, and which claimed the life of her boyfriend/partner. Skye at the time was also dealing with addiction, from which she has recovered, though her mom Elizabeth and her assistant Joshua, keep a close eye on her. While going through her dance routine for her concerts, Skye has some pain issues, also a result of the car accident. Due to her issues with addiction, she hasn't been able to get prescriptions for painkillers, but has found them through a dealer friend of hers, someone she's known since high school, Lewis. She goes to his place looking for additional vicodin, but finds him in a completely stressed and out-of-his mind mental state. He's incoherent, and after freaking out, bares a sinister grin, before killing himself right in front of her. She flees his apartment, but starts having horrible nightmares and hallucinations, where people are baring a creepy grin/smile at her. She also gets texts from an unidentified source, claiming to know what is happening to her, and what happened with Lewis. As her visions/hallucinations keep getting worse, and following a public meltdown, she agrees to meet with this person, who turns out to be a male nurse by the name of Morris, who explains to her, that there's a demon who is like a parasite that has latched on to her. This entity will keep tampering with her mind, eventually killing her (before jumping to someone else, another host). Skye is terrified, but after another gruesome episode she agrees to the plan Morris has suggested. However much to her surprise, not all is what it seems.

"Smile 2" is a worthy addition to the canon that Parker Finn established with the first feature. The larger budget has enabled him to enhance his stylistic approach to the storytelling, and also smartly craft a narrative where the boundaries between what is real, and what is a hallucination are that more refined. The film, which can also function as a dark interpretation on mental illness and guilt, smartly weaves reality and the illusions the entity creates in Naomi's life almost as a single thread, creating progressively more challenging situations for Naomi, as she tries to make sense of all that is happening. It's all the more praise worthy for Parker Finn the fact that he avoids showcasing the entity, as that eventually takes away the ambiguity of everything he's been staging throughout the narrative (what is real, and what has been an illusion). The disturbing aspect of the film lies precisely in the fact that the unexpected occurrences that take place, happen to those who surround the protagonist, and she can't control anything that is unfolding. By the time the entity does make its appearance, it's something that is almost anti-climactic, since its power was defined by the fact that it was unseen, and apparently everywhere, controlling everyone. The film could have benefitted from additional character development, as Skye feels slight, the same going for the supporting characters, of which Elizabeth the mother, had some potential to be further explored. The cast is impeccable, particularly the trio of Naomi Scott, Rosemarie DeWitt and Peter Jacobson. They bring these characters to life and make them palpably exist, particularly Naomi Scott, who has a chance to really stretch her skills and sink into a substantial lead role. The production team is equally solid, including Charlie Sarroff's cinematography, Cristobal Tapia de Veer's score, and Alexis Forte's costumes. Highlights also go for the special makeup effects which are truly memorable. Worth watching. 

Love Lies Bleeding

Movie Name: Love Lies Bleeding
Year of Release: 2024
Director: Rose Glass
Starring: Kristen Stewart, Katy O'Brian, Ed Harris, Jena Malone, Dave Franco, Anna Baryshnikov, Orion Carrington, Keith Jardine, Tait Fletcher, Jerry G. Angelo, Eldon Jones
Genre: Drama
Score out of ten (whole numbers only): 7
Watch it on Amazon

Synopsis and Review

Following her well received feature directorial debut, "Saint Maud", "Love Lies Bleeding" is Rose Glass's sophomore directorial endeavor. The narrative focuses on the story of Lou, a young woman who manages a small gym, located in a small town of New Mexico, in the late 1980s. She has stayed in town due to her family ties, particularly her strong bond with her sister Beth, though she maintains a strained relationship with her father Lou Sr.. Her life suddenly changes when Jackie comes to town. She's a bodybuilder, preparing for a competition in Las Vegas and starts training at the gym. Their mutual attraction is palpable, and they soon move in together. Jackie starts using more steroids to increase her training output, while Lou's family life takes a dark turn when her sister Beth is brutally beaten by her husband JJ. Jackie, who also harbors resentment towards JJ, upon witnessing Lou's despair over her sister's state, goes to Beth and JJ's home, and kills him. Lou discovers what has happened, and fears for Jackie's arrest. She decides to get rid of the body, and pin that death on her father, who is a crime lord in the area. They dump the body and JJ's car down a ravine, which attracts authorities to the area, where other criminal activities have happened. Events continue to escalate soon after, with Lou Sr. getting involved, and Jackie more and more out of control. 

