The Conjuring: The Devil Made Me Do It

Movie Name: The Conjuring: The Devil Made Me Do It
Year of Release: 2021
Director: Michael Chaves
Starring: Vera Farmiga, Patrick Wilson, Ruairi O'Connor, Sarah Catherine Hook, Julian Hilliard, John Noble, Eugenie Bondurant, Shannon Kook, Ronnie Gene Blevins
Genre: Horror, Thriller
Score out of ten (whole numbers only): 4
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Synopsis and Review:

"The Conjuring" series, which director James Wan and writers Chad Hayes and Carey W. Hayes started in 2013, with a modest budget, to much commercial success and fairly solid reviews, continues its path, this time around with Wan in the capacity of writer/producer, and the Hayes siblings no longer involved. The direction of the film fell to Michael Chaves, who has worked with James Wan's production company Atomic Monster Productions, in the 2019 released feature "The Curse of La Llorona". This time around the film follows another case being tackled by Ed and Lorraine Warren, who are called in to help with an exorcism. As the case isn't going very well, Ed actually has a heart attack during the intervention, and though the original victim of the case is seemingly saved, Ed witnesses the entity taking ownership of someone else. As days go by, the young man who is possessed ends up killing someone, upon which he's imprisoned, potentially facing the death sentence. The Warrens discuss with the defense attorney that they believe Arne, the young man who is at the center of the whole ordeal, is indeed possessed. As they set out to prove their case, and try to save Arne, they realize that the house, and those individuals in particular are part of a very sinister plan.

What has always been so interesting about "The Conjuring" films, in particular the first one, has always been the fact that James Wan manages to not only create credible scenarios and situations, but just as importantly, he allows for the characters in these stories to be developed, even if ever so briefly. Ed and Lorraine, though based in life persons, and of course fictionalized by the writers and the actors, have become this realized interpretation of a supportive couple, who share a joint history, which gives them strength, particularly as they go through challenging cases and situations. In the first film in particular, James Wan managed to also develop just enough of the victim's backstory, to create a true sense of agony and despair as events spiraled out of control. In this third film, the nuance that was showcased in the first films, starts to dissipate, as the story focuses more on the discovery of what lies beneath the grotesque crime which took place, and not much emphasis is placed on the characters themselves. The film ends up revolving more around the setting up of the dreaded environment of terror and menace, and less on actual characters to populate it, and actually emote something besides disbelief or fear. Vera Farmiga and Patrick Wilson are terrific as usual, but the supporting cast has nothing much to do, including the always commanding John Noble, who is sadly wasted in a minor role. The cinematography from Michael Burgess is at times almost too dark, but still effective, while the score of Joseph Bishara is perfectly on point, as is the production design from Jennifer Spence. While not as memorable or entertaining as the previous entries in the series, it's still worth watching, if anything for the central duo of performances. 

The Player

Movie Name: The Player
Year of Release: 1992
Director: Robert Altman
Starring: Tim Robbins, Greta Scacchi, Fred Ward, Whoopi Goldberg, Peter Gallagher, Cynthia Stevenson, Brion James, Dean Stockwell, Richard E. Grant, Sydney Pollack, Vincent D'Onofrio, Lyle Lovett, Dina Merrill, Angela Hall, Leah Ayres
Genre: Comedy, Crime
Score out of ten (whole numbers only): 6
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Synopsis and Review:

After the 80s, where he spent much of that decade recovering from the debacle which was his version of "Popeye", the 90s started off quite strongly for director Robert Altman in the form of "The Player". The film which premiered commercially and at the Cannes film festival in May of 1992, went on to achieve great critical success and was a comeback for the director, who quickly followed with the equally well received "Short Cuts". "The Player" which is based on the novel by Michael Tolkin, follows the story of Griffin Mill, a Hollywood Executive, responsible for hearing pitches from writers, and deciding on their quality, and their potential to actually move forward into development. His current job is being somewhat threatened by a new addition to the studio, the energetic and with dubious taste, Larry Levy. He's also receiving threatening postcards, which he attributes to a disgruntled writer whom he refused. He assumes that writer to be David Kahane, and following an attempt to offer him a job in the hopes of dissuading him to stop the death threats, that conversation goes nowhere and they get involved in a fight. The brawl sadly goes too far and Mill ends up killing Kahane. He tries to disguise the situation as a robbery, and quickly flees the scene. However the menacing postcards continue, and the police eventually trace the events back to him, wanting to know of his relationship with Kahane, and what happened that evening.

"The Player" is a satire focused on Hollywood, aiming to demonstrate how self centered and cold hearted  its universe actually is, particularly when it comes to its executives and key players. It's also a somewhat cynical view of how the dream factory that Hollywood is supposed to be, actually disguises an ego driven industry, where people literally get away with anything, including murder. The central character, the young and ambitious Hollywood executive, who knows just enough of film history to essentially get by and also green-light films, is a perfect embodiment of what the film sets out to criticize. Self absorption, somewhat unscrupulous, and without any vestiges of a conscience. As he briefly dabbles with paranoia due to the death threats, and then the murder of the wrong culprit, he conveniently sidesteps any moral niceties he may have had , and moves on with his life. It's a film that has its moments, and where the biting satire lives (and the numerous cameos are also an illustration of the vapidness of the industry), but also one where most of the characters are thinly characterized, where all these Hollywood archetypes don't actually gain much dimension (the always interesting Cynthia Stevenson and Whoopi Goldberg don't get much to do). The cast is uniformly solid, led by Tim Robbins, with great support from Fred Ward, Peter Gallagher, Cynthia Stevenson, Whoopi Goldberg, Dean Stockwell and Richard E. Grant. The score from Thomas Newman is impeccable, as is the production design from Stephen Altman and Geraldine Peroni. Entertaining and worth watching.

