The Electric State

Movie Name: The Electric State
Year of Release: 2025
Director: Anthony Russo, Joe Russo
Starring: Millie Bobby Brown, Chris Pratt, Giancarlo Esposito, Stanley Tucci, Ke Huy Quan, Woody Norman, Woody Harrelson, Jason Alexander, Holly Hunter, Alan Tudyk
Genre: Sci-Fi, Adventure
Score out of ten (whole numbers only): 4
Watch it on Amazon

Synopsis and Review

The latest film from directors Anthony and Joe Russo, is also one of Netflix's costliest productions (their prior film, also for Netflix, the quickly forgotten "The Gray Man" was also another pricey endeavor). The film is an adaptation of the illustrated novel by Simon Stalenhag (adapted by Christopher Markus and Stephen McFeely, also responsible for the scripts for "Captain America: The First Avenger", "The Chronicles of Narnia: The Lion, The Witch and the Wardrobe", and more recently, "Avengers: Infinity War and Endgame"), and it takes place in an alternate version of the 1990s. In that reality, there's been a war between humans and robots, one which almost destroyed the entire planet. Humans were able to overcome the revolting robots thanks to the Neurocaster Technology developed by Ethan Skate. That technology allows for humans to upload their minds into drone robots, which in turn allows for an army of sentinels to be easily controlled and deployed. The central element of the narrative is Michelle Greene, who is living with her foster dad Ted, following the death of her family (parents and brother) from a car crash. One day while at home she realizes a robot is seeking her out. He is only able to communicate using gestures and a limited of pre-recorded words, but he eventually explains to her that he is controlled by her younger brother Christopher, whom she thought had perished in the car crash. The robot volunteers that she must find Dr. Amherst, who was the medical professional helping their family when they suffered their accident, and that he will know and help her locate him. They both leave since the robot is also being hunted, and set out towards the Exclusion Zone in order to located the doctor and rescue Christopher.

One can't help but think of Steven Spielberg's "AI" and even Steve De Jarnatt's "Cherry 2000", both very different films, but whose influences trickle down and appear throughout this rather bland and uninspired film. The most surprising thing about "The Electric State" is indeed its bloated budget, since the film from a narrative and character development standpoint, doesn't have much to volunteer. Much like "AI" we have a young hero on a quest, one who is helped by someone who is an unexpected partner, in the case of Steven Spielberg's feature, that was the sex worker Gigolo Joe embodied (perfectly one may add) by Jude Law, and here we have the former military and now a somewhat bitter mercenary portrayed by Chris Pratt. Along the way there are a series of discarded robots, who are only trying to exist, and who have been relegated to pariahs or second class citizens (again much like Spielberg's feature), living in what appears to be a post-apocalyptic type of scenario. The film and the narrative is a bit of a head scratcher, since you have one veteran military guy who does everything by the book on the pursuit of this small and motley group, while the villain is quickly established to be the corporate honcho, who is milking a child's body and abilities for his own profit. We never know much about any of these characters, or whatever motivation they seem to have for that matter. Ultimately the film aims to be a Steven Spielberg type of homage, including the score from Alan Silvestri which is very evocative of the work from John Williams, but sadly these characters never entirely gain much presence, and by the time the film is over, it literally feels as if nothing has just happened. The cast is a bit of mixed bag, with Chris Pratt playing a variation of what he did with Peter Quill from "Guardians of the Galaxy", whereas it's difficult to understand if Millie Bobby Brown is playing a teenager or someone from the Real Housewives of New Jersey. Ke Huy Quan hopefully will make better role decisions in the future, as this part adds nothing to his career, the same going for Stanley Tucci, who definitely fared better in Edward Berger's "Conclave". The production team is rather serviceable, but there isn't a truly rapturous moment of dazzlement here, which is shocking considering the resources this team had. It's not as atrocious as some reviews have portrayed it to be, but it is indeed forgettable and dare I say it, unnecessary. 