There's much to admire in "Love Lies Bleeding", starting with the co-writer/director's ability to bring to life the small town vibe in which the film takes place. There's a vividness to that small town, both in terms of its geographical footprint, but also on its minimizing aspect it seems to create in these characters, making everyone's ambitions and dreams somewhat smallish. As if everyone fears moving beyond the confines of that small town, and everything they know and can trace by living there. In a way, Lou and Jackie's openly defiant queerness is the first sign of disruption on that small environment (in hindsight, there's something also noirish to that locale, similar to John Dahl's "Red Rock West" or even Dennis Hopper's "The Hot Spot"). Their relationship isn't secluded or hidden, it's unbashful, even as crime comes into play, and threatens to destroy whatever they have created. Both Lou and Jackie are complex characters, even if they exist within the confines of a pulp/noir narrative, something that makes their exchanges, both with each other and the supporting players, that much more enticing. It's a film that does fall into some clichés, namely with the victimized sister and the gangster father, but it manages to do so with conviction, and with an energy that still makes these characters feel lived in and somewhat authentic. The cast is fantastic, with highlights going to Kristen Stewart, whose career is taking a direction that is both unexpected and rewarding, the always solid Ed Harris, Dave Franco, and Katy O'Brian. The production team is equally solid, particularly the fantastic score from Clint Mansell, Ben Fordesman's cinematography, and Katie Hickman's production design. A solid and unexpected film worth watching. 

Take Shelter

Movie Name: Take Shelter
Year of Release: 2011
Director: Jeff Nichols
Starring: Michael Shannon, Jessica Chastain, Shea Whigham, Tova Stewart, Kathy Baker, Katy Mixon Greer, Robert Longstreet, Heather Caldwell
Genre: Drama
Score out of ten (whole numbers only): 7
Watch it on Amazon

Synopsis and Review

Following his auspicious debut with "Shotgun Stories", writer/director Jeff Nichols released his sophomore feature "Take Shelter" at the Sundance Film Festival of 2011, and later on took the film to the Cannes Film Festival where it won the Critics Week Grand Prize. The film follows the story of a family living in Ohio, where the father, Curtis, starts getting haunting nightmares. He also starts listening and having visions of storms and dark rain, all things he doesn't disclose or share with his wife, Samantha. The family is also dealing with their young daughter's deafness, the isolation that is creating in her, and also trying to find a medical option for her. Custis as a result of the intense dreams and what he has been witnessing, sets in motion a plan to expand the storm shelter he has in the backyard. He also starts isolating himself more and more, and puts his job in jeopardy by using material from the company for personal use. Fearing he may be falling prey to paranoid schizophrenia as was the case with his mother, he goes and visits her to understand more about symptoms, all the while researching more about the ailment itself. He also starts seeing a counselor, since his fears escalate further and further. Samantha and Curtis have an explosive confrontation when she discovers all that is taking place with the shelter, and he later confides in her everything that is taking place. Curtis loses his job when the owner of the company discovers he took the equipment, endangering the business itself, and that also impacts one of his close friends who grows resentful of Curtis' attitude. As Samantha and Curtis seek psychiatric help for him, a tornado sparks all the fears that Curtis has been obsessing about.

"Take Shelter" amply demonstrates Jeff Nichols' ability for powerful storytelling, something he further demonstrated with "Mud", "Midnight Special" and "Loving". He is able to progressively illustrate how Curtis' fears and obsessions start to taint how he lives, his relationships, his professional life, and how they bring to the surface the past, particularly his family life that was forever impacted by mental health issues. Nichols' is also able to create an environment where we, the audience, doesn't really know if Curtis is having premonitions, or if he is indeed losing his mind, and having hallucinations. It's a narrative that flows in a way that is both riveting, but also devastatingly human, since we never know if we're witnessing the unraveling of someone's mental state, or if he is indeed forecasting a terrible disaster. He spends enough time with all these characters to make them grounded in the universe that he has created, with all of them coming across as an embodiment of people living in that area of the country, with their ambitions, challenges, and connections. The story ends up particularly focusing on Curtis' point of view, leaving Samantha's perspective somewhat limited, which is where the narrative could have been further developed, but overall it is peppered with substantial and meaningful details, giving a sense of authenticity to everything that is taking place. The cast is superb, with Michael Shannon, Jessica Chastain, and Shea Whigham all delivering solid performances. The production team is also effective, particularly David Wingo's score, and Adam Stone's cinematography. It's a solid feature, worth watching. 