High-Rise

Movie Name: High-Rise
Year of Release: 2015
Director: Ben Wheatley
Starring: Tom Hiddleston, Jeremy Irons, Sienna Miller, Luke Evans, Elisabeth Moss, James Purefoy, Keeley Hawes, Peter Ferdinando, Sienna Guillory, Reece Shearsmith, Enzo Cilenti, Stacy Martin, Tony Way, Bill Paterson, Neil Maskell, Alexandra Weaver, Louis Suc
Genre: Drama, Sci-Fi
Score out of ten (whole numbers only): 5
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Synopsis and Review:

The prolific Ben Wheatley tackled this adaptation of the J.G. Ballard book, which had been in development for quite some time, after making a name for himself with the films "Sight Seers" and "A Field in England". The film, which takes place in the 70s, focuses on the story of Dr. Robert Laing, whom we are firstly introduced to as he's moving into a modern and slickly designed towering building, designed by the reclusive Anthony Royal. The building is fairly self sufficient, containing a gym, supermarket, a pool and even a primary school. It's also organized by somewhat of a class system, with the more affluent individuals on the top floors, and the more modest families on the bottom. As Robert gets to know other people in the building, he strikes an amorous relationship with a single mother by the name of Charlotte, while striking a friendship with documentary film maker Richard and his wife, Helen, who is pregnant. As Laing meets Royal in one of his parties, he also starts noticing there is a distinct class clash occurring in the building. Also the building itself, has operational issues, with garbage disposal that doesn't work. As tensions start to increase, and more intimate relationships between some of the tenants are revealed, Laing's grip on reality also starts to fade. 

Interestingly enough, J. G. Ballard has had two great films adapted from his books, the first being Steven Spielberg's "Empire of the Sun", and secondly David Cronenberg's "Crash". "High Rise" at times almost shares some storytelling DNA in its adaptation, but unlike Cronenberg's view of the novel, this film fails to commit to what is actually trying to suggest. Cronenberg smartly distilled the essence of the novel and added his own point of view to it, particularly when it comes to the understanding of bodies, sexuality and ever changing nature of humans. Ben Wheatley manages to start the narrative quite strongly, setting up the characters and the environment, but as the cracks in that utopian building start to emerge, and the clash between classes and personalities erupts, the film somehow loses its bite and conviction. Just as the lead character somehow loses grip on sanity and himself, so does the film lose momentum to go all in, failing to depict not only the crumble of the frail social dynamics of the building, but also the relationships that exist between the characters. Casting wise, the film features a great performance from the always superb Jeremy Irons, with solid contributions from the underrated Luke Evans, Elisabeth Moss, James Purefoy and Peter Ferdinando. The cinematography from Laurie Rose is excellent, as is the production design from Mark Tildesley and score from the fantastic Clint Mansell. While not a terrible film, it's somewhat of a missed opportunity with all this talent available. 

Croupier

Movie Name: Croupier
Year of Release: 1998
Director: Mike Hodges
Starring: Clive Owen, Alex Kingston, Gina McKee, Kate Hardie, Paul Reynolds, Nicholas Ball, Alexander Morton, Ciro de Chiara, Rhona Mitra, James Clyde
Genre: Drama, Horror
Score out of ten (whole numbers only): 7
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Synopsis and Review:

Veteran director Mike Hodges didn't have a very prolific output during the 90s, but "Croupier" still hails as one of the most interesting films on his resume, and a great gem which made its debut in the UK in 1999 and in the US in April of 2000. The film follows the story of Jack Manfred, a dashing young writer, who is having a hard time getting his book published. Originally from South Africa, he now lives in London with his girlfriend, and is struggling to make ends meet. Following a call from his father, who is somewhat of a grifter, he decides to take a job in a casino as a croupier. While he intends to just use the job as a means to get some money, it eventually draws him in, and he becomes invested in his position, eventually getting praise from his manager. The nightlife and his investment in it, eventually render him in trouble with his girlfriend. He also draws the attention of a client, something that is strictly forbidden as far as Casino rules are concerned. The woman by the name of Jani, who turns out, as also from South Africa, eventually becomes close, and discusses with him a planned heist to the Casino that is about to take place. She offers him an opportunity to be something of an inside man, and in the process make some easy money. As events unravel, and some of his personal relationships take a darker turn, Jack manages to persevere and find success.

