The Boxtrolls

Movie Name: The Boxtrolls
Year of Release: 2014
Director: Graham Annable, Anthony Stacchi
Starring: Ben Kingsley, Jared Harris, Nick Frost, Richard Ayoade, Steve Blum, Dee Bradley Baker, Max Mitchell, Tracy Morgan, Nika Futterman, Pat Fraley, Fred Tatasciore, Isaac Hampstead Wright, Elle Fanning, Maurice LaMarche, James Urbaniak, Brian George, Toni Collette, Simon Pegg
Genre: Animation, Comedy
Score out of ten (whole numbers only): 4
Watch it on Amazon

Synopsis and Review

Following the success of both "Coraline" and "Paranorman", Laika studios followed suit with another unique endeavor, "The Boxtrolls", which premiered in 2014 to middling reviews and a tepid box office. The narrative of the film focuses on subterranean trolls, who live in the town of Cheesebridge in the country of Norvenia. Archibald Snatcher, an ambitious and ruthless citizen of that city strikes a deal with the city's leader to exterminate every boxtroll, as long as he can finally move socially upwards and become a member of the city's cheese-loving council. The boxtrolls unlike the rumors that have plagued them, are actually peaceful and ingenious creatures. They develop inventions with scrap and discarded items which the general population abandons. A human boy by the name of Eggs lives with them, and has been looked after by a boxtroll named Fish. As Eggs grows up he notices the disappearance of the boxtrolls at the hands of Archibald Snatcher. When Snatcher captures Fish, Eggs decides to come to the surface to save him. He realizes everyone's perception of the boxtrolls is distorted, and he eventually follows Winnie, Lord Portley-Rind's daughter, who desperately seeks her father's attention. Winnie informs Eggs of the location of Snatcher's headquarters, where he manages to save Fish, only for both to be captured once more in their escape.

What's always been a remarkable trait across all of Laika's films, is how well written all their narratives are. Going back to their start, "Coraline" was adapted from the Neil Gaiman story by Henry Selick, while Chris Butler authored "Paranorman". These features were not afraid to tackle some darker and somber motifs in their plots, even if their output has always been firstly intended for children. "The Boxtrolls" which is written by Irena Brignull, Adam Pava and Alan Snow, is the first of their features where there is a distinct lack of a central point of view for the hero of the narrative (and also where the central hero is uncertain, is it Eggs or is it the group of boxtrolls), which makes the overall thread murkier, on top of which the writers don't necessarily seem to know what do with the boxtrolls themselves. Meaning: they're not exactly depicted as funny sidekicks, nor are they depicted as the lead of the story, they mostly come across as an unfairly maligned group, who also refuses to change their own perception, independently of what happens to them. There's some sparkles of inspiration from Victor Hugo's "The Hunchback of Notre Dame" in here (the haunted pseudo monster who turns out to be sweet and kind), but the story fires in so many different directions (Eggs, Winnie, the boxtrolls, Archibald, Lord Portley-Rind), that it makes the narrative a disheveled porridge. Another problematic aspect of this narrative is the fact that the directors and writers ultimately fail to make any characters truly likable. This latter aspect is problematic, since there's an uneven balance in the narrative between the monstrosity of the villainous Archibald Snatcher, and the passivity of the boxtrolls and their pseudo savior embodied by Eggs. These aspects of the writing really undermine the appreciation of what is otherwise a very beautifully designed feature, one where the production team provides great craftsmanship, including art direction from Curt Enderle, production design from Michel Breton, August Hall, Paul Lasaine, and Tom McClure and also the score from Dario Marianelli. It's not by any means a terrible film, but it's a minor effort from a studio and creative team that has done remarkable work. 

No Hard Feelings

Movie Name: No Hard Feelings
Year of Release: 2023
Director: Gene Stupnitsky
Starring: Jennifer Lawrence, Andrew Barth Feldman, Matthew Broderick, Laura Benanti, Natalie Morales, Scott MacArthur, Ebon Moss-Bachrach, Kyle Mooney, Hasan Minhaj, Jordan Mendoza, Amalia Yoo, Alysia Joy Powell
Genre: Comedy
Score out of ten (whole numbers only): 3
Watch it on Amazon

Synopsis and Review

"No Hard Feelings" is Gene Stupnitsky's sophomore directorial effort following "Good Boys", which was a middling commercial success in 2019. The film follows the narrative of Maddie Barker, an Uber driver and bartender in the area of Montauk. She's constantly infuriated at the fact that so many people have invaded the area, raising the cost of living for the ones who've been living there all along. She's also facing bankruptcy since she's unable to pay property taxes on the home she inherited from her mother. She loses her car due to that, which makes her life that much more complicated (she's unable to Uber drive). She and her friend Sara brainstorm ideas on how to solve her issues, until they come across an ad on Craigslist. The posting, hailing from a well off couple, Laird and Allison Becker, want someone to date their 19 year old son, as he's somewhat anti-social and removed from everyone in the area. In exchange for the service they're surrendering a Buick Regal. While both parents are surprised by the fact that Maddie is a bit older than they anticipated (she's 32), they all agree with the plan of having Maddie trying to seduce Percy. She initially tries to flirt with him at the animal shelter where he volunteers, but that doesn't go so well. When she volunteers to give him a ride home, he mistakenly thinks she's kidnapping him, and pepper sprays her. Maddie is however intent on getting that car, and keeps pushing onwards. Percy in the meantime also starts realizing Maddie has some intimacy issues and keeps man at bay as a result.

"No Hard Feelings" tries to fill the gap for the raunchy sex comedy void, a genre that existed in the early 80s (Bob Clark's "Porky's" springs to mind immediately), but that nearly much vanished since then. The immediate problem with the film is that while trying to be economical in the way it describes its characters, it also provides very little in terms of giving more substance or nuance on who they actually are. Maddie is mostly described and showcased as tightly wound, guarded and somewhat angry at the world, while Percy on other hand, he is showcased as overly sheltered and apparently oblivious to most social interactions. And while this dichotomy between the both of them initially has some awkward and funny moments, it also runs out of steam pretty quickly. Essentially because for all its risqué moments, the film tries to wrap the narrative around the tropes of a romantic comedy, as if the filmmakers are saying "this may be outrageous, but there's a beating heart here, and everyone just wants to be loved and understood". The problem with this approach it's not so much the tortuous way it gets to its point, but the fact that the filmmakers are afraid to truly be outrageous and show a bit more of just how people actually are. Unlike the initial films from the Farrelly brothers, Gene Stupnitsky's moves in this film are somewhat sanitized and therefore the characters are never really memorable, since while some of their actions are indeed appalling, no one wants to be labeled in a certain way, and therefore all actions have to ultimately fall into the romantic comedy genre, where every character is always redeemable. And while operating within the confinements of a genre can provide some interesting results, this film ultimately can't find its footing or its tone. The cast tries their best with the material, including Jennifer Lawrence's no filters approach to the role, which adds very little to her portfolio of characters, the same going for Matthew Broderick who is completely wasted in this role. The production team's work on this film is also fairly unimaginative and memorable. It's ultimately a forgettable endeavor. 