Conclave

Movie Name: Conclave
Year of Release: 2024
Director: Edward Berger
Starring: Ralph Fiennes, Stanley Tucci, John Lithgow, Isabella Rossellini, Sergio Castellito, Carlos Diehz, Brian F. O'Byrne, Jacek Koman, Thomas Loibl, Rony Kramer, Lucian Msamati, Garrick Hagon
Genre: Drama, Thriller
Score out of ten (whole numbers only): 7
Watch it on Amazon

Synopsis and Review

Director Edward Berger is back, following his well received "All Quiet on the Western Front". This time he is tackling the adaptation of a Robert Harris novel, whose books were also the source for the films "Fatherland", "Enigma", "The Ghost Writer", and "An Officer and a Spy". "Conclave" tracks the events that take place after the Pope dies of a heart attack. Dean/Cardinal Thomas Lawrence of the UK is tasked with running the conclave in order to elect his successor. The main protagonists are Aldo Bellini of the US, Joshua Adeyemi from Nigeria, Joseph Tremblay from Canada, and Goffredo Tedesco from Italy. The operational aspect of electing a new pope is set in motion, with a series of cardinals coming to the Conclave in order to vote, with the addition of a last minute participant, Archbishop Vincent Benitez of Kabul. While all is being prepared, Dean Lawrence becomes aware of the factions, what their stances are, but also more information regarding each of the candidates comes to surface, including for instance, the fact that Tremblay had been asked to resign by the deceased Pope, something he vehemently denies, though other witnesses corroborate the wishes expressed by the late Pope. Initially none of the candidates is able to collect the two thirds of votes needed to win, though Adeyemi takes a lead over the remaining candidates. However, the appearance of a Sister transferred from Nigeria to Rome and present in the conclave, exposes improper behavior from Adeyemi from years past, which resulted in the birth of a son. The presence of the nun is revealed to be something engineered by Tremblay, who justifies it as a request from the late Pope himself. They both find themselves pushed aside from the race. As the race seems to be getting close to its end, a bombing nearby creates consternation on the streets, and also within the conclave. As some voices rise clamoring extreme reactions, quieter, more reasonable, and sensical ones emerge, changing the direction of the conclave.

To Robert Harris' credit, his narratives are always thought provoking and very intelligently conceived, as they leverage what we all know from reality, to illustrate alternative realities, which end up forcing us to think about the "what if", and more so, the "why not". Not that long ago Fernando Meirelles directed "The Two Popes", which approached similar terrain, but "Conclave" definitely goes in its own direction, crafting a quasi-thriller regarding an election process that is closed off to most of us, but nonetheless one that grants the elected individual a tremendous amount of power. Edward Berger competently illustrates what the baseline narrative/plot is about, avoiding much of a stylistic or ideological points of view. Meaning: the film is effectively presented, with the lead characters fairly (and briefly) characterized, with a fantastic cast, which keeps the feature always captivating, but at the same time, the film never gives any indication of what the director's point of view on the topics actually is. It's challenging to understand what differentiates what Edward Berger did here, of what Roger Donaldson, or even Fred Schepisi would have done. These are all fine directors, able to set up a story and assemble a cast, but whose point of view always seems to be missing from their projects. "Conclave" is indeed a watchable film, with a great cast, led by the formidable Ralph Fiennes, who is one of the finest actors working these days, who has great support from Stanley Tucci, Isabella Rossellini, and John Lithgow, with a solid production team, including Stéphane Fontaine's cinematography, but it also feels rather generic, something that even the "gotcha" moment of the third chapter of the narrative can't erase. Being able to competently tell a story is a wonderful trait, but being able to have a point of view is what truly differentiates what directors/artists do. And while this particular Robert Harris story is a solid one, this film while watchable and with some good performances, is one that feels quickly forgettable. 