Mike Hodges is very well known for two iconic films, "Get Carter" and the divisive "Flash Gordon". "Croupier" closely aligns itself with his gangster/thriller "Get Carter", and in this particular case, focuses on the narrative thread that is built around the central character, the suave and dashing Jack, who is also the narrator of the events for the audience. It works quite well, since the film is succinct in its character definition, and is possessed of a rhythm which makes it keep going consistently and always quite entertainingly so. While the whole premise of the heist isn't the most original one, that's also not what's so enticing about the narrative: that's essentially Jack's journey, witnessing how he navigates the murky waters of gambling, society and his own personal ambitions, of being a published and well known author. Clive Owen is perfectly cast in the role, since he manages to navigate the thin line between calculating and cold behavior, all the while also having a sincerity that can be disarming. The supporting cast is equally strong, particularly the always reliable Gina McKee, Alex Kingston and Paul Reynolds. Entertaining and always worth watching.

Cargo

Movie Name: Cargo
Year of Release: 2017
Director: Ben Howling, Yolanda Ramke
Starring: Martin Freeman, Simone Landers, Susie Porter, Anthony Hayes, Caren Pistorius, David Gulpilil, Cliff Coulthard, Kris McQuade
Genre: Drama, Horror
Score out of ten (whole numbers only): 6
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Synopsis and Review:

Ben Howling and Yolanda Ramke originally created "Cargo" as a short feature in 2013, and finally got a chance to expand it to a full feature length endeavor in 2017, with the film making its debut across a few film festivals (including Tribeca and the London Film Festival), before being released widely through Netflix. The film follows the story of Andy, at a time when an epidemic is spreading all over Australia, turning people into zombies. We originally encounter Andy, his wife Kay and their baby Rosie, unharmed, and planning an escape. That is until Kay is attacked and infected. Andy takes off with his family in the direction of the nearest hospital, in the hopes of still saving his wife, preventing the virus of transforming her. On their path, they suffer an accident, which prevents them from reaching help, with Kay finally becoming a zombie, and actually attacking Andy, and infecting him as well. Andy decides to carry Rosie, and find survivors who can protect her, since he knows he only has a few days left before the virus takes over. On that journey he finds the Vic, a rather unsavory character, and Thoomi, a young girl who is on a journey of her own, and who eventually becomes a welcomed ally. 

The zombie genre is always ripe for exploration, since it essentially allows for film makers to showcase how humanity deals with challenges that are both monumental and seemingly impossible to overcome. If Zack Snyder's "Army of the Dead" went for a hollow and adventurous take on the genre, "Cargo" goes in the opposite direction. The film aims and to a certain is successful in depicting the lengths a father goes to protect his family, and later on, his young daughter, at a time when it seems life is being eclipsed from everywhere. It's a testament to the film makers and to Martin Freeman's capabilities, that Andy is portrayed very much like an every day person, just attempting to hold on to a sense of normalcy, protecting his loved ones, and remain with whatever integrity and respect for human life as it is possible to do in the context that he finds himself in. The journey he embarks on is a cleverly portrayed one, even if the supporting characters sadly don't get much dimension to them, particularly the young Thoomi, who is desperately holding on to the memory of who her father was (we get a few flashbacks of their life prior to his infection, but not much reasoning for her desperate attachment). The film is nonetheless compelling, and features a solid performance from Martin Freeman, with apt support from Simone Landers, Anthony Hayes and Caren Pistorius. The cinematography from the great Geoffrey Simpson is impeccable, as is the production design from Josephine Ford. Worth watching.

Cruella

Movie Name: Cruella
Year of Release: 2021
Director: Craig Gillespie
Starring: Emma Stone, Emma Thompson, Mark Strong, Joel Fry, Paul Walter Hauser, John McCrea, Emily Beecham, Kayvan Novak, Kirby Howell-Baptiste, Jamie Demetriou
Genre: Comedy, Crime
Score out of ten (whole numbers only): 6
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Synopsis and Review:

The Disney studios continue to go through their classic properties, uncovering tales to be told, focused on well known antagonists of classic animated stories, something they did with "Maleficent" which originated from "Sleeping Beauty", and now with "Cruella" from "101 Dalmatians". This tale is a prequel and focuses on the story of a young girl by the name of Estella, who is born with quite a unique streak of hair, and a clearly defined sense of style to match it. Estella reveals a flair for fashion from an early age, and following a disastrous experience in a local school, her mother decides it is time to move to London, where Estella will have a much more fertile ground to grow. Sadly as they decide to get some help with the move, Estella's mother dies in a vicious situation. Forced to escape on her own to London, Estella quickly teams up with two other young street kids, and they all manage to grow up in each other's company by grifting and pickpocketing (in London of the 1960s). Estella eventually manages to get a job with The Baroness, the most well known and posh Fashion Designer in London, and through sheer talent, impresses the impossibly rigid designer. As Estella discovers The Baroness was involved in the death of her mother, she decides to wreak havoc on the Designer's life and collection, bringing to life an alter ego of hers, which she always had as a child: Cruella, the over the top persona, who only follows her instincts and never apologizes. As Cruella and her team start taking over the fashion and cultural world in London, The Baroness is fuming, deciding to stop at nothing to destroy this emerging new voice.