Blue Beetle

Movie Name: Blue Beetle
Year of Release: 2023
Director: Angel Manuel Soto
Starring: Xolo Mariduena, Bruna Marquezine, Damian Alcazar, Elpidia Carrillo, Adriana Barraza, George Lopez, Belissa Escobedo, Susan Sarandon, Harvey Guillen, Raoul Max Trujillo, Jorge Jimenez, Gabriella Ortiz, Modesto Lacen
Genre: Action, Adventure
Score out of ten (whole numbers only): 6
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Synopsis and Review

Though Warner Bros. and its comic book arm specifically tied with DC comics is currently going through a complete overhaul, "Blue Beetle" is one of the projects that gestated before this rethinking of those properties began. The narrative of the feature focuses on Jaime Reyes, who is a recent college graduate and is returning to his hometown of Palmera City. His family shows up at the airport to pick him up and he soon realizes that they are dealing with serious financial challenges. His sister Milagro finds him a job doing menial tasks around Victoria Kord's mansion. Victoria is the CEO and co-founder of Kord Industries, a huge corporate entity, employing thousands of people and is currently at odds with her niece Jenny, who disputes the direction the company is taking. Following a heated argument between Victoria and Jenny, Jaime decides to intervene, which results in him getting fired. Jenny asks him to show up at the corporate headquarters, since she'll find him a different job. The following day an eager Jaime shows up at Kord Industries, while Jenny is becoming aware of what her aunt is doing with an alien artifact by the name of Scarab. Refusing to let that technology be used for armament, Jenny steals the alien device, and seeing little options in escaping with it, she gives it to Jaime, and asks him to leave, not to check what it is, since she'll pick it up at his place later on. However when Jaime gets home and upon much discussion with his family, they play around with the Scarab, until it latches itself on to Jaime and actually fuses with his body. The device has all sorts of technological enhancements and capabilities, which renders Jaime completely surprised. He seeks out Jenny for answers on the Scarab and how to get rid of it, only for Victoria to realize what has happened, and for her and her team to start chasing him and his family.

"Blue Beetle" is Angel Manuel Soto's sophomore directorial effort, following his well received feature debut "Charm City Kings", and a series of varied shorts he directed since 2011. And for the most part, it's a film that is watchable and fairly engaging, since while operating within the confinements of the super hero genre, it still manages to have its own identity and fingerprint. It is a genesis story for this super hero, but this time around the screenwriter Gareth Dunnet-Alcocer, focuses on the latest incarnation of a super hero character that was originally created in 1939. The most successful aspect of this film is the fact that it ties the experience of this central character and his coming around to being a super hero, to the fact that he experiences all these events while being closely guarded by his protective family. There are plenty of clichés that are thrown around (such as the passing of a loving family figure which distills in the hero the sense of responsibility and perseverance), and the characters themselves are thinly rendered, including the villainous opponents, but overall the film manages to have a sense of humor and benefits from the chemistry that exists between all the actors playing the family unit. There are limitations in terms of the arc the characters experience, and of course the clichés they all get to embody (the uncle who is a comic relief, the grandmother who is more than she seems, the snarky sister, the list goes on), but there's something particularly interesting about this particular film: the family may be a cliché, but they have a heart and there's a sense of bonding between them all. Also the fact that this is a Latino family, and therefore this is a story told from their point of view, also gives this hero a distinct and unique point of view. The cast for the most part manages to bring this story to life, particularly the combination of Adriana Barraza, George Lopez, Damian Alcazar and Elpidia Carrillo. And while the younger actors aren't particularly memorable, neither is Susan Sarandon't unfortunate presence as the villainous figure (she doesn't really bring anything particularly memorable to the role, why not try an unexpected presence such as Marcia Gay Harden or Olivia Colman). The production team is impeccable, including the impeccable score from Bobby Krlic, cinematography from Pawel Pogorzelski, costume design from Mayes C. Rubeo and production design from Jon Billington. It's an unpretentious and watchable action film. 

Napoleon

Movie Name: Napoleon
Year of Release: 2023
Director: Ridley Scott
Starring: Joaquin Phoenix, Vanessa Kirby, Tahar Rahim, Rupert Everett, Mark Bonnar, Paul Rhys, Ben Miles, Riana Duce, Ludivine Sagnier, Edouard Philipponnat, Miles Jupp, Scott Handy, Youssef Kerkour, John Hollingworth, Julian Rhind-Tutt, Sinead Cusack, Harriet Bunton, Julian Wadham, Catherine Walker
Genre: Drama
Score out of ten (whole numbers only): 3
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Synopsis and Review

The prolific Ridley Scott is back, following the troubled releases he had in 2021, with "The Last Duel" and "House of Gucci" both failing to find support with audiences (though at least "The Last Duel" had some middling reviews). He reunites once again with screenwriter David Scarpa whom he worked with on "All the Money in the World". This time around the focus of their narrative is Napoleon Bonaparte, whom we first encounter witnessing the beheading of Marie Antoinette during the French Revolution. With the incentive and support from Paul Barras, Napoleon manages to storm the city of Toulon and expel the British from that port. He's rewarded for his leadership and soon while in Paris, becomes acquainted with Joséphine de Beauharnais, a young widow who captures his attention and heart. They soon marry, and while profoundly in love with her, they are unable to have children. Napoleon is soon in Egypt, expanding the French Empire, in an expedition where he's a victor. He learns however that Josephine has been unfaithful, and decides to return to Paris. They quarrel and while the relationship almost dissolves, they manage to stay together. In the meantime Bonaparte is being groomed by others in the Republic, to effectively take over, much like classic Rome, and be part of a triumvirate. That soon happens, and Bonaparte becomes First Consul. His ambitions keep propelling him, soon landing him with the title of Emperor, eventually leading him to battle the Austrians and the Russians, whom he defeats at the Battle of Austerlitz. While his military excursions prove successful, at home the friction increases, since Josephine is unable to get pregnant, and Napoleon soon discovers the issue doesn't lie with him, since he impregnates a young woman. He divorces Josephine, though his passion for her does not waver. 