Love Actually

Movie Name: Love Actually
Year of Release: 2003
Director: Richard Curtis
Starring: Emma Thompson, Hugh Grant, Alan Rickman, Colin Firth, Bill Nighy, Liam Neeson, Laura Linney, Gregor Fisher, Martine McCutcheon, Kris Marshall, Keira Knightley, Andrew Lincoln, Chiwetel Ejiofor, Martin Freeman, Heike Makatsch, January Jones, Elisha Cuthbert, Thomas Brodie-Sangster, Rodrigo Santoro, Lucia Moniz, Billy Bob Thornton, Rowan Atkinson, Ivana Milicevic, Joanna Bacon, Adam Godley, Olivia Olson, Claudia Schiffer, Nancy Sorrell
Genre: Drama
Score out of ten (whole numbers only): 5
Watch it on Amazon

Synopsis and Review

"Love Actually" is celebrated writer Richard Curtis' feature directorial debut, following more than a decade of turning out memorable scripts and characters, including features such as Mike Newell's "Four Weddings and a Funeral" and Roger Michell's "Notting Hill", and TV Shows such as "Blackadder" and "Mr. Bean" which he developed with his usual collaborator, Rowan Atkinson. "Love Actually" is a collective of stories, where some characters do crossover to other narratives, but not all are immediately connected. Billy Mack is a rock star now in his 50s who is trying to get a number one single for Christmas with a redo of "Love in All Around" (originally from the Troggs, but which Wet Wet Wet made even more popular in 1994). Billy is outspoken, colorful and not everyone's cup of tea, but his manager Joe adores him and sticks by him through and through. Juliet is a young bride, whose husband Peter has asked his best friend Mark to videotape their ceremony. While Juliet and Peter believe Mark dislikes Juliet, as it turns out, she discovers that he has in fact been in love with her. Jamie is a writer who discovers his girlfriend fooling around on him with his brother. Crushed, he decides to go his French cottage where he meets the Portuguese housekeeper, Aurélia, who doesn't speak a word of English. They both become enamored with each other even with the language barrier. Harry is married to Karen, but lately has been drawn more and more to Mia, his secretary, who flirts with him openly. He decides to get her a special Christmas present, which Karen discovers, and wrongly assumes it is for her. Upon discovering that it's not, she understands what is happening, and is crushed by the betrayal. Karen't brother, David, is the UK's recently elected Prime Minister, and is single. He becomes interested in one of the members of his staff, Natalie, even if there may have been a slight inappropriate situation between her and the President of the US. In the meantime, Daniel, a close friend of Karen's, is mourning the death of his wife, while taking care of his stepson Sam. Sam has fallen in love with an American classmate, whom he discovers is leaving very soon. Also connected with these stories is Sarah and Karl. They both work at Harry's company, and are deeply infatuated with each other, however Sarah's life is consumed with taking care of her brother Michael who has mental issues. In the meantime, young Colin Frissell, following an inability to romantically connect with women in London, decides to go to the US, where he soon finds himself in a bar, surrounded by lovely young women. Finally, John and Judy are stand-ins in films, and meet while doing a sex scene for a film. While initially slight and timid off-camera, their attraction grows, upon interacting outside the film lot. 

"Love Actually" may at a first glance seem like a mosaic of characters interacting in a meaningful way, a la Robert Altman and the way he achieved that type of great balance in "Nashville" and "Short Cuts" (not so much in "Pret-a-Porter"). However, as the description above indicates, the film almost feels like a collection of trading cards with barely passable characters, who get to interact with each other, most of the time without much substance or for that matter, any meaningful development. The film almost reads like a series of vignettes for a TV show, ones that are dying to be expanded upon in the following episodes, something that sadly never happens, since this isn't a TV show. As it is, this feels like a Hallmark type of snapshots, minus the sappiness or maudlin vibes, but with a lot more acting talent involved, but still something that feels undercooked. The best vignettes of the entire feature belong to Bill Nighy who is phenomenal as the aging rock star, and Emma Thompson of course, who manages to create a fully realized individual, alongside the equally great Alan Rickman. Their relationship feels frazzled, but also reveals how two people find themselves on different paths in life, and have to find a way to still connect and remain civil for the sake of their own children. Most of the other vignettes are populated with sketches, that while sweet and charming, are as light as fluff. The ensemble cast is top notch, with Laura Linney not getting enough screen time, and Hugh Grant peppering a bit of his charm all around. The production team is equally formidable, including Craig Armstrong's score, Michael Coulter's cinematography, and Jim Clay's production design. It's a film that has become a classic, but one that is surprisingly light in terms of depth or emotional resonance. 

Deidra & Laney Rob a Train

Movie Name: Deidra & Laney Rob a Train
Year of Release: 2017
Director: Sydney Freeland
Starring: Ashleigh Murray, Rachel Crow, Lance Gray, Danielle Nicolet, Sasheer Zamata, Arturo Castro, Tim Blake Nelson, Sharon Lawrence, Gage Bradley, Missi Pyle, Nick Moceri, Clement Bauer, Brooke Markham, Sabrina Haskett, Amanda Corbett, Kinna McInroe
Genre: Comedy, Crime
Score out of ten (whole numbers only): 6
Watch it on Netflix

Synopsis and Review

A release from Netflix which in all likelihood has flown under the radar, "Deidra & Laney Rob a Train" is a film which premiered at the Sundance Film Festival from 2017. The film follows the story of a family who suddenly sees themselves going through an extra hard time when the maternal figure ends up in jail. The oldest sister, Deidra, who excels at school and is planning to go to college, decides to rob a train, since the family is having to fend for themselves, and their father is of little help. Her goal is to get enough money to pay for bills and also to bail her mom out of jail. She decides to enlist the help of her sister, and a local and potential love interest to distribute the results of her looting. While everything starts to go well, soon her proclivities raise the suspicion of an investigator working for the train company, who comes to town to assess what has indeed been happening. 