Craig Gillespie is an interesting director who continues to surprise. Following his wonderful "I, Tonya", "Cruella" is somewhat of a safer and sanitized view of what unbridled passion and lust for power will do to anyone. However, even if this tale is somewhat of a safe view of these topics, it's also an interesting exploration of an iconic character, and just as importantly, a somewhat superficial view of the point of view of women in the fashion industry in the 60s, and also women as leaders of business at a time where they didn't have that much of a voice. There's definitely a bit of a struggle to this film, trying to balance the fact that it has a message to say, with being light entertainment and ultimately a Disney film. For all the darkness that it tackles, namely those young orphans growing up on the streets and resorting to crime to survive, it's a film that tries to bring levity to its narrative, by inserting a series of animals throughout the narrative, and some slapstick to the supporting entourage of Cruella. Production wise the film is flawless, with impeccable cinematography from Nikolas Karakatsanis, production design from Fiona Crombie and beautiful costume design from Jenny Beavan (and Tom Davies). The cast is also phenomenal, with Emma Thompson and Paul Walter Hauser in particular bringing their characters to life in indelible ways. While not exactly memorable, it's nonetheless a watchable film, which could have benefited from a far better screenplay. 

The New Mutants

Movie Name: The New Mutants
Year of Release: 2020
Director: Josh Boone
Starring: Maisie Williams, Anya Taylor-Joy, Charlie Heaton, Alice Braga, Blu Hunt, Henry Zaga, Adam Beach, Thomas Kee, Colbi Gannett
Genre: Action, Drama
Score out of ten (whole numbers only): 3
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Synopsis and Review:

Much like Joe Wright's "The Woman in the Window", Josh Boone's "The New Mutants" also had a very colorful story before actually premiering in 2020 (its original premiere date was in 2018). The film is an adaptation of the Marvel comic book, and belongs to the same universe in which the X-Men characters exist (this comic book offshoot of the X-Men had its first run in 1982). This adaptation, brought to life courtesy of co-writer and director Josh Boone, takes a decidedly different turn, and opts for a darker, akin to a horror film approach. The film introduces us firstly to Dani Moonstar, a young Cheyenne Native American woman, who witnesses her entire reservation being devastated. She is taken to an empty hospital, run by the mysterious Dr. Cecilia Reyes, who informs her she is a mutant. Turns out, there are a few more patients in the hospital after all, including Sam Guthrie, Illyana Rasputin, Roberto da Costa and Rahne Sinclair. They all have their specific mutations, the same going for the Dr. Reyes herself. They can't leave the premises of the hospital, since there's a restraining force field generated by the Dr. which prevents them from doing so. They all believe they are being trained to become part of the X-Men, but the intentions of Dr. Reyes, and the organization sponsoring the research is far more sinister. As the young group of teenagers starts being confronted & attacked with menacing visions and creatures, Dr. Reyes deducts that Dani is creating these, and decides to euthanize her, as per orders of her employers. However things take a darker turn from that moment on.

Director Josh Boone made a name for himself with the adaptation of John Green's book, "The Fault in Our Stars", which paved the way for him to tackle this material. The film has a distinct look and feel from most of the X-Men film series, including the films by Bryan Singer, Matthew Vaughn, James Mangold, Brett Ratner and Gavin Hood. The film collects quite a bit of inspiration from the "A Nightmare on Elm Street" series of the 1980s, in particular the Chuck Russell directed episode, "The Dream Warriors". Sadly, and unlike the films that it emulates, this one lacks humor and much dimension to any of its lead characters. Dr. Reyes, the character who walks the fine line of being a helper and a villain, in particular, fails to have any actual depth to her, appearing as somewhat of a host to the events taking place, but not much is ever really known about her (or for that matter, about the remaining characters). In its quest to be different, the creative team behind this tale, forgot that the characters need to have a background, some motivations, and do more than just act scared throughout the narrative. It's a surprisingly threadbare film in terms of narrative, never truly creating an iconic villain, nor for that matter, never truly illustrating the potential of these characters, all of which have very distinct and unique backgrounds. The cast tries their best to bring some life to these characters, in particular Alice Braga and Anya Taylor-Joy, but for all their effort and talent, this tale always feels stunted and somewhat lifeless. A wasted opportunity. 

Oxygene/Oxygen

Movie Name: Oxygene/Oxygen
Year of Release: 2021
Director: Alexandre Aja
Starring: Melanie Laurent, Mathieu Almaric, Malik Zidi, Laura Boujenah, Eric Herson-Macarel, Marc Saez
Genre: Sci-Fi, Drama
Score out of ten (whole numbers only): 6
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Synopsis and Review:

Director Alexandre Aja is back, following his adventure in the Florida area with massive alligators which resulted in his feature "Crawl". This time around he goes back to his home country, France, and returns with one of his most interesting films. The film follows the story of Elizabeth Hansen, whom we initially discover waking up in a tight pod, with all sorts of devices connected to her. She has seemingly no recollection of how she got there, however the AI running the high tech operations, indicates she has limited oxygen, and therefore limited time to live before she ultimately dies. Elizabeth frantically tries to understand where she is, how she got there and how she can sort the situation she finds herself in. As pieces of her memories start coming back, in random order, she starts realizing she has/had a husband, and she is a scientist. She eventually manages to make outside contact with different people, and while they give her different directions, she eventually connects with someone who has the ability to answer the questions she's posing. However those answers may not be what she was looking for. As her time is running out, and she finally understands the journey she is on, she has to rely on her skills and ingenuity to save herself.