These days I go into Ridley Scott's films with a certain amount of trepidation, since most of his features have been in my opinion, an array of missed opportunities. The latest of his cinematic experiences I've actually enjoyed was "The Martian", adapted from the book by Andy Weir. I've come to realize that the most successful films from this director, aren't just the ones with solid scripts (the "Blade Runner" script had its fair share of issues, and it's a great film), but the ones where he manages to bring the environment/context in which his characters live in, as an additional character of the feature itself. He's not a director particularly worried in tapping the undercurrents or subtleties of characters, he paints with broad strokes, giving the central characters what he believes to be enough to make them interesting, but always interested in the larger canvas. The problem with tackling a complex character such as Napoleon, isn't solely deciding on the time period that is going to be the focus for the feature, it's how to bring such a divisive character to life, making sure that this persona, his passions, his abilities get properly illustrated (or at least hinted at). This script sadly fails to deliver across the board: this feature isn't meant to be by any means a documentary but the character is never given much in terms of arc, or for that matter, in terms of showcasing his accomplishments beyond what is depicted in some wars. The supporting characters get even less of a dimension in this epic: Josephine is showcased rather passively, including understanding her passions and what instigates her to adultery. And the political manipulators who surround Bonaparte are also minimized in their own motivations and even interactions (actually, come to think of it, the characters around Napoleon seem to be always in motion). For a film well beyond two hours, it brings no insight into the love story between these two characters, and as far as the battle scenes, they feel repetitive and already better explored in other Ridley Scott's films, such as "Kingdom of Heaven" and even the celebrated "Gladiator". Joaquin Phoenix as brilliant as he is, sadly composes this character with a detachment that is unlike him, opting to make the character rather observing and almost soporific. The supporting cast sadly has little to do, including Vanessa Kirby, Tahar Rahim, Sinead Cusack and Rupert Everett. The production team is also not that great, with Darius Wolski's cinematography not really working (the gray tones are just done at this point), though Janty Yates and David Crossman's costumes are impeccable. Oh and a personal pet peeve: this is indeed a film about an historical French figure, but that doesn't mean the film has to highlight some french songs to rub it in to the audience (we get it, Napoleon Bonaparte is French). It's not a disaster, but it's not a very interesting film either. 

Heart of Stone

Movie Name: Heart of Stone
Year of Release: 2023
Director: Tom Harper
Starring: Gal Gadot, Jamie Dornan, Sophie Okonedo, Alia Bhatt, Jing Lusi, Matthias Schweighofer, Paul Ready, Enzo Cilenti, Joe Reisig, Luca Fiamenghi, Jon Kortajarena, Archie Madekwe, Ruth Keeling, Glenn Close
Genre: Thriller, Action
Score out of ten (whole numbers only): 3
Watch it on Netflix

Synopsis and Review

Another release hailing from streaming giant Netflix, "Heart of Stone" aims to capitalize on the appeal of Gal Gadot's charisma and presence, which she put to good use in Patty Jenkins' first adaptation of "Wonder Woman" (and not so much on the sequel). "Heart of Stone" focuses its narrative on Rachel Stone, a secret agent whom we initially encounter on a mission field in the Italian Alps. Rachel as we soon realize, is a tech wizard,  while her colleagues handle the field assignments. They're at a ski resort to extract information from an arms dealer. Things don't go as smoothly as expected, but we soon realize Rachel isn't all that she's revealing to be. She's in reality working for the Charter, an agency focused on peacekeeping around the world, which operates in complete secrecy. This agency leverages an AI device with the title "The Heart", which provides unparalleled technical abilities and even predictive behaviors beyond anything anyone is currently using. Though she almost reveals her full identity in the Alps, Rachel and the MI6 team get deployed to Lisbon in order to pursue a lead that may pinpoint a larger conspiracy that is currently taking place. Things don't go very well in Lisbon either, with Rachel ultimately having to expose herself to her colleagues in order to save them. Sadly all that is for nothing, as she has a double agent within MI6, whose intent is to capture "The Heart" and pursue an agenda of his own.

I mentioned in some prior reviews that after David Leitch's well received "Atomic Blonde", there's been a slew of films trying to replicate the female-centric James Bond formula, without the success of that series or of "Atomic Blonde" for that matter. Tanya Wexler's "Jolt" with the fantastic Kate Beckinsale tried to put a spin on that formula, as did Navot Papushado's "Gunpowder Milkshake", not forgetting "Kate" from Cedric Nicolas-Troyan. All these films were met with tepid responses, since essentially they tried to emulate the muscular, testosterone fueled Bond/Bourne films, without giving the central characters much in terms of motivation, dimension or even detail. What worked so well in "Atomic Blonde", aside from Charlize Theron's performance and magnetism, was the fact that Lorraine Broughton was cynical, but also fallible, and able to fall for someone, sometimes with an ultimate goal, and sometimes out of pure sexual chemistry (independently of the gender of the person in question). Sadly "Heart of Stone" is another formulaic and bland action film, that fails to create a distinct personality for itself. The director fails to make a decision if it should be a B-movie, with the typical approach this type of film has towards its characters and situations (either by emphasizing the violence or sexiness or the twists of the narrative), or if it should be instead a slick and sophisticated spy/action film akin to James Bond. Ultimately while the film isn't necessarily poorly executed, it just has nothing that makes it memorable, including all the characters, all of which are poorly described and illustrated, including a villain that has some less than transparent motivations, and who also seems a bit lost in all that's taking place. As for Gal Gadot and her central character, there isn't much that is particularly memorable about it (the character or the performance). The supporting cast manages to make a bit more with what little they have, including the always talented Sophie Okonedo (if people are looking to replace Ralph Fiennes' M with someone else, choose her), and Jamie Dornan, who at this point really needs to get a better agent or simply find better material. The location scout for this film is smart, which means choosing beautiful Lisbon for the film was a great decision and with picturesque views, while the production team is also solid, in particular George Steel's cinematography. Ultimately this film is a tepid and unmemorable endeavor. Here's hoping Netflix invests in better material. 

The Wolfman

Movie Name: The Wolfman
Year of Release: 2010
Director: Joe Johnston
Starring: Benicio Del Toro, Anthony Hopkins, Emily Blunt, Hugo Weaving, Art Malik, Roger Frost, Nicholas Day, David Schofield, Clive Russell, Antony Sher, Ian Peck
Genre: Horror, Drama
Score out of ten (whole numbers only): 4
Watch it on Amazon

Synopsis and Review

"The Wolfman" was a passion project for actor/producer Benicio Del Toro. It had somewhat of a choppy path to the screens, with the initial director Mark Romanek exiting due to creative differences, and quickly replaced by Joe Johnston (known for "Honey, I Shrunk the Kids", "The Rocketeer" and "Jumanji"). The narrative is focused on Lawrence Talbot, a well known actor who returns home upon being informed by his brother's fiancée, Gwen, of the disappearance of his brother Ben. Upon arrival, his father Sir John, informs him that the mutilated body of Ben has been found. The locals believe that a werewolf is involved in the killing. Lawrence has some past trauma related to his mother's death, and his father's involvement in it, which resulted in him having to be interned in a London hospital for a year. While investigating his brother's death, Lawrence visits a Gypsy camp that is then attacked by a werewolf. As a result Lawrence gets bitten, and some immediately state he should be killed before he kills others. An Inspector from London in the meantime appears, Francis Aberline, to investigate the series of deaths which have occurred. Lawrence sends Gwen back to London, and during the full moon transforms into a werewolf, killing a series of townsfolk. He's taken back to London and the hospital where he originally was held, under the treatments of a sadistic doctor. His father eventually visits him and tells him the truth about the death of his mother and Ben. As the full moon rises, Lawrence is once again unable to stop the transformation from occurring. 