Heretic

Movie Name: Heretic
Year of Release: 2024
Director: Scott Beck, Bryan Woods
Starring: Hugh Grant, Sophie Thatcher, Chloe East, Topher Grace
Genre: Horror, Thriller
Score out of ten (whole numbers only): 6
Watch it on Amazon

Synopsis and Review

The directing team of Scott Beck and Bryan Woods have steadily been carving a career for themselves, both as directors, but also as writers, having successfully established the "A Quiet Place" franchise with John Krasinski, to name one of their most successful endeavors. Their prior directorial endeavor, "65", with Adam Driver was mostly panned by critics, and didn't reach much of an audience, but "Heretic" has been a fine return to form for this duo. The film focuses on two young women, missionaries from the Mormon church, who happen to knock at the door of a reclusive older gentleman by the name of Mr. Reed. While briefly chatting with them at his door, Reed invites them in, to which the missionaries reply that they can only do so, if another female presence is in the house. Reed reassures them that his wife is inside, baking a pie. After coming in, they all engage in a discussion about religion, and as Reed briefly leaves the room to check on a few things, the young women realize that the front door is locked, and that the scent they thought was coming from the pie, is actually from a candle. The missionaries soon realize they're locked in, and Reed gives them an option to escape the house, by choosing one of two doors he presents to them. Both doors however lead to the same dungeon, where a chained woman eats a poisoned pie only to soon die. Reed claims that she is a prophet from God, and that she will resurrect. In the meantime, one of the Elders of the Mormon Church appears at Reed's door, seeking the young missionaries, and he mentions not having interacted with them. After deflecting the Elder, Reed goes back down to the dungeon, and the events take an even darker turn.

One of the most interesting elements about "Heretic" is of course the casting of the charming and good humored Hugh Grant as the sinister, intelligent, and dangerous Mr. Reed. Much like Robin Williams personified in the lonesome character he played in Mark Romanek's "One Hour Photo", it seems that for aging male comedians, in order to keep consistently working, you must branch out to darker and psychotic characters (turns out being funny is a quality reserved for young people only, older ones have to wither themselves out). The writer/director team of "Heretic" is tremendously successful in creating an environment that progressively unfolds itself, starting with an engaging intellectual conversation between the characters on the topic of religion and faith, and then progressively evolving that discussion to a reflection on control, and eventually on survival. It is indeed a thriller, and it is a chamber piece where an older man with a sinister motivation is apparently in control of the situation, trying out these young women (toying with them), but also a narrative peppered with some surprises. There are some influences from M. Night Shyamalan here, but also from Ari Aster, but the film makers stay on course with their aesthetic and their point of view, though sadly this is a film that is more in love with its own intellectual point of view and its set-up, more so than the actual characters who inhabit it. Not much is surrendered in terms of information or nuance about Mr. Reed, or much about the young women, which makes them all feel less impactful and vividly authentic. The cast is engaging, particularly Hugh Grant, who uses his charm and affable tone to navigate the darker aspects of the character. He gets great support from Sophie Thatcher and Chloe East. The production team is equally solid, even if the cinematography from Chung-hoon Chung is at times almost too dark. Chris Bacon's score and Philip Messina's production design are both highlights of the feature. It's a watchable and well constructed feature, even if it could benefit from some additional attention on character building. 

Blink Twice

Movie Name: Blink Twice
Year of Release: 2024
Director: Zoe Kravitz
Starring: Naomie Ackie, Channing Tatum, Alia Shawkat, Christian Slater, Simon Rex, Adria Arjona, Haley Joel Osment, Luz Caribel Sierra, Levon Hawke, Trem Mullen, Geena Davis, Kyle MacLachlan, Cris Costa, Maria Elena Olivares, Saul Williams, Tiffany Persons
Genre: Mystery, Thriller
Score out of ten (whole numbers only): 5
Watch it on Amazon

Synopsis and Review

"Blink Twice" is Zoe Kravitz's feature directorial debut, following what has been a consistent, if not unremarkable, acting career (she has had some good supporting roles in George Miller's "Mad Max: Fury Road" and Matt Reeves' "The Batman"). "Blink Twice" focuses its attention on the life of a young woman by the name of Frida. We first encounter her working as a cocktail waitress at a high profile exclusive event. She's working the event with her best friend, Jess. While there they both manage to work the situation to their advantage, and end up meeting the billionaire Slater King, a somewhat controversial figure who has decided to take a backseat in terms of visibility due to some controversial statements. He invites them both to his private island for a weekend of rest and relaxation (and partying). They decide to join a group of individuals, all friends of Slater, on that trip. While on the island, Slater's assistant collects everyone's cell phones, so they can unplug, and fully connect with each other. All the women in the group get gift bags, which include perfume, and while on the island they get constant delicious cocktails, mild drugs, and chef prepared meals. Jess starts noticing some memory lapses of her own, and mentions that to Frida. Frida in the meantime is recognized by one of the local workers of the property who calls her Red Rabbit. One night while partying, Jess is bitten by a snake, and later confides to Frida she wants to leave. Frida is against leaving as she's having such a great time. However the following day everything starts changing, once Frida encounters the maid who suggests that she drinks some snake venom. 