Claustrophobic tales of a single character trapped in somewhat unescapable situations, can make for some tense thrillers. Going back to Roman Polanski's examination of someone losing their grip on reality in "Repulsion", to the more recent exercises such as Rodrigo Cortes's "Buried", these are usually tales where the lead character has to trace back his/her steps, to uncover their narrative for us the audience, in a way that we progressively discover who this character is, and simultaneously empathize with the predicament they find themselves in. "Oxygen" has traces of Stanley Kubrick's "2001" (then again, which modern sci-fi film doesn't), but manages to create its own identity, by effectively building this sleuthing narrative, where the trapped character is somewhat of a detective, piecing together clues, in order to understand her current and quite possibly fatal predicament. It's a film that smartly uses the tight space to build a sense of claustrophobia and urgency, which is emphasized by its sterile environment, responses, and even how the environment itself responds aggressively to the central character. Even if the film fails to add much dimension to Elizabeth, or for that matter, to the few characters who surround her, it's nonetheless effective in establishing its premise and developing the scenario. Melanie Laurent continues to be a talent to admire, and in this film she vividly brings to life a wide breadth of emotions, ranging from sheer panic, to a progressive awakening, to finally a firm resolution of establishing the path of her own life. The cinematography from Maxime Alexandre is impeccable, as is the score from Robin Coudert. Worth watching.

Halston

TV Show Name: Halston
Year of Release: 2021

Creators: Sharr White

Directors: Daniel Minahan

Stars: Ewan McGregor, Rebecca Dayan, David Pittu, Krysta Rodriguez, Gian Franco Rodriguez, Bill Pullman, Sullivan Jones, Maxim Swinton, Molly Jobe, Rory Culkin, Megan Gerald, Sietzka Rose, Eric T. Miller, Jason Kravits, Shawna Hamic, Mazin Akar, Jarrod Spector

Genre: Drama

Score out of ten (whole numbers only): 5
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Synopsis and Review: 

Following a few documentaries on the life of celebrated fashion American designer Roy Halston, Ryan Murphy has produced a mini-series tracking his ascent and his demise, for Netflix. The mini-series introduces glimpses of Halston's childhood in Iowa, before focusing on his first glimpse of fame, when as an employee of Bergdorf Goodman's he designs the hat which is worn by Jacqueline Kennedy on the President's inauguration in 1961. When the hat daze fades away, he secures the financial backing of Estelle Marsh, a millionaire who allows him to open his first store. As he starts designing his first collections, his ambitions cement further and further. By 1969 he launches his ready to wear collection, and he becomes tremendously popular, something that is also aided by his close relationship and friendship with Liza Minnelli. His personal relationships however suffer, as he is unable to open up, be vulnerable and create meaningful attachments with the partners he has. During the 70s he is able to expand his empire, across a variety of products and venues, but simultaneously so does his partying and excessive drug usage. As the 80s start and new designers come into play, he decides to sell his brand and form an association with JC Penney, which is the beginning of the end. His behavior, his mercurial temper, who isolated him from his long life friends, is kept in check by the organization, that eventually pushes him out of the brand itself. As he himself comes to term with the AIDS epidemic, he decides to quietly move away from NY and go to California and spend time with his family.

"Halston" as one can witness from the documentaries focused on his persona can attest, had an over the top life, particularly during the 70s, where stunning clothing, mixed with high style partying and larger than life celebrities, all mixed in to form a swirl of energy and decadence. The mini series manages to a large extent to bring some dimension to the character, largely due to Ewan McGregor's impeccable performance, which adds layers of vulnerability, mixed with anger, narcissism and longing, more so than the show wants to focus on. The mini series for the most part, captures the loose feel of the 70s quite well, the same going for the sexual liberation, and progressive impact of the fashion world, but it ultimately fails to register more deeply since the characters, aside from Halston, are nothing more than mere sketches. His relationships with his partners are barely focused on, as are the relationships he establishes or fails to establish later in his career with his employers. That last part in particular, could have played as a tragedy in itself, as a King of his domain, who is progressively shunned, shut out of his kingdom, only to find himself alone. While the narrative manages to give an interesting glimpse of the ascension Halston goes through, the downfall is illustrated rather rapidly and without much consequence to it. There's an overall superficial look at the veneer of this personality, without trying to really capture what went beyond the facade. The supporting cast of the show is equally solid, with David Pittu, Krysta Rogriguez, Gian Franco Rodriguez and Bill Pullman, providing a good compliment to Ewan McGregor's charismatic centerpiece. From a directorial perspective, the series is somewhat generic, but does manage to showcase the impeccable production design from Mark Ricker. Watchable, but forgettable.