After tackling the third chapter of the "Jurassic Park" franchise, and the Viggo Mortensen vehicle "Hidalgo", director Joe Johnston paused for a few years before tackling "The Wolfman". The film features a script written by Andrew Kevin Walker (from David Fincher's "Seven", Tim Burton's "Sleepy Hollow" and Joel Schumacher's "8mm" fame), with additional polishes/rewrites by David Self, and is an adaptation/remake of the original George Waggner film (from 1941), written by Curt Siodmak. This update sadly never manages to erase the status of the original, which became part of Universal Studios' aptly titled Universal Classic Monsters (alongside Dracula, Frankenstein, The Invisible Man, Phantom of the Opera and The Mummy). Joe Johnston's most successful features are always the ones where his central heroes are placed in unexpected and challenging situations, but where by their sheer effort and charisma, overcome their foes and those dire situations. His heroes are also not your typical embodiment of what a dashing super hero is: they're every day individuals who have to rise to the occasion. That has been the case with "The Rocketeer", "Captain America: The First Avenger", and even "Jumanji". All these films also manage to have a certain levity and humor to them, something that "The Wolfman" certainly lacks. The film is successful in terms of having a gothic type of aesthetic, but that in itself speaks more of its art direction, and less so of the actual environment of doom and gloom the director manages to create. The characters themselves don't benefit much from this fresh take by the screenwriters: Lawrence is tortured by what happened with his mother and his resent of his father, but very little is expanded on who he actually is beyond that. Same thing goes for his father, Gwen or even inspector Aberline. They're all fairly limited in terms of exposition and of who these characters actually are. The film takes an interesting turn when Lawrence is sent back to the mental facility, but that is only explored for a few minutes, before giving way to more action and mayhem set pieces. It's a film where the material simply doesn't marry the point of view of this director, where there's little humor, one where it needed someone who could effectively marry the tragic aspect of the story (the beast within), with the love bond that emerges between Gwen and Lawrence (which appears a bit rushed in this film). The cast tries their best at handling their characters, with Benicio Del Toro and Hugo Weaving creating solid characters, leaving Anthony Hopkins to go a bit overboard (he does not go for Jack Nicholson's vibe in Mike Nichols' "Wolf" for sure) and Emily Blunt with a thankless part. The cinematography from Shelly Johnson is solid, as is the production design from Rick Heinrichs, costumes from the fantastic Milena Canonero and score from Danny Elfman. It's not a bad film, it's just one that feels rushed, and where the material definitely doesn't gel with its author. 

The Other Woman

Movie Name: The Other Woman
Year of Release: 2014
Director: Nick Cassavetes
Starring: Cameron Diaz, Leslie Mann, Kate Upton, Nikolaj Coster-Waldau, Don Johnson, Taylor Kinney, Nicki Minaj, Victor Cruz
Genre: Comedy, Romance
Score out of ten (whole numbers only): 2
Watch it on Amazon

Synopsis and Review

Actor/writer/producer/director Nick Cassavetes started his directorial career in the 90s with a series of well liked and well received films, which included "Unhook the Stars" (featuring his mother, the stupendous Gena Rowlands), and "She's So Lovely" (in which Sean Penn actually won the best actor award at the Cannes Film Festival of 1997). "The Other Woman" is definitely more of a mainstream comedy, which coincidentally marked what started as period of directorial inactivity for him (which he has resume in 2023 with the poorly received "God is a Bullet"). "The Other Woman" focuses its narrative on two women, one by the name of Carly Whitten, a successful lawyer who has a strong personality and is unapologetic about pursuing her desires and passions. The other central part of the narrative is Kate King, a housewife whose life is fairly serene though she feels a bit under-challenged. Her husband is a very successful entrepeneur/businessman, who also relies on her savviness and abilities for brainstorming to come up with interesting business venture ideas. Carly has been dating the dashing Mark for a few months, and is ready to take the next step and introduce him to her father, only for him to cancel at the last minute due to a home emergency. When she decides to surprise him at his place, she discovers that the house is actually inhabited by Kate, Mark's wife. While Carly decides to move on from the whole situation, Kate on the other hand is completely devastated, and seeks Carly to get more information on what has been going on. While Carly is initially aghast towards Kate's reactions, she eventually decides to help her out. They soon realize Mark has another woman on the side he's been involved with. Amber, the other focus of Mark's affections, is also unaware of Carly and Kate's existence and the tribulations they've been through as a result. They decide to unite forces and get back at Mark for all the deceiving and illegalities they soon find out he's been up to (which includes embezzling money under Kate's name). 

While this film was originally conceived as an updated take on Hugh Wilson's "The First Wives Club", sadly and notwithstanding Nick Cassavetes' talent, the result is a film that lacks the chemistry, humor or even some of the darkness that made "The First Wives Club" work and resonate as it did (the fact that Hugh Wilson's film starts with a suicide, and how it then proceeds to discuss matters of ageism, and relationship dynamics is still surprising, all wrapped in a somewhat innocuous film comedy). "The Other Woman" places Leslie Mann's character as the clownish character, the one who burdens the awkwardness of being the one being deceived and oblivious to her own husband's lack of character or principles. It's a rather poorly conceived role, one that is meant to come across as ditzy and funny (she even has a dog the size of a horse as a pet, so she can be dragged around by it, hence the lack of authority stemming from her), but instead is borderline offensive and patronizing. Kudos to Leslie Mann and her ability to bring humor and humanity in these underwritten roles she sometimes finds herself in. The film tries to create this semblance of unity and camaraderie between these women, since they obviously have nothing better to do in their lives, other than to get back at the low-life who deceived all of them. The situations are fairly trite, the characters barely have any dimension to them or exist beyond the clichés they're meant to embody (Kate Upton's Amber has no career, no particular motivations in life, aside from looking good on camera in a bikini). What is actually left is the cast who really tries their best to make these characters and situations passable, with highlights going to Leslie Mann, Cameron Diaz and Don Johnson, all talented performers with immense charisma who make this endeavor watchable. The cinematography from the fantastic Robert Fraisse is impeccable (he always worked with director Jean-Jacques Annaud, including "The Lover/L'Amant" and "Seven Years in Tibet"), as is the production design from Dan Davis and costumes from Paolo Nieddu. It's a polished and well executed film, just a poorly written one and lacking a point of view or sense of humor. A missed opportunity. 