"Deidra & Laney Rob a Train" is a film that doesn't take itself very seriously. It tackles issues of family disintegration and economic hardship in small towns, in a way that doesn't feel like a "statement" or that is trying to teach everyone a lesson on an important topic. Sadly though, it's also a film where the limited budget does come across on the storytelling and what the director is able to illustrate. For the most part the director smartly captures the relationship of the older siblings with a tone that feels authentic, where their challenges and also their complicity feels accurately represented. The film at times does come across as a TV pilot of sorts, and most of the characters are barely developed, but there's an undeniable charm and love for these characters, that makes this film watchable and easy to enjoy. It's lack of pretension, is also  something to compliment the creative team on how they tackle this narrative, as it would be fairly easy to fall into the trappings of poverty or misery porn. The cast is solid, with particular highlights going for the always fantastic Tim Blake Nelson, but also for the performances of Ashleigh Murray, Rachel Crow, Missi Pyle and Sasheer Zamata. The production team is unremarkable but serviceable. It's a little film that charms even with all its limitations. 

Destroyer

Movie Name: Destroyer
Year of Release: 2018
Director: Karyn Kusama
Starring: Nicole Kidman, Sebastian Stan, Toby Kebbell, Tatiana Maslany, Scoot McNairy, Bradley Whitford, Toby Huss, James Jordan, Beau Knapp, Jade Pettyjohn, Shamier Anderson, Zach Villa, Colby French
Genre: Drama, Crime
Score out of ten (whole numbers only): 3
Watch it on Amazon

Synopsis and Review

The creative team of director Karyn Kusama, and writers Phil Hay and Matt Manfredi, reunited for "Destroyer", following the well received "The Invitation" which premiered in 2015. The film follows the story of Erin Bell, a police detective whom we first encounter analyzing a crime scene of an apparent John Doe, in the metropolitan area of Los Angeles. The narrative then cycles back into the past, and presents us Erin and her FBI partner, Chris, infiltrating undercover a gang who deals in all sorts of criminal activities, including bank robberies. As it turns out, Erin and Chris fall in love, and Erin becomes pregnant as a result. Currently a very worn out Erin receives a package at the police station with a marked/stained dollar bill, which she assumes to have been sent by Silas, the head of the group she and Chris had gone undercover for 16 years before. In parallel with this rehash of the past that just bursts out of nowhere, Erin is also dealing with her teenage daughter, who refuses to engage much with her, preferring to listen to her adoptive father, Ethan. Her daughter, Shelby is dating a young man who controls her every movement, something that enrages Erin, but that she can't do much about, as their relationship is deeply fractured. As the unresolved issues of the past pop up once more, Erin has to deal with the threads and people she thought she had lost behind. 

"Destroyer" is one of those films that from a quick glance of its description, seems to have all the ingredients perfect for crafting a narrative about the grittiness of its central character, including her fall from grace and her seeking for atonement. It also, and from a slightly orchestrated point of view, seems to be a project tailored for an actress who wants to showcase "range" and who wants to demonstrate just how raw she can go to illustrate a completely torn and emotionally destroyed character. In essence, an attempt at replicating what Patty Jenkins did with "Monster", which shattered everyone's impressions of Charlize Theron as an actress, and demonstrated what kind of a performer she actually is. While "Monster" isn't a particularly successful film, it does have a towering performance that sips through the entire film, adding a sense of authenticity and urgency to each and every one of its frames, something that "Destroyer" sadly can't replicate. That's where the film has its biggest challenge, with its attempt at being gritty and realistic, it can't help but feel as an amateurish perspective on the topics that is trying to illustrate. The film lacks conviction, and in order to pack a true punch there has to be believability in what's being illustrated, something that this film never truly reaches. Most of the characters are barely contextualized or illustrated, rather functioning as background sketches for Erin, who by the way, also gets very little in terms of dimension. We barely get an inkling of who she is, aside from her penchant for not bathing, not sleeping, and being haunted by her memories. The cast tries their best to bring these characters and situations to life, but the film just fails to deliver them the appropriate backdrop for their talents. Nicole Kidman who is typically fearless in her roles, feels terribly miscast here, creating a cerebral interpretation of what a destroyed individual looks like, but where very little emotion of any kind comes across. Tatiana Maslany ends up being the most interesting performer, even if her screen time is very limited. The production team is uninspired, save for Theodore Shapiro's musical score, which is a highlight. It's a forgettable endeavor for everyone involved. 