As I was watching "Blink Twice" I was reminded of a film where an ordinary event suddenly got out of control, the somewhat mediocre "Very Bad Things", directed by Peter Berg, a film that also featured Christian Slater in one of the lead roles. "Blink Twice" to its credit, does manage to build more context to what is taking place, and does provide some of its characters with a bit more nuance, which goes beyond what can be read from a title card. These are still underdeveloped characters, but they're not completely shallow ones. It's a film with a lofty empowerment angle, one that comes on the heels of a truly despicable and repulsive scenario that is set in motion, however where the film fails to be more successful is in fact on the depiction of the sadists who are behind the events taking place, and the victims of the scenario itself (most of the women are just associated with their professional roles, and not much information regarding them is known). This film could have easily become a version of Eli Roth's "Hostel", but the creative team decided, wisely, to avoid that path. With that being said, if the scenario that is illustrated here is indeed to be taken with a hint of credibility, the characters and motivation behind their actions, should have been given more center stage. The creative team had the willingness to tackle a disturbing topic, but was afraid to go all the way and expose what power and amoral individuals are truly capable of doing, and for that matter explore the "why" (or "why not"). The film doesn't really have the smartness to be a version of an Agatha Christie book/narrative, but also doesn't have the darkness to be a different version of a Stieg Larrson's book/narrative. It falls unsatisfyingly in between. The cast tries their best with the material they have, with Channing Tatum faring quite well in the role of a sinister mogul, with good support from the always reliable Christian Slater, the very talented Kyle MacLachlan, and the very underused Geena Davis. The production team is solid, particularly the cinematography of Adam Newport-Berra and production design from Roberto Bonelli. It's a watchable but also quickly forgettable endeavor.

Mickey 17

Movie Name: Mickey 17
Year of Release: 2024
Director: Bong Joon Ho
Starring: Robert Pattinson, Naomie Ackie, Steven Yeun, Mark Ruffalo, Toni Collette, Holliday Grainger, Cameron Britton, Patsy Ferran, Ian Hanmore, Tim Key
Genre: Sci-Fi, Comedy
Score out of ten (whole numbers only): 5
View Trailer

Synopsis and Review

Following the resounding success of "Parasite", writer/producer/director Bong Joon Ho has returned, with the adaptation of a novel by author Edward Ashton. The film follows the story of Mickey Barnes, who alongside his best friend Timo, find themselves signing up for an outer space adventure in order to escape the wrath and torture of a loan shark, whom they borrowed money from to pursue an unsuccessful business. Urgently looking to escape, Mickey doesn't look at the fine print of the contract he's signing up for, and ends up under a category labeled "Disposable". During the trip towards the planet Niflheim, which is the goal of the expedition, reaching it and colonizing it, Mickey does all sorts of the tasks, dying in various manners and always being reprinted with his personality and memories. By the time the ship reaches Niflheim, Mickey is on version 17. As he explores the surface of the planet, he falls through the ice and encounters a series of creatures he assumes will kill him. However and much to his surprise they save him, and upon his return to the ship, he's horrified to realize that another Mickey has been printed, and there are now multiple versions of himself, something that is prohibited. His partner, the intelligent and resourceful Nasha is delighted, but Mickey 17 not so much. In the meantime the leader of the expedition, Kenneth Marshall and his wife Ylfa, rule all the action occurring on the ship, and target Mickey 17 and 18 to be terminated since multiples are not allowed to exist. They also set their eyes on the extermination of the indigenous creatures of the planet. However, not all goes according to their plans.