Army of the Dead

Movie Name: Army of the Dead
Year of Release: 2021
Director: Zack Snyder
Starring: Dave Bautista, Ella Purnell, Omari Hardwick, Ana de la Reguera, Nora Arnezeder, Garret Dillahunt, Tig Notaro, Theo Rossi, Matthias Schweighofer, Hiroyuki Sanada, Raul Castillo, Huma Qureshi, Samantha Win, Richard Cetrone, Michael Cassidy
Genre: Action, Horror
Score out of ten (whole numbers only): 4
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Synopsis and Review:

Director Zack Snyder is back, following his period of adapting comic book characters for DC films (which included "Man of Steel" and "Batman vs. Superman: Dawn of Justice"). The film follows a group of individuals who are assembled together under the guise of a heist proposal. The herculean challenge is not only getting through the vault and getting the money out, but primarily surviving the conditions and the city where that vault lies: Las Vegas. Vegas has been overrun by zombies, some of which are fast, tribal and with a strategy of their own. The group is led by Scott Ward, a former mercenary, and the proposal for the heist comes from Bly Tanaka, a Casino owner, who informs them those vaults have 200 million dollars, some of which they can keep for themselves. As Scott assembles his team, he is joined by his estranged daughter, whom he has a strained relationship with. As they venture into a destroyed Las Vegas, the group relies on their skills and experience to overcome the unexpected zombie scenario.

Zack Snyder tackled zombie films previously, with his feature directorial debut, the remake of George A. Romero's "Dawn of the Dead". Unlike that film, this one sprinkles some additional dimension to the humans who are dealing with the zombie outbreak, in the shape of Scott's fractured relationships with both his daughter, and a former lover he has on his team. It also spins a "Ocean's Eleven" type of heist, only this time around, with the challenges coming in the shape of a destroyed city overrun with fast thinking zombies. All of these elements could have worked together efficiently, but once again there's a lack of understanding in how to showcase characters and their inner challenges, without resorting to cliches or being somewhat overly sentimental. This film could have benefited from a more straightforward approach to character definition, particularly given the eclectic aspect of the group that is put together, but sadly there isn't much to any of them, whereas the zombies, who are somewhat akin to what Francis Lawrence did in "I Am Legend", never feel as truly menacing or numerous as they did on "Dawn of the Dead" for instance. The cast tries their best to bring life to these characters, particularly Dave Bautista who is playing more of a straightforward role this time around, with good support from Tig Notaro and Garret Dillahunt, sadly it's simply not enough to make this film as exciting and gripping as it should be. It's a minor feature in the zombie genre. 

Those Who Wish Me Dead

Movie Name: Those Who Wish Me Dead
Year of Release: 2021
Director: Taylor Sheridan
Starring: Angelina Jolie, Nicholas Hoult, Aiden Gillen, Jon Bernthal, Finn Little, Jake Weber, Medina Senghore, Tyler Perry, James Jordan, Tory Kittles, Howard Ferguson Jr., Ryan Jason Cook
Genre: Action, Thriller
Score out of ten (whole numbers only): 5
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Synopsis and Review:

Taylor Sheridan made a name for himself as a celebrated writer, firstly with Denis Villeneuve's "Sicario", and also with the award nominated, "Hell or High Water", from director David Mackenzie. His directorial career has been a bit more modest, and this film is actually his third feature, following the well received "Wind River". This time around the film is an adaptation of the book by Michael Koryta, and focuses on the lives of two central characters, the first being a young boy by the name of Connor, and the second a survival expert by the name of Hannah. Connor is on the run in the woods of Montana, after witnessing his father being murdered. A larger conspiracy is being played out, and the people pursuing him want to make sure everything is cleaned up efficiently and with no witnesses. His only help comes in the shape of Hannah, a survivor expert, who is dealing with her own demons, after failing to save a few forest firefighters in a particular harsh situation. Together they must overcome ruthless pursuers who stop at nothing to erase all evidences of the conspiracy taking place.

"Those Who Wish Me Dead" had the potential to be a taut and brisk B-movie with great acting talent, sadly the film lacks the commitment and energy that Steven Soderbergh brought to "Haywire" for instance, or for that matter, Leigh Whannell brought to "Upgrade". During the film's condensed duration, the characters are briefly introduced and contextualized, just enough to understand their motivations, how & why they battle each other out for survival. One of the main issues with the film however, is the fact that in pursuing varied supporting stories and characters, it fails to capitalize on its main thread, particularly the dangers that await Hannah and Connor. That resolution of that particular narrative thread is quickly handled, without much suspense or tension for that matter. It's another case, where the material itself didn't necessarily marry with the perspective/point of view of the director, and the final output feels rushed and with a series of cliches that render the film watchable, but ultimately forgettable. The cast is filled with stellar performers, with Angelina Jolie once again giving the central character a vivid dimension, with solid support from Aiden Gillen and Nicholas Hoult. The cinematography from Ben Richardson is solid, as is the score from Brian Tyler. Passable but sadly not memorable. 