Godzilla Minus One

Movie Name: Godzilla Minus One
Year of Release: 2023
Director: Takashi Yamazaki
Starring: Minami Hamabe, Munetaka Aoki, Miou Tanaka, Ryunosuke Kamiki, Sakura Ando, Kuranosuke Sasaki, Yuki Yamada, Hidetaka Yoshioka, Rikako Miura, Yuya Endo, Kisuke lida
Genre: Adventure
Score out of ten (whole numbers only): 7
Watch it on Amazon

Synopsis and Review

"Gozilla Minus One" premiered on November of 2023 and soon became one of the best reviewed films of the year, winning in the process the Academy Award for best visual effects. The film takes place in 1945, towards the end of World War II. A kamikaze pilot by the name of Shikishima lands on Odo island, and states his plane has technical issues, but the lead mechanic suspects that the pilot wants to avoid his mission. Godzilla attacks the island, and only the pilot and the mechanic survive. Upon returning to a destroyed Tokyo, Shikishima learns his parents were killed, and he unsurely starts supporting a woman who is also completely alone, Noriko, who has also been taking care of an orphaned baby. Shikishima takes a job aboard a minesweeper, whose job is to dispose of mines left behind from the conflict. Godzilla in the meantime destroys several ships, however the US doesn't provide much assistance, due to ongoing tensions that also involve the Soviet Union. Godzilla's attacks in the meantime intensify, and the creature's fury is unleashed in Tokyo, specifically in the area of Ginza where Noriko works. As a result of the attack, Noriko is presumed dead, instilling in Shikishima a thirst for revenge. He and his team get involved in a plan to kill Godzilla, with Shikishima in particular leveraging the skills from the mechanic he engaged with before, to repair a fighter which he'll use to pack with explosives in order to kill the monster. 

What stroke me as particularly effective on Takashi Yamazaki's take on Godzilla was his ability to look beyond the gratuitous aspect of creating a monster film, to actually portray a vivid illustration on how Japan and its inhabitants were crushed after the devastating effects of World War II. He humanizes the terrors of war and its consequences on the survivors, but also on society itself, its infrastructure, and the arduous journey of rebuilding something, including the morale and sense of self for people and a country. The fact that he layers all these topics within a monster film is all the more reflective of his talents as a storyteller, since Godzilla's incursions in an already battered country, further signal for all these survivors, a chance to redeem themselves and to have a newfound meaning and bearing for the future. It's a smart film that layers all these topics very deftly, with the only stunted piece of development being the characters themselves, since all of them feel a bit inert from a dramatic standpoint (for the most part they lack a bit more dimension and nuance). Visually and stylistically the film looks impeccable, with the production team excelling, particularly Kozo Shibasaki's cinematography and Anri Jojo's production design. The visual effects are indeed fantastic, and it's a monster film that does not disappoint in that regard. The cast tries their best with the material they have, though Miou Tanaka is easily a highlight amongst the crew. It's an entertaining and smartly crafted film worth watching. 

Bacurau

Movie Name: Bacurau
Year of Release: 2019
Director: Juliano Dornelles, Kleber Mendonça Filho
Starring: Bárbara Colen, Tomás Aquino, Sonia Braga, Udo Kier, Silvero Pereira, Thardelly Lima, Rubens Santos, Wilson Rabelo, Carlos Francisco, Luciana Souza, Karina Teles, Antonio Saboia, Buda Lira, Clebia Sousa, Danny Barbosa, Edilson Silva, Eduarda Samara, Fabiola Liper
Genre: Action, Adventure, Drama
Score out of ten (whole numbers only): 7
Watch it on Amazon

Synopsis and Review

Following the well received "Aquarius", writer/director Kleber Mendonça Filho returned, this time around partnering with Juliano Dornelles, who was credited as a production designer in "Aquarius". The film premiered at the Cannes Film Festival of 2019, where it went on to win the Jury Prize of that year. The film takes place in the near future, in a small rural village in Brazil, in the area of Pernambuco. The matriarch of that community has passed away, and her granddaughter Teresa returns for the funeral service (and also to distribute some medication), after being away from the area for many years. The community is in the midst of also witnessing some unexpected events, firstly with a couple of bikers scouting the area very unexpectedly, the same thing for some sightings of UFO looking drones. Turns out there's a dispute over water rights from the local river. The corrupt mayor of the area has some pernicious plans in motion, including leveraging some international mercenaries to eradicate the locals. As the mercenaries go about killing the locals, the community resorts to their connections, and turn the tables on the outsiders.