"Mickey 17" much like "Okja" promises a lot more than it eventually delivers. Both films are plagued by concepts (and metaphors) that are meant to elicit reflection, in the case of "Mickey 17" the topic lands on the class struggles that continuously exist, the brutality of humans towards different species (and even their own), and as usual, the ineptitude of those in charge to comprehend and be sensical about the greater good, as opposed to their innate selfishness. All these topics are lofty and worth capturing on film, and gifted directors have approached these topics fairly successfully, including Terry Gilliam's "Brazil", however Bong Joon Ho can't quite find the right tone for this film in particular. The satire never really lands, and the over the top caricatures of some of the key players, while loud and brash, also feel very underdeveloped, independently of the quality of the cast and what they bring to the feature itself. Part of the problems lie with the fact that the villainy of the pseudo awful individuals is never truly fully explored, whereas Mickey as the simpleton lead character doesn't possess the dimension, humor, or for that matter insight, to make the narrative feel as if though it went through an arc where in the last chapter there is indeed a piercing epiphany. For all the technical wizardry on display, it's a film that ultimately feels not particularly inspired. The supporting cast is the winning aspect of this film, particularly the always fantastic Mark Ruffalo, who seems to be capturing a bit of the character he portrayed in Yorgos Lanthimos' "Poor Things", Toni Collette playing an over the top character as the wife of a politician, Steven Yeun as the loser best friend, and Naomi Ackie as the smart and resourceful girlfriend. Robert Pattinson sadly doesn't add much to the film - perhaps it's time to realize he doesn't have the skillset to carry a film as a central performer. The technical team is impressive, including Darius Khondji's cinematography, Fiona Crombie's production design, and Catherine George's costume design. It's by no means a bad film, it's just a forgettable one. 

Ainda Estou Aqui/I'm Still Here

Movie Name: Ainda Estou Aqui/I'm Still Here
Year of Release: 2024
Director: Walter Salles
Starring: Fernanda Torres, Selton Mello, Fernanda Montenegro, Valentina Herszage, Maria Manoella, Barbara Luz, Gabriela Carneiro da Cunha, Luiza Kosovski, Marjorie Estiano, Guilherme Silveira, Antonio Saboia, Cora Mora, Olivia Torres, Pri Helena, Humberto Carrão, Charles Fricks, Maeve Jinkins
Genre: Drama
Score out of ten (whole numbers only): 8
View Trailer

Synopsis and Review

Walter Salles spent some time directing documentaries since his last feature film "On the Road", which premiered in 2012 to middling reviews. "Ainda Estou Aqui/I'm Still Here" is an adaptation of the book by Marcelo Rubens Paiva, which is an autobiographical look at the events that took place during his childhood. The narrative takes place in Rio de Janeiro in December of 1970, and focuses its attention on the Paiva family. The family is composed of Eunice Paiva, her husband Rubens, who is a former member of the parliament and is now a civil engineer, and their 5 children. Theirs is a home filled with warmth, laughter, love and the constant presence of friends. Some of their friends decide to seek refuge in London, in order to avoid the constant presence and menace imposed by the military Dictatorshi. Eunice and Rubens' oldest daughter goes with them (she and some of her friends had already been stopped by the military in one of their check points). The family has acquired a new plot of land in the area, and is planning on building a new home. One afternoon the family is surprised to witness a group of unknown men with guns come to their house, and demand Rubens goes with them for questioning. While Rubens plays along, a few of those men stay behind in the house with Eunice and the kids. Eunice keeps asking when Rubens is going to come back, only for them to repeat it should be soon. The next day Eunice and her fifteen year old daughter are taken for questioning as well, with hoods over their heads. Eunice is asked if she's been involved with any terrorists, and to identify people who may have ties with what the interrogator deems terrorist actions. She remains in questioning for 5 days, until she is finally released. She keeps asking for Rubens, but no information is provided. 