The Killer

Movie Name: The Killer
Year of Release: 2023
Director: David Fincher
Starring: Michael Fassbender, Tilda Swinton, Arliss Howard, Charles Parnell, Kerry O'Malley, Sophie Charlotte, Emiliano Pernia, Gabriel Polanco, Sala Baker, Endre Hules
Genre: Thriller, Action
Score out of ten (whole numbers only): 7
Watch it on Netflix

Synopsis and Review

The fantastic David Fincher continues his relationship with streaming giant Netflix, with another release, following his critically acclaimed "Mank" (which I still believe, while impeccably shot and with solid performances, was a film that added nothing much about the writer of "Citizen Kane" and ultimately felt like a vanity project). "The Killer" is an adaptation from a French graphic novel series, authored by Alexis "Matz" Nolent and Luc Jacamon, adapted by Andre Kevin Walker, whom Fincher has previously worked with on "Seven". The film focuses its narrative on a character named "The Killer" who is a hired assassin, currently in Paris stalking his next target. He's immediately described as someone very assured, but also very detailed and process driven. He is meticulous, prepares everything, and leaves nothing unattended. All of his work flows very smoothly as a result of that meticulous preparation, that is until this specific target. He misses the target and hits someone else also present in that same location. He evades the city, and makes his way to the US where he fails to contact his handler, Hodges. He suspects that he is being followed, but manages to evade that person. He makes his way to his residence in the Dominican Republic, only to realize his home has been invaded, and that his girlfriend Magdala has been attacked. Furious at this invasion of his personal space and life, he goes about tracking who did all this. He firstly travels to New Orleans, where he handles Hodges and also his assistant Dolores, not before getting the information regarding the people who hurt Magdala. He then goes to St. Petersburg, Florida, where he has to deal with one of the hired assassins. That turns out to be more of a challenge, but he is undaunted in his quest, and his process further sustains and propels him. 

David Fincher's proficiency in storytelling are at this point undeniable. He has crafted a career, one that much like the central character of this particular film, is permeated by meticulously engineered features, some on topics unexpected, such as his take on social media, one that past that facade, in reality tackles the monstrosity of greed, ambition and voracious need for affirmation that was "The Social Network". "The Killer" may be, in style at least, more akin to his work in "Seven" and even "The Girl with the Dragon Tattoo": both these features focus on characters operating outside social norms, and having to deal with brutal and violent situations. However, and unlike those fantastic films, "The Killer" is far more cryptic in establishing who this central character actually is. The fact that this individual holds this function, and is quite good at it, is something that is clearly established and showcased (because being meticulous and organized, is synonym with being efficient). Nothing much is unveiled about this character, nothing that provides a way to further humanize him, aside from the relationship he has with Magdala, which sets him off on his revenge odyssey. And this is where the film tilts in the direction of a polished B-movie (quasi Elmore Leonard inspired), but one where the humor is absent, as are the gears of this narrative which could have been slightly more elaborate (give something else for these additional characters to do). For all the world that David Fincher illustrates, and it is indeed a world viewed through the eyes of this killer, there's very little that gives insight into who this person is (and the fact that he listens to The Smiths hardly qualifies as providing insight into a character), and very little insight is given to the ones who cross paths with him (in whatever capacity that may be). In the end it is a film very much illustrated and viewed as if through the eyes of this killer, but one that could have benefited from a bit more insight, meaningful interactions and actual emotion. The cast is solid, with Michael Fassbender expertly crafting this cypher, but where Tilda Swinton easily swoops in and in a few minutes steals the film almost like a breeze. The production team is fantastic, including the cinematography from Erik Messerschmidt (though I personally miss Jeff Cronenweth's cinematography), score from Trent Reznor and Atticus Finch, production design from Donald Graham Burt and costumes from Cate Adams. It's a solid, though slightly tepid film from a great storyteller. 

Pompeii

Movie Name: Pompeii
Year of Release: 2014
Director: Paul W. S. Anderson
Starring: Kit Harrington, Emily Browning, Carrie Anne Moss, Jared Harris, Kiefer Sutherland, Adewale Akinnuoye-Agbaje, Sasha Roiz, Jessica Lucas, Dalmar Abuzeid
Genre: Action, Adventure
Score out of ten (whole numbers only): 3
Watch it on Amazon

Synopsis and Review

In between directing episodes of the "Resident Evil" saga, writer/producer/director Paul W. S. Anderson stretched his skills with other narrative types, tackling with "Pompeii" the sword and sandal type married with catastrophe film. The film focuses its narrative on a young gladiator by the name of Milo. Milo whose family was killed when he was just a boy, is currently a slave, and his owner brings him to Pompeii alongside other gladiators. En route, he accidentally meets Cassia, who is also returning to the city to be with her family after a brief stint living in Rome. While in Pompeii Milo develops a rivalry with another gladiator, but they soon earn each other's trust and become friends. Cassia on the other hand has to deal with the advances of a senator by the name of Corvus, who also pursued her in Rome, and the reason why she left the city. He's the responsible for the deaths of Milo's parents, and threatens Cassia with the same fate for her own, unless she agrees to marry him. During a Gladiator show, Milo and Atticus realize the deceit behind the Romans strategy, and while they manage to defeat their opponents, it's only Cassia's last minute intervention that saves them. As Milo and Proculus, Corvus' immediate underling battle it out, Mount Vesuvius erupts, causing panic across the entire city, whose inhabitants are all frantically trying to escape.

Somewhere in the gestation of this feature, I can personally imagine a few studio executives coming up with the pitch for this concept: "It's Titanic meets Gladiator meets The Day After Tomorrow". A melange of styles, including a love story, of two young lovers from different social backgrounds meeting cute, and defying all odds, vanquishing a creepy villain with vague motivations, but also having to portend with a natural disaster of unimaginable proportions. Oh and doing all this with chiseled looks, great hair and impeccably shot. And it could have worked, had these characters some dimension to them, besides barely there motivations, including the hero seeking to revenge his family, who is nonetheless noble (though he's a gladiator and kills people in the ring), and the central heroine, who is also very strong willed, plucky and immediately enamored with a gladiator who cares for a horse (and has chiseled looks and great hair). Most of the problem with the film doesn't really pertain to Paul W. S. Anderson's take on the material, which oscillates between his typical action oriented material, and some of the catastrophe/end of the world scenario type of work that Rolland Emmerich typically does: it's primarily the fact that the script can't really give these characters much to do, or even discernibly create some motivation for them to exist (well at least until the volcano erupts, upon which it's everyone fending for themselves). Paul W. S. Anderson always manages to give his most successful endeavors a B-movie quality to it, where the characters, though broadly showcased, have sufficient motivation to get from point A to point B (there's an understanding as to what exactly is motivating them, and what their backdrop actually is). The screenwriters in this case tried to squeeze some items from Ridley Scott's "Gladiator" and pepper it with James Cameron's "Titanic", but forgot to make these characters more than just archetypes/puppets. They come across as artificial, bland and instantly forgettable. The cast tries their best with the material, but Kit Harrington and Emily Browning are fairly forgettable, while Carrie Anne Moss and Jared Harris, whose plot-line promised something, quickly get discarded. Kiefer Sutherland, much like Billy Zane in "Titanic" is a paper-thin villain, without much to do, playing the role in the same note through and through. The production crew is solid, including the cinematography from Glen MacPherson, score from Clinton Shorter and production design from Paul D. Austerberry. It's a film that falls trap of a rather pedestrian  script, though it is watchable and quickly forgettable.