"Bacurau" benefits from perfectly illustrating a small, isolated but deeply connected rural community in Brazil, one where the ties that bind everyone together are deeply rooted. The film vividly depicts a way of life that for many may be somewhat alien, but that still exists very much to this day: one that is communal, spirited, where the survival of the community is rooted on its natural resources, which are as much part of the community as the people itself. The river, the water that brings life to the community, is as essential to them as the people who live within the area. And while it would be easy to dismiss this film as a reflection on how modernity, the digital world, can and will clash with a more rural and traditionally rooted way of life, the film does introduce the fact that the community isn't unaware of the outside world or completely anachronistic with it. They choose how they consume the modernity of the world around them, how it becomes part of how they live. It's a film that is simultaneously insightful in how it captures a different way of living, with characters that are unmistakably from the area (even if the characters themselves are not that developed), but that eventually turns into a modern take on a vengeance western, where those fighting for their way of life and for their own place, brutally clash with those who never understood them, and simply wanted to purge them from the area. It's a slow burn that is filled with great details, smartly written, performed and brought to life. The cast is uniformly solid, though the film gives Udo Kier a great supporting character. The production team is solid, including Petro Sotero's cinematography, Thales Junqueira's production design, and score by Mateus Alves and Tomaz Alves Souza. Worth watching. 

The Square

Movie Name: The Square
Year of Release: 2017
Director: Ruben Ostlund
Starring: Claes Bang, Elisabeth Moss, Dominic West, Terry Notary, Christopher Laesso, Lise Stephenson Engstrom, Lilianne Mardon, Marina Schiptjenko, Annica Liljeblad, Elijandro Edouard, Daniel Hallberg, Martin Sooder
Genre: Drama, Satire
Score out of ten (whole numbers only): 3
Watch it on Amazon

Synopsis and Review

Director Ruben Ostlund has been on a winning streak since "Force Majeure" premiered in 2014. His following picture "The Square" won the Palm D'Or in 2017, and his most recent endeavor, repeated the feat, "Triangle of Sadness" which premiered in 2022. "The Square" follows the story of Christian, a divorced father of two, who is the director and chief curator for the X-Royal art museum in Stockholm. He has a new art installation for a forthcoming exhibit placed in the museum area, by the name of "The Square" and has commissioned an agency with creating a campaign who will drive more people to the museum, but also more patrons and donors. Simultaneously he has been apparently burglarized on a street scheme, where his phone, wallet and cufflinks were taken. He and his assistant manage to uncover the location of the phone (using the "find my phone" feature"), and decide upon a plan to force the robber to surrender the items. They go ahead with their plan, but a few days later his wallet and phone reappear in a package left for him at a 7-Eleven. In the meantime he has had a sexual tryst with a journalist by the name of Anne, who is interested in moving the relationship beyond the casual, something that Christian is not so engaged upon. Turns out Christian and Michael's plan had some unexpected results, and a young Arab boy confronts firstly Michael and then Christian with the aftermath of their actions: he states his family believes him to be a thief, and that now he's in constant trouble. He wants them to repair what has happened. In the meantime, a promotional and highly controversial reel for the new exhibit premieres online, generating waves of incredulity and shock towards the museum, which has an immediate impact on Christian's career.

The term satire is used very often when lofty and weighty themes are addressed, in a manner that is not dramatic, but not ostensibly comedic either. It's become in my opinion, a "warehouse term", something that is brandished around, when all other categories fail, but something still needs to be categorized. What I would deem solid satire or even comedic goldmine, is the work of Billy Wilder in so many of his films, where he was able to tackle some themes with snark and an incisiveness that defied and to this day still defies rivalry. "The Square" tries to be many things, and positions itself as a very smart reflection on how we currently live, and does so from the perspective from a very privileged and cultured individual in a very powerful position. The script takes stabs at the pretentiousness of art, at those who live in its periphery, and how that becomes an excuse for nonsensical behavior (case in point, Terry Notary's entire sequence), even at the point of certain grotesqueness of those same behaviors. There's also observations on ego driven males, the inability of shaping mature relationships, and even the state of society and its inequalities, and how even these latter topics are fodder for poorly created marketing campaigns. It's a list of hefty topics, all of which come tumbling down and at times crash with each other, in the life of a central character that at the end of a two and half hour film, still feels as underdeveloped and unknown as he was when the narrative was set in motion. In reality most of the characters who inhabit this narrative feel like an abstract concept, as if they try to minimally represent a persona without truly moving beyond a rather limited description. The film fails to capitalize on the cast that it assembles, with Elisabeth Moss and Dominic West in particular feeling lost and underused, though Claes Bang does his best to make Christian appear both self-involved but also sufficiently humane to illustrate his arc and attitude shifting during the feature. It's a film with lofty ambitions, most of which are not sufficiently realized, one where the apparent intelligence that seems to fuel it, only reveals some of the shallowness of the reflection itself (and not of the topics). It's a film that aims to be something that it ultimately unfulfilled. 