There's something quite wonderful in the way Walter Salles recreates and brings to life the universe of that family and that microcosms in 1970. The lived-in experience of what life is like in that period in Rio de Janeiro, where the beauty of the locale sharply contrasts with the roughness of the military dictatorship, is perfectly illustrated by the director. The situation in which these characters find themselves in, is progressively disclosed. We're able to witness an array of activities, friendships, and all the emotional ties that the family has with a group of individuals they interact with, all of which illustrate the type of individuals they all are, the joy they live with, embracing art and culture, and teaching progress and humanism to the children. The introduction of the military dictatorship, its violence, its agenda, is indeed presented as a brutal element, since in fact it is one. There's no reason, no justification, no respect, no tolerance, which makes it all the more revolting for Eunice who fails to realize why is her family being targeted. Even after she becomes fully aware of the events Rubens was involved with, the sheer brutality of a government meant to support its own citizens, revolts her, and sends her on a path of survival (for her and her children), but also a path emblazoned with a mission. Unlike other films about dictators or brutal regimes, such as Oliver Stone's "Salvador" or even Roman Polanski's "Death and the Maiden", this film doesn't make itself to be an illustration of the destruction of war, or the bruising felt by its survivors, it's an illustration of how a family perseveres when their existence is completely upended. The whole cast is fantastic, led by the always excellent and subtle Fernanda Torres, who has great support from the underrated Selton Mello and the wondrous Fernanda Montenegro. The production team is fantastic, with particular highlights going to Adrian Teijido's beautiful cinematography, Warren Ellis' score, Carlos Conti's production design, and Cláudia Kopke's costume design. A solid film, subtle but impeccably crafted and performed. 

The Outrun

Movie Name: The Outrun
Year of Release: 2024
Director: Nora Fingscheidt
Starring: Saoirse Ronan, Saskia Reeves, Stephen Dillane, Paapa Essiedu, Izuka Hoyle, Freya Evans, David Garrick
Genre: Drama
Score out of ten (whole numbers only): 7
View Trailer

Synopsis and Review

Nora Fingscheidt achieved a considerable amount of attention with her prior directorial endeavor, the Netflix release "The Unforgivable", with Sandra Bullock (which racked up quite a high volume of viewership, even if the reviews were not very complimentary). "The Outrun" is based on the book by Amy Liptrot and follows the story of Rona, a young woman who following a stint in rehab for alcoholism, returns home to live with her mom in the Orkney Islands in Scotland. Rona has had to deal with some unexpected issues since she was a child, including her father's bipolar disorder. Through flashbacks we witness her stint in college and the romantic relationship she forms with Daynin. Her drinking eventually leads to the demise of that relationship. She briefly reconnects with him when she's sexually assaulted following a night of drinking, and quickly realizes he's already moved on. While on the Orkney Islands she assists her father with his farming, and eventually takes a job with the Royal Society for the Protection of Birds. She has a brief relapse, which leads her to seek another position on a remote island, by the name of Papa Westray, where she lives by herself and starts forming friendships with the locals. Her mom comes for a brief visit and they manage to connect and communicate candidly. 

"The Outrun" doesn't cover material that hasn't been documented or explored before. There's been countless films about characters/individuals battling alcoholism, some with great results, such as Mike Figgis' "Leaving Las Vegas", others not so excitingly doing the same such as Betty Thomas' "28 Days". What makes "The Outrun" a compelling film to watch is of course the central performance from Saoirse Ronan. Rona is just a young woman trying to figure out her way in the world, and alcohol just enables her to let go of her fears. Unlike some of the characters from other films revolving around alcoholism, which center themselves around charismatic and damaged individuals drowning themselves in sorrow (and guilt), this central character is a young woman who is still trying to understand who she is, and what path she wants to carve for herself in the world. She comes from a slightly off-kilter upbringing, and whatever fears that has instilled in her, she sees drinking as a way to numb those fears and charge ahead. She feels like a regular individual that we could easily cross by in our world. That's one of the most interesting aspects of this character and the film itself: it feels authentic and rooted in the now, even if some scenes do veer off into the metaphorical cliché of embracing the unknown. The director also very smartly positions the narrative in these isolated islands, where very few people live, which gives the central character an opportunity to further reflect about her life, but also rely more on her own abilities and ultimately persevere. The cast is solid, with Saoirse Ronan creating a solid central character, with great supporting turns from Saskia Reeves and Stephen Dillane as her parents. The production team is solid, particularly the cinematography from Yunus Roy Imer. It's a well told story featuring a solid central performance.