Five Nights at Freddy's

Movie Name: Five Nights at Freddy's
Year of Release: 2023
Director: Emma Tammi
Starring: Josh Hutcherson, Piper Rubio, Elizabeth Lail, Matthew Lillard, Mary Stuart Masterson, Kat Conner Sterling, David Lind, Christian Stokes, Joseph Poliquin, Grant Feely, Asher Colton Spence, David Huston Doty, Liam Hendrix, Jophielle Love, Tadasay Young, Michael P. Sullivan, Wyatt Parker, Lucas Grant
Genre: Horror, Mystery, Thriller
Score out of ten (whole numbers only): 2
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Synopsis and Review

Another commercially successful release from Blumhouse, "Five Nights at Freddy's" is authored by director Emma Tammi who has previously directed "The Wind" and episodes of the show "Into the Dark". The film focuses its narrative on mall security guard Mike Schmidt, who is fired from his position when he attacks a man who is taking a small child, a situation Mike mistakenly perceives to be a kidnapping (the man is actually the child's father). Mike who is the guardian of his sister, finds himself in a tough situation since he needs a new job in order to keep supporting the household, while his aunt is also trying to get custody of his sister, so she can get the custody's monthly payments. He eventually caves in and takes a job at Freddy Fazbear's Pizza, an abandoned family entertainment center, one that requires a security guard  at night in order to avoid squatters and further damage to the building and its contents. Mike falls asleep during his first night at the job, and he has his recurring dream where his brother is taken when he and his family are out camping. He also meets police officer Vanessa Shelly, who gives him some background on the place, including the fact of why it closed down (which was due to the disappearance of 5 children). Mike's aunt decides to cut some corners, and tries to sabotage him by hiring a few people to trash Freddy's. However the animatronic mascots come alive and kill all the hoodlums. Mike in the meantime has to bring his sister Abby to work with him as his babysitter is unavailable. During that night she becomes familiar with the animatronics who befriend her. Mike uncovers that the animatronics are actually possessed by the ghosts of the missing children, but soon finds out they have sinister ambitions and Vanessa herself knows more than she has led on.

Unlike some of the best features previously produced by Jason Blum and released by his Blumhouse, "Five Nights at Freddy's" is rather anemic from a suspense point of view, the same going for humor or even character relevance. Emma Tammi takes her time in slowly revealing Mike's trauma and what his arc is, but for the most part it seems like the character only exists at night, has no actual motivations in his life, or for that matter has any relevant ambitions or even social skills. The interactions that occur between Mike and his sister Abby are repetitive and always depicted in the same note (she's remote, he complains about her and always feels absent minded). Which is to say, all characters in this feature are very roughly illustrated, and ultimately are unsatisfying in terms of actually taking us on a journey, even if in this case the narrative is trying to illustrate the journey of redemption Mike seeks for the loss of his brother. In addition to the limited character development, the animatronics themselves aren't necessarily particularly scary (nor is their utilization particularly effective), nor is the third act reveal, which ultimately feels underwhelming. The cast tries their best with what they have, with the underrated Mary Stuart Masterson creating something of a caricature with the villainous aunt, and Matthew Lillard having a bit of fun with a temp placing professional. The production team is at best uninspired, with the production design sadly not creating a memorable scenario for Freddy's and its animatronics to live in. This is a feature that feels undercooked and somewhat forgettable.

Killers of the Flower Moon

Movie Name: Killers of the Flower Moon
Year of Release: 2023
Director: Martin Scorsese
Starring: Leonardo DiCaprio, Robert De Niro, Lily Gladstone, Jesse Plemons, Scott Shepherd, Louis Cancelmi, Tantoo Cardinal, Cara Jade Myers, Janae Collins, Jillian Dion, Jason Isbell, William Belleau, John Lithgow, Brendan Fraser, Talee Redcorn, Tatanka Means, Yancey Red Corn, Everett Waller, Tommy Schultz, Sturgill Simpson, Ty Mitchell, Gary Basaraba, Charlie Musselwhite, Pat Healy, Steve Hitting, Steve Routman, Gene Jones, Michael Abbot Jr., Jack White, JC MacKenzie, Larry Sellers, Barry Corbin, Samuel French, Wally Welch
Genre: Crime, Drama
Score out of ten (whole numbers only): 8
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Synopsis and Review

Following the well received "The Irishman", director Martin Scorsese is back with the adaptation of the book by David Grann, which was itself a bestseller. The book is an in-depth investigation of a series of murders which occurred in Osage County, Oklahoma in the 1920s. The primary victims of these murders were Native Americans who lived in the reservation, where a series of oil wells had been found, which had converted many of those inhabitants into wealthy individuals. Though those Native Americans had the rights to the land and to the profits from it, they were still being heavily regulated and treated as second rate citizens or for that matter, as people without full capacity to manage their own wealth. The book also narrates the process by which the FBI became involved in the investigation, including J. Edgar Hoover's direction and assignment of the case.

The narrative of the film focuses on Ernest Burkhart, who arrives in Osage County after being in the first World War, where he suffered some injuries. His brother Byron is already there, and much like him, he is taken under the wing of the charismatic and powerful William Hale, who is their uncle and is also named King, due to his sphere of influence across the area (he is also well known as a benefactor of the Osage County reservation, which includes speaking the native language). Hale tells Burkhart the area is dominated by the affluence of the Native Americans who have become very well off due to the oil wells that were uncovered and are being drilled all over their reservation. He is told to keep an eye out and to try to ingratiate himself with Mollie Kyle, whose family owns oil headrights. Ernest who does some armed robbery with his brother and a few others to feed off his gambling endeavors, eventually connects with Mollie, by driving her around. They fall in love, and much to Hale's content get married. Hale in the interim communicates to Ernest that more fortune and wealth will head his way if more of Mollie's family dies, including her sisters and her frail mother. These deaths start occurring rapidly, commencing with Mollie's sister Minnie, who dies of a mysterious illness. Hale orders Byron to kill Anna, Mollie's other sister, who is a bit hot tempered and has a problem with drinking. As the number of murders continues to escalate, the Osage Council decide to send a representative to D.C. to call out attention to the debacle taking place. He's also murdered, and all of these murders are still yet to be investigated. Even Mollie's attempt at hiring a private investigator goes nowhere. Things finally take a turn after Mollie's last sister is also killed, and the Bureau of Investigation finally sends agents to assess what has been going on. 