As Above So Below

Movie Name: As Above So Below
Year of Release: 2014
Director: John Erick Dowdle
Starring: Perdita Weeks, Ben Feldman, Edwin Hodge, François Civil, Marion Lambert, Ali Marhyar, Cosme Castro, Hamid Djavadan
Genre: Mystery, Horror
Score out of ten (whole numbers only): 4
Watch it on Amazon

Synopsis and Review

Following the exposure of his prior film, "Devil", which featured the involvement of writer/producer/director M. Night Shyamalan, writer/director John Erick Dowdle reunited with his brother once again to work on their follow up, which turned out to be "As Above So Below". Working with a modest budget, the film managed to eek out a good return on that investment, even if for the director he has mostly been working on TV shows since. The film follows the story of Scarlett Marlowe, who is a scholar/archeologist of sorts, who is following on the footsteps of her father, who was searching for the Philosopher's Stone (that stone can reputedly turn base metals into gold and also grant eternal life). While in Paris she uncovers what she thinks may be the location of the stone in the catacombs of Paris. She recruits her former boyfriend George, to help with possible translations, and Benji, to be a cameraman and record the entire journey. Along the way and due to their limited knowledge of the catacombs, they enlist the help of Papillon, his girlfriend Souxie, and their friend Zed, since they are quite familiar with that maze. As the group gets into the catacombs, Scarlett indicates they should take a certain route, something that Papillon advises against, since the people who take that particular route never reappear. While they decide to take a different direction, by sheer force of circumstances they find themselves right back at that juncture, and they're forced to go through anyway. As they progress they encounter La Taupe, one of Papillon's missing friends, who is acting quite differently, and eventually get to a tomb that features a preserved Templar Knight. They also uncover the stone, however when one of the group tries to take some of the treasure that is stored in the tomb, traps are set in motion. Everything gets progressively more dangerous as the group tries to get out of the catacombs. 

"As Above So Below" benefits from John Erick Dowdle's ability to effectively capture a claustrophobic environment from which the characters seem unable to escape. As they progress further down the rabbit hole of the catacombs, it does indeed seem like they are walking the different circles of Dante's Hell, something that is reinforced by the strategically supernatural elements that appear and disappear more frequently. Sadly this turns out to be when some of the lack of a strategy to the script starts to make it's cracks more visible. Firstly the characters are one-dimensional, which is something that is never properly addressed, with the addition that the supernatural elements are treated in the fashion of "blink and you missed it", and finally the mythology of what is being sought after, which brings to mind Steven Spielberg's "Indiana Jones and the Last Crusade", is handled with far less context or for that matter, gravitas and therefore its pursuit always feels inconsequential. The director manages to introduces a sense of unease, but not one of impending doom, which is indeed what the film needed to create. At times the feature comes across as a cross-fit video gone wrong, and not exactly a film about obsessively pursuing something that is life-changing, or realizing the meaning of what is taking place. The lack of maturity of the characters is echoed in the lack of depth of the script itself. What is indeed left, is a film that has its moments of placing a series of characters in a fish out of water situation, that they somehow have to find the resources within themselves to vanquish (there's even faint echos of Peter Filardi's script from "Flatliners" here). The cast sadly isn't very memorable, though the production team is efficient in staging the environment, including Léo Hinstin's cinematography and Louise Marzaroli's production design. It's not a flat out terrible endeavor, but it is a film that could have gone much further. 

Time Cut

Movie Name: Time Cut
Year of Release: 2024
Director: Hannah Mcpherson
Starring: Madison Bailey, Antonia Gentry, Michael Shanks, Griffin Gluck, Megan Best, Samuel Braun, Sydney Sabiston, Kataem O'Connor, Rachael Crawford, David Lawrence Brown, Adam Hurtig, BJ Verot, Jordan Pettle, Graham Ashmore
Genre: Mystery
Score out of ten (whole numbers only): 0
Watch it on Netflix

Synopsis and Review

Another "Netflix" exclusive release, "Time Cut" is Hannah Mcpherson's feature directorial debut, following considerable directorial work across a variety of TV shows, shorts and even an experiment of shooting a film leveraging Snapchat ("Sickhouse"). The film follows the story of Lucy Field, a high school student and amateur inventor, who lives in the shadow of her sister who was brutally murdered 20 years ago. On the day she and her parents celebrate the life of her sister, she notices flashes of light coming from a nearby barn, where she accidentally uncovers a time machine, and is sent back to 2003, two days before the killing of her sister. When she realizes what has happened, she locates her sister who is still alive, and her parents, who at this time have no idea of her existence, since she was born after the dramatic death of her older sister. Lucy goes to her high school, where she tops a vicious prank from occurring, with the target being Quinn, whom she befriends, and in whom she confides the truth about where she came from and why she needs to find a way to go back. She and Quinn are not able to save Val and Brian, who fall prey to the Slasher murders, but they do prevent the same fate from occurring to Emmy, another of Summer's friends. Lucy eventually tells the truth about all the killings to both Quinn and Summer, as the latter is the next victim, and they must do something to prevent the killing from occurring. 