Pepi, Luci, Bom Y Otras Chicas del Monton/Pepi, Luci, Bom and Other Girls Like Mom

Movie Name: Pepi, Luci, Bom y Otras Chicas del Monton/Pepi, Luci, Bom and Other Girls Like Mom
Year of Release: 1980
Director: Pedro Almodovar
Starring: Carmen Maura, Alaska, Eva Silva, Felix Rotaeta, Cecilia Roth, Kiti Manver, Julieta Serrano, Assumpta Serna, Carlos Tristancho, Blanca Sanchez, Agustin Almodovar
Genre: Comedy
Score out of ten (whole numbers only): 6 
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Synopsis and Review:

"Pepi, Luci, Bom y Otras Chicas del Monton" is director Pedro Almodovar's feature directorial debut, following a series of shorts he created in the 70s. The film focuses on the story of three women, starting with the rebellious Pepi. We first witness her going through her hobbies, until a policeman interrupts her day, checking her apartment for pot. When she tries to bribe him with oral sex, he rapes her. Seeking revenge, Pepi arranges for her friend Bom and her band to beat up the policeman. Turns out they end up beating up the policeman's twin brother. Still intent on her revenge, Pepi befriends the policeman's wife Luci, who is somewhat of a masochist. She eventually becomes Bom's lover, much to the irritation of the policeman. As the three go about enjoying the cultural life of Madrid, Pepi eventually has to find a job since her father stops sponsoring her life. She becomes a writer for advertising spots. The humiliated policeman however, is on the prowl once more, and manages to kidnap Luci and punishes her so severely she finds herself in the hospital. 

Shot in the span of two years, with very limited budget, "Pepi, Luci, Bom..." was a development of the short story Almodovar had written under the title "General Erections". The film itself is demonstrative of the counter-culture and punk attitude which permeated Spain's cultural life right after the abolishment of Franco's dictatorship in 1975. Unlike the more tightly woven narratives the director would craft in his subsequent films, this one feels very much like a collection of vignettes, destined to illustrate the lives of these women, who are trying to find their place in life, while being liberated and also owning their choices. It's a film where some of the traits of Almodovar's directorial career are already emerging, namely the focus on women's narratives, and how they manage to overcome the strict limitations men force or impose on them, married with his quirky and delirious sense of humor. The cast features some of his long lasting accomplices, including Carmen Maura, Kiti Manver, Cecilia Roth and Julieta Serrano, who would continue to appear in his films throughout this career. While not as consistent as his later films, it's still a wonderful view into the mind of one of the most gifted film makers currently working.

Things Heard & Seen

Movie Name: Things Heard & Seen
Year of Release: 2021
Director: Shari Springer Berman, Robert Pulcini
Starring: Amanda Seyfried, James Norton, F. Murray Abraham, Natalia Dyer, Karen Allen, Rhea Seehorn, Michael O'Keefe, James Urbaniak, Cotter Smith, Ana Sophia Heger, Alex Neustaedter, Jack Gore, Marion McCorry, Kristin Griffith
Genre: Drama, Horror
Score out of ten (whole numbers only): 3
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Synopsis and Review:

Directing team of Shari Springer Berman and Robert Pulcini made an auspicious debut with "American Splendor". This adaptation of the book by Elizabeth Brundage is their latest endeavor, and the one which takes them in the direction of the horror/suspense genre. The film takes place in 1980 and follows the story of a young couple, composed of Catherine and George Claire, who have a young daughter by the name of Franny. As George gets a teaching position in upstate New York, Catherine decides to give up her position as an Art restorer, and make the situation work for her and her family in the new bucolic surroundings. They buy a house which is filled with history, but also where much drama has occurred in the past. As the dynamics between the young couple surface, their strained relationship begins to become all the more apparent, as does George's infidelities and later on, more serious accusations. Catherine in the meantime starts noticing some odd occurrences in the house, until she notices some entity is there. As she and some newfound friends, understand more of the purpose of what is happening in the house, and what took place there, Catherine also realizes the situation and relationship she's in. As George's behavior becomes increasingly erratic, Catherine maps out her escape, without realizing her plans may have already been uncovered.

"Things Heard & Seen" has the makings of a truly interesting suspense film, which for instance in the hands of James Wan or Leigh Whannell, could have played with the tropes of the genre, and brought a fresh take on it. As it is, Shari Springer Berman and Robert Pulcini, opt to make a film that is mostly illustrative and fairly conventional, never truly showcasing much about the central characters and their inner workings. The film is not taut enough to have a B-film approach to it, and does not possess much of a distinct point of view to render it as a prestige film (if those even yet exist). It's a film that never really knows what it wants to be, one that never actually creates an unsettling environment such as Ari Aster's "Hereditary" for instance, and therefore it fails to have conviction in what is trying to say. Even if the epilogue tries to take the narrative into another dimension, it's just too late and ultimately doesn't add the dimension it should. The cast for the most part does not work: Amanda Seyfried and James Norton don't share much familiarity with each other (or chemistry for that matter), and ultimately F. Murray Abraham ends up being the one who adds heart and humanity to the film. While not a terrible film, it's ultimately a forgettable one.