"Killers of the Flower Moon" is a lengthy film that does fly by, much of it thanks to the vivid characters that Martin Scorsese and his cast bring to life. While for the majority of the film's duration we witness truly horrifying events taking place, it's nonetheless an interesting and arresting narrative that once again surfaces how greed corrupts everything, and how easily some characters get tainted and influenced to do truly despicable actions. Scorsese focus the narrative on his take of Ernest Burkhart, who is portrayed as someone easily manipulated, but also someone who progressively loses his soul as he continues to do his uncle's bidding, without much thought or consideration for the consequences of his actions. Even if his actions cause pain to the family he has created, including his wife, the steely yet quiet Mollie. It is a film that once again reinforces Scorsese's perspective on family, crime and lead characters that are morally ambiguous, one that doesn't shy away from showcasing the horrific things people will do in order to pursue their own self interests. It's also an epic on a grand scale, covering a variety of occurrences and characters, which at times renders some as footnotes, but the film never loses its direction. The cast is uniformly fantastic, starting with Leonardo DiCaprio who loses himself in this role of a meek individual, who is self serving, but also wants to please his uncle, his wife, and just do what he's told. He truly disappears behind this character who simply doesn't know where to turn, and whose actions are tearing and destroying so much of the lives of those he holds dear. He gets great support from Robert De Niro as the machiavellian William Hale, and Lily Gladstone as the determined but quiet Mollie. The production team is impeccable, including Rodrigo Prieto's cinematography, Jack Fisk's production design, Jacqueline West's costume design and the impeccable editing from Thelma Schoonmaker. A wonderful film not to be missed. 

The Nun II

Movie Name: The Nun II
Year of Release: 2023
Director: Michael Chaves
Starring: Taissa Farmiga, Jonas Bloquet, Storm Reid, Anna Popplewell, Katelyn Rose Downey, Suzanne Bertish, Bonnie Aarons, Leontine d'Oncieu, Anouk Darwin Homewood, Peter Hudson, Tamar Baruch, Natalia Safran, Maxime Elias-Menet, Pascal Aubert, Alexandra Gentil, Viviana Moin
Genre: Horror, Mystery, Thriller
Score out of ten (whole numbers only): 5
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Synopsis and Review

Director Michael Chaves continues his dalliances in "The Conjuring" universe, following his previous directorial features, "The Curse of La Llorona" and "The Conjuring: The Devil Made Me Do It". This chapter focuses once again on the story of Sister Irene. Following the traumatic events of the first film, Sister Irene has gone back to a convent, only to be informed that the demon she thought she had vanquished, is still loose and making a killing throughout Europe. Through one of her visions, she realizes the demon has taken seize of her friend and savior Maurice. It has been sending him throughout different parts of Europe with the intent of capturing something that Irene  must uncover. While initially reluctant to tackle such a challenge, she decides to do so, this time around without Father Burke, as she's been informed he's passed away. Without anyone's approval, she does get the support of the rebellious Sister Debra, herself questioning her faith and even her place in the world. Maurice in the meantime, and without realizing it, has been guided by the demon and is currently working in an all-girls school in Aix-en-Provence, France. He has stricken a friendship with Schoolteacher Kate and her daughter Sophie, but the demon has its intentions set on retrieving something from that location, and violence and eerie things start occurring, with Sophie in particular witnessing some of them. Sister Irene and Sister Debra through their research realize what the intent of the demon is, and quickly realize they need to be at that school to help all its residents and expunge that creature from existence.

The most obvious thing to "The Nun II" is the level of polish that clearly has taken place when compared with the prior installment. Where Corin Hardy's film was somewhat generic in style and storytelling, Michael Chaves takes a somewhat different approach, creating an ominous environment that is aptly represented through the cinematography, production design, and even visual effects. The film which was shot in France, manages to have this claustrophobic aspect as Sister Irene goes about uncovering the purpose of the entity throughout the streets of Paris. Much like the other films in the series, there's a sleuthing aspect to it, with the Sisters in this case trying to uncover the purpose and intent of the entity. What continues to fail in the Nun series is the attention to who these characters actually are, including the lead Sister Irene, whom we briefly get a sense for where she comes from and some of the family trauma she lives with (and that impacts her investigation itself), although that description is all too brief. These characters are broadly described and thinly characterized, which makes that much more difficult to empathize with: they're fodder for whatever happens. The film has its strongest points in how Michael Chaves brings his point of view to the narrative, creating something gothic and menacing, though the film could have benefited a bit more of the influences from Guillermo Del Toro with his "El Espinazo del Diablo", by suggesting more and relying less on gruesomeness. The cast is competent, led by the talented Taissa Farmiga, who has good support from Storm Reid, Jonas Bloquet, Anna Popplewell and Katelyn Rose Downey. The production team is solidly comprised of Tristan Nyby's cinematography, Marco Beltrami's score, Stéphane Cressend's production design and Agnes Beziers' costumes. It's a fairly watchable film, even if not the most memorable one in the series.  

Pearl

Movie Name: Pearl
Year of Release: 2022
Director: Ti West
Starring: Mia Goth, David Corenswet, Tandi Wright, Matthew Sunderland, Emma Jenkins-Purro, Alistair Sewell, Lauren Stewart
Genre: Drama, Horror, Thriller
Score out of ten (whole numbers only): 6
Watch it on Amazon

Synopsis and Review

Production on "Pearl" commenced immediately after writer/director Ti West finished production on "X", for which "Pearl" is a prequel of. The narrative focuses on the story of Pearl, who in 1918 during the influenza pandemic lives with her German immigrant parents on a farm in Texas. Pearl's husband Howard has been deployed to serve in World War I. Pearl has some challenges in her life in addition to the absence of her husband: her father is deeply ill and paralyzed, while her mother is suffocating, critical and forces her to work constantly on the farm and assisting with her father's care. She aspires to become a chorus girl, as inspired by all the films she sees. Pearl becomes excited with the prospect of a new life when her sister in law tells her about an audition that is being held in town for a traveling troupe. After a huge fight with her mother, which results in her mother suffering bad burns, Pearl flees to the movie theater where she ends up having sex with the projectionist. When he further refuses to provide more attention or emotional support, Pearl kills him and pushes him and his car to the pond. Pearl is firmly intent on pursuing her plans, and as things don't go according to plan, the darker and more violent her actions become.

Writer/director Ti West who made a name for himself with "The House of the Devil" and "The Innkeepers" before embarking on a lengthy series of directorial jobs for well known TV shows including "Wayward Pines", "The Exorcist" and more recently "Them", has tilted direction back into features with the "X" trilogy, of which "Pearl" is the well received second installment. One of the most interesting aspects about "Pearl" is the fact that the central character is given time to slowly reveal herself to the audience (and also to the other characters in the film). Though the character itself feels a bit roughly illustrated and somewhat like a composite of other serial killers (just enough of some characteristics to elicit understanding and assimilation), it's nonetheless engagingly brought to life thanks to Mia Goth's performance, who towers over the film by composing the character with a mix of naiveté, obsession, resentment and ferocious intent. Ti West smartly manages to let the events unfold, allowing for the bubbling under the surface violence from Pearl to manifest itself in waves that become that much more frequent as she also progressively loses whatever inhibitions she has towards killing and death in general. And while the death scenes are indeed gruesome, the film never feels overtly or gratuitously in the torture porn genre. It's as if Ti West observed what Terrence Malick did with "Badlands" and "Days of Heaven", alongside Peter Bogdanovich's "Paper Moon", and added a layer of horror to it, with a seemingly unexpected serial killer. Mia Goth is of course fantastic, particularly her monologue sequence with her sister in law, and the ending, but the rest of the cast provides good support, in particular Tandi Wright and Emma Jenkins-Purro. The production team is solid, including Eliot Rockett's cinematography, Tom Hammock's production design and Tyler Bates & Tim Williams' score. Worth watching, even if it is indeed a bit rough when it comes to character definition. 