If the subject matter for "Time Cut" feels eerily familiar, that's because Amazon Prime released "Totally Killer" from director Nahnatchka Khan in 2023, with a surprisingly similar premise. "Time Cut" is a somewhat inert film in many regards, and is devoid of much of the sense of humor and even charm that "Totally Killer" had. The biggest issues with the film are both its tone and character development. On one hand the director can't decide if this is a slasher film, with traces of the "Fear Street" trilogy or even "The Babysitter", but without any of its humor, or if this is supposed to be a light drama about a teenager trying to find her own place in life, when her parents don't pay that much attention, the same going for apparently everyone else in her life. Ultimately the film is slim in its offerings, failing to succeed in the slasher department, and also failing in the character development arena, since most characters are wooden and have no dimension to them (the parents for instance are generic plastic models with a pulse, with no relevant personality that can be traced). It's a film that tries to check many boxes (bullied teen, sexual orientation, distant parents, and the list goes on), but it feels amateurish in its illustration of the most banal scenes, and shorthanded in the depth of the characters that it depicts. The acting is subpar from the entire cast, and sadly the production team can't do much to elevate this material. This is probably one of the worst releases coming from Netflix's factory. Avoid.  

Maxxxine

Movie Name: Maxxxine
Year of Release: 2024
Director: Ti West
Starring: Mia Goth, Elizabeth Debicki, Giancarlo Esposito, Michelle Monaghan, Bobby Cannavale, Simon Prast, Kevin Bacon, Sophie Thatcher, Lily Collins, Moses Sumney, Halsey, Chloe Farnworth, Albert Kong, Taylor Kowalski, Pegah Rashti, Deborah Geffner
Genre: Crime, Horror
Score out of ten (whole numbers only): 6
Watch it on Amazon

Synopsis and Review

Following the critical success of "X" and "Pearl", writer/producer/director Ti West returns with what is supposedly the caper of this series of films. Following the events that took place in "X", Maxine Minx is now in Los Angeles where she has become a well known adult film actress. We first encounter her on a casting/audition where she's going for the lead role in celebrated director Elizabeth Bender's new film. She's trying to crossover to legitimate films, and she sees this is as her big break. In the meantime, Los Angeles is under fire with the cloak of the Night Stalker murders highjacking everyone's attention and frightening everyone. Maxine who also works at a live peep show, gets an invite from another performer to go to a party up on the Hollywood Hills. Amber and Tabby, both adult entertainers and friends of Maxine are killed, and two LAPD detectives, Williams and Torres, question her about her knowledge of where they were going and who were they interacting with. Maxine in the meantime is tracked by a private detective who mentions his knowledge of what happened a few years back when she and her friends tried to make an adult film, which resulted in multiple deaths and her being the sole survivor. Maxine decides to confide in her agent of what is happening, and he reassures her all she has to think about is her next big break, since he will take care of everything else. The private detective by the name of Labat, is the first one to be tackled. 

One of the most interesting things about "Maxxxine" is how Ti West manages to vividly bring to mind the artful environment of some of the most interesting (and B-movie inspired) films of the 80s, namely Brian De Palma's "Body Double" and William Friedkin's "To Live and Die in LA". The influences of these films are heavily felt, which has its positive aspects in terms of context and environment definition, but also steal "Maxxxine" itself from a personality of its own. The film is almost too referential, and too restrained for its own good (the film at times also brings to mind episodes of Anthony Yerkovich's "Miami Vice"), begging for some bursts of a point of view of its own, a bit like Nicolas Winding Refn has been doing with some of his feature films. The characters are not as vividly captured this time around, as they were on the prior films of this series. Maxxxine in particular comes across more one-note than previously, whereas the supporting characters don't have much nuance, aside from the private detective portrayed by Kevin Bacon, who feels at home here and even on any noir (even on Curtis Hanson's "LA Confidential"). The central character needs more of a jolt of energy, similar to what the wonderful Nancy Allen created in Brian De Palma's "Dressed to Kill". As it is, Mia Goth for all her talent creates a darker version of Maxine, that transpires into the whole energy of the film. The supporting cast is uniformly solid, with Elizabeth Debicki, Giancarlo Esposito, Michelle Monaghan, Bobby Cannavale, and the always fantastic Kevin Bacon, providing superb support and bringing the characters to as much as life as possible. The production team is solid, including Eliot Rockett's cinematography, Jason Kisvarday's production design, and Mari-An Ceo's costume design. It's an entertaining film and one worth watching, but not as indelible as the prior films in the series.