The Woman in the Window

Movie Name: The Woman in the Window
Year of Release: 2021
Director: Joe Wright
Starring: Amy Adams, Gary Oldman, Wyatt Russell, Brian Tyree Henry, Jennifer Jason Leigh, Julianne Moore, Anthony Mackie, Fred Hechinger, Tracy Letts, Jeanine Serralles, Mariah Bozeman
Genre: Crime, Drama
Score out of ten (whole numbers only): 3
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Synopsis and Review:

Right after the well received "Darkest Hour", director Joe Wright tackled the adaptation of the book by A. J. Finn, "The Woman in the Window". Much has been reported on the fact that the film was ready to premiere in 2019, but was continuously pushed to new release dates since it didn't quite test well with audiences. It finally got its premiere courtesy of Netflix, and it features a fantastic cast. The film follows the story of Anna Fox, a child psychologist, who is also agoraphobic, and due to that stays at home all the time. We first come to notice her while she's in a therapy session, where she also discusses her reliance on medication and her tendency to drink way too much. During the course of a week we come to witness her daily habits, which includes talking with her husband, or soon to be ex husband, who has custody of her daughter. She rents the basement of her Harlem townhouse to a young man by the name of David. One day of the week she notices new neighbors moving to the townhouse across from her. She soon meets the young son of the couple who has moved in, and they quickly establish a friendship. On Halloween night, as her house becomes the target of some frustrated partiers, she gets rescued by a woman, who tells her she's the mother of the young man she befriended. They have a nice evening, which doesn't prepare Anna for what she witnesses the following night. Jane, whom she spoke with, is brutally stabbed and murdered in the townhouse across from her, and as Anna furiously tries to go and help her, she's unable to do so. Upon reporting the incident, the family and police appear, with Jane, who turns out to be a completely different woman. As Anna's credibility and sanity hang by a thin thread, she tries to uncover what has happened.

"The Woman in the Window", unlike Curtis Hanson's "The Bedroom Window", has the ambition of being something more akin to a prestige film, and that's where it ultimately fails. The material for all its smartness, it's ultimately a suspense story, and the film itself, plays out fairly flatly and without much suspense or effective tension. For a film that references so many wonderful features in itself (Hitchcock's "Spellbound" shows up for instance), this one never truly manages to give the characters much dimension. It's a puzzling film, not so much for the narrative that it unfolds, but mostly because it has so many wonderful actors, without much to do. Aside from Amy Adams's Anna Fox, who actually has some dimension to her, due to the traumas she's been through, and eventually her arc & redemption, most of the supporting roles are primarily archetypes, without much motivation, nuance or for that matter, resonance. Gary Oldman, Jennifer Jason Leigh, Julianne Moore, Anthony Mackie, Tracy Letts, Brian Tyree Henry, all great performers, sadly have mostly walk on roles, and the film doesn't utilize much of their skills or talent to add further enticement to the narrative. The cinematography from Bruno Delbonnel is beautiful, and Amy Adams is as always captivating, but the film lacks a more distinct approach, one that takes this somewhat pulpy material, and brings it to life more memorably (much like Anatole Litvak's "Sorry, Wrong Number" for instance, who knew how to create effective tension). A waste of talent and efforts.

The Spirit

Movie Name: The Spirit
Year of Release: 2008
Director: Frank Miller
Starring: Gabriel Macht, Samuel L. Jackson, Sarah Paulson, Eva Mendes, Scarlett Johansson, Dan Lauria, Seychelle Gabriel, Eric Balfour, Louis Lombardi, Johnny Simmons, Richard Portnow, Stana Katic, Paz Vega, Jaime King, Dan Gerrity, Michael Milhoan
Genre: Adventure, Crime
Score out of ten (whole numbers only): 2
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Synopsis and Review:

Author Frank Miller had a very successful first foray into directing when he co-directed "Sin City" in 2005, alongside Robert Rodriguez. For his first solo outing, he decided to adapt the comic book series from Will Eisner focused on the character,  "The Spirit", a series which successfully ran in newspapers between 1940 and 1952. The film follows the story of Denny Colt, a former police officer, who now has seemingly unstoppable powers and can always escape death. He goes by the name "The Spirit", and has become a protector and somewhat of a vigilante in the city where he lives. His main antagonist, who seemingly has similar skills goes by the name of Octopus. The Octopus and his associates are intent on getting a chest which contains the blood of a demi-god, in order to perfect an immortality serum, which Octopus previously devised and tested on Denny and on himself. As he tries to achieve his nefarious goals, The Spirit is the only one with enough stamina and resources to battle this seemingly unstoppable villain.

"The Spirit" is a film that stylistically instantly takes us back to "Sin City". The highly stylized look, including colors, costumes, cinematography, production design, combined with the voice over that is utilized, are all elements that were also utilized in the adaptation of Frank Miller's own work. "The Spirit" however has tonal issues, with the narrative trying to adhere to the conventions of the classic film noir, while also allowing the villains and supporting characters to be overly cartoonish (and over the top in the process). Another core issue with the film is the fact that none of the characters have much dimension to themselves, including the central hero. "The Spirit" is for the most part a wooden, cardboard character, without much charisma, save for the fact that he is apparently immortal. Also for all the supporting female roles that the film showcases, and apparently the relationships that are established between the hero and quite a few of them, the film lacks sexiness, or that matter, actual humor. In the end the film never really convinces as a noir upgrade, or a different take on a graphic novel: it mostly feels a bit kitsch, and not deliberately so. The fantastic cast is sadly unable to save the film, though Sarah Paulson does manage to escape with her dignity intact, which cannot be said for most of the team assembled. The cinematography from Bill Pope is impeccable, as is the score from David Newman. This was a missed effort, from a great author/writer.