El Conde

Movie Name: El Conde
Year of Release: 2023
Director: Pablo Larrain
Starring: Jaime Vadell, Paula Luchsinger, Alfredo Castro, Gloria Munchmeyer, Stella Gonet, Catalina Guerra, Amparo Noguera, Antonia Zegers, Marcial Tagle, Diego Muñoz, Clemente Rodriguez, Marcelo Alonso, Jaime McManus
Genre: Comedy, Horror
Score out of ten (whole numbers only): 7
Watch it on Netflix

Synopsis and Review

"El Conde" the newest feature from writer/producer/director Pablo Larrain premiered at the Venice Film Festival of 2023 where it won the award for best screenplay. It follows a string of critically well received features from the director, which includes the high prominent and Academy Awards nominated "Jackie", which featured Natalie Portman as Jackie Kennedy and "Spencer", which featured Kristen Stewart as Diana Spencer. This time around Larrain tackles the script alongside Guillermo Calderon, his usual collaborator with whom he also wrote "Neruda" and "El Club". Their narrative this time around focuses on Claude Pinoche, who is soon revealed to be a vampire. He witnesses the French Revolution and the execution of queen Marie Antoinette. He fakes his death and flees Europe, eventually finding himself in Chile, where he joins the army under the name of Augusto Pinochet. He overthrows the government of Salvador Allende in 1973 and becomes the de facto dictator of the country, always demanding to be addressed as "The Count". After he leaves office, authorities begin investigating him for his crimes, both humanitarian and financial. He fakes his death and retires to a remote farm with his wife Lucia and his butler Fyodor, whom he turned to a vampire as well. Fyodor in the meantime goes on a gruesome killing spree, using the Count's military uniform. The Pinochet offspring, fearful for the worst, and afraid of losing their inheritance, hire a nun by the name of Carmen, to exorcise and kill their father. However as Carmen goes on her investigation, things take a different turn, which bring into the scene none other than Margaret Thatcher. 

"El Conde" truly is a unique take on the history of Chile, by one of its most celebrated storytellers and film makers. It offers a distinct point of view on the Pinochet character who horrifically marked the history of the country, and who to this day, continues to leave profound marks in terms of the horrors that he inflicted and the wounds that have been left behind. Larrain and Calderon smartly weave this story of this horrific dictator as a Vampire, who after three centuries of destruction has lost the lust and shimmer for life. They create this generational dynamic, where the offspring of this individual, even knowing the monstrosity of what he did and devastation of what he has inflicted on others, still want to benefit from all the financial wealth he has amassed. The director smartly builds these family interactions as very matter of factly greed driven conversations, without ever depicting the family members as ogres or caricatures of monsters. They are petty, they are solely driven by self interest, and in that lies the dark comedy that comes from the film itself. Greed and money surpass the value of life and of the pain their father inflicted on the whole country. Carmen, who is a vessel of virtue in the middle of all that moral corruption, of all those soulless individuals, does bring to the count a glimmer of life, of someone who is unlike anyone else in his life. And while she does fall under his charm and personality, she soon is sacrificed, and in the process so is the sense that humanity's ability for compassion, honesty and for valuing human life, they all fall prey to money and power. The fact that Margaret Thatcher appears in the third act, is another delicious bite to another controversial figure. It's an extremely intelligent film, featuring a solid cast, with highlights going to Jaime Vadell, Alfredo Castro and Paula Luchsinger, with a stunning cinematography from Edward Lachman and art direction by Tatiana Maulen. A solid film worth watching. 

Friday the 13th

Movie Name: Friday the 13th
Year of Release: 2009
Director: Marcus Nispel
Starring: Jared Padalecki, Danielle Panabaker, Amanda Righetti, Travis Van Winkle, Aaron Yoo, Derek Mears, Jonathan Sadowski, Julianna Guill, Ben Feldman, Arlen Escarpeta, Ryan Hansen, Willa Ford, Nick Mennel, America Olivo, Kyle Davis, Richard Burgi
Genre: Horror, Thriller
Score out of ten (whole numbers only): 1
Watch it on Amazon

Synopsis and Review

Director Marcus Nispel has a lengthy career as a music video director (much like Jonas Akerlund), and made his transition to direct feature films with the remake of "The Texas Chainsaw Massacre", which he followed with "Pathfinder", the latter being met with better reviews than his debut. This remake of Sean S. Cunningham's cult classic "Friday the 13th", was produced by Michael Bay, whose fingerprints can be witnessed a bit throughout the entire film. The film focuses on the character of Clay Miller, who is seeking his sister Whitney who has seemingly disappeared in the Crystal Lake area. Clay crosses paths with Trent, alongside his girlfriend Jenna and an array of their friends, as they're staying at Trent's Summer cabin on the shore of Crystal Lake. And while Clay and Trent don't hit it off, Jenna and Clay do, with her helping him out in his search for his sister. In the meantime Jason starts his killing spree, killing each of Trent and Jenna's friends. While Clay and Jenna try to warn them as to what is happening, they minimize what's happening until the corpses start appearing. Eventually police appears, but Jason also swiftly kills the officer, forcing Clay and Jenna to escape to the old Crystal Lake campgrounds, where they uncover Whitney in an underground area where Jason has been keeping her. It's up to them to figure out a way to escape.

Sadly and unlike Wes Craven's "A Nightmare on Elm Street", the mythology of Jason and of the "Friday the 13th" film series has always been a rather limited one. Jason has gone through an array of refined background storylines, in order to somewhat justify the fact that he is a somewhat supernatural entity who just wants to kill people who appear in the Summer Camp where he originally died. There's been a variety of sequels to the original 1980 feature, and coincidentally this remake has the most substantial budget of al those prior features. Sadly, and as is characteristic of any Michael Bay produced or directed feature, it's slim in terms of character substance, and in this case of even character motivation. There simply isn't much to say about a film that doesn't bother itself to minimally showcase characters with motivations that go beyond screaming or running or dying a particularly bloody death (though as a Michael Bay trademark, there is plenty of objectification of women throughout the film). The film essentially tries to bring the premise of the 1980 film to the 21st. century, but forgets humor, characters, and even a remotely fresh take on this killer who is apparently unstoppable (it's a fresh coat of paint on a old house, without looking at the foundations). The cast is rather generic, the same going for the production team. It's an unnecessary remake for a series that has never truly featured a remarkable film in all the ones that have been released thus far.