Asteroid City

Movie Name: Asteroid City
Year of Release: 2023
Director: Wes Anderson
Starring: Jason Schwartzman, Scarlett Johansson, Tilda Swinton, Tom Hanks, Jeffrey Wright, Edward Norton, Liev Schreiber, Hope Davis, Bryan Cranston, Rupert Friend, Maya Hawke, Steve Carell, Hong Chau, Matt Dillon, Willem Dafoe, Margot Robbie, Tony Revolori, Jake Ryan, Jeff Goldblum, Sophia Lillis, Adrien Brody, Bob Balaban, Fisher Stevens, Rita Wilson, Zoe Bernard, Sebastian Stephens, Steve Park
Genre: Comedy, Romance
Score out of ten (whole numbers only): 6
Watch it on Amazon

Synopsis and Review

After the well received "French Dispatch", which took some time to the screens due to Covid 19, writer/director Wes Anderson quick set in motion his next feature. The narrative focuses on the staging of a play by a famed playwright by the name of Conrad Earp. In the play, a youth astronomy convention is taking place in a fictional desert town named Asteroid City. One of the central characters in the play is war journalist Augie Steenbeck, who arrives with his 4 children in tow, including his teenage son Woodrow. Another person in town is Midge Campbell, a famous actress, who is also traveling with her teenage daughter Dinah (both Woodrow and Dinah are expected to be honored at the convention). A variety of other characters make their way into town, due to the convention, with all of them staying in a local motel. The locale is the target of an actual alien visit, upon which everyone in town is placed under strict quarantine. The events from Asteroid City become national news. In the interim the process of creating the play takes on different journeys, as Conrad becomes romantically involved with his lead actor. Conrad writes the play with the help from a local acting school and recruits cast members from it.

As the years have gone by, and Wes Anderson has further cemented his universe, it's interesting to witness the direction which some of his features have taken. Comparing his earlier endeavors such as "The Royal Tenenbaums" or even "The Life Aquatic with Steve Zissou", with "Asteroid City" while still bearing similar DNAs, they also feel like distant relatives. One of the biggest issues with "Asteroid City" is the fact that while impeccably rendered and put together, it's a feature that is easier to admire than to love. Easier to admire in the sense that this film is a stylized endeavor, almost like a piece of performance art, where every little aspect of the film and what's taking place feels timed to a rhythm that the author has established. Nothing is left to casual or unexpected. And this in itself does make the film something to admire, in the sense that the universe this author creates is very much his own, he has a point of view that he ferociously pursues, illustrates and controls. As an audience member, this proposition can take many directions, in the sense that a viewer can embark on this journey, or simply feel distracted by what's taking place without realizing its purpose, since it's difficult to create an emotional connection with the feature itself. These characters, and there's a vast array of them, feel very much like puppets being told what to do and what to recite by their creator, with some actors being more successful at embodying the character, versus others who almost become decals of the Wes Anderson style (delivery itself). There is humor, as it's usual in Wes Anderson's films, but unlike "The Grand Budapest Hotel", where there was a formidable energy afloat, on par with a brilliant central performance from Ralph Fiennes, this film in particular becomes trapped of the narrative devices the director has set in motion. The staging of the play, of which its creation is also staged/illustrated, doesn't entirely work, and not because of the difference in styling, but because of the artificiality of it all. And in a way, that's probably one of the things Wes Anderson aims to create or illustrate: a level of artifice, tied with a certain period piece, which is all part of his aesthetic and point of view. Many authors bask in the universe they create, for instance Woody Allen who during the late 70s, all of the 80s and most of the 90s, dabbled in his own universe without compromising or deviating from his point of view or type of narratives he illustrated. With "Asteroid City" it feels like Wes Anderson created this perfectly manicured microcosms, but one that leaves no room for actual characters to exist. The phenomenal cast bring these puppets to life, but what's more memorable about this film is the whole construct that the production team puts together. Robert Yeoman's cinematography, Alexandre Desplat's score, Milena Canonero's costume design and Adam Stockhausen's production design. It's an interesting feature and it's watchable one for sure, but it isn't nearly as satisfying as prior features from this director.

Wonka

Movie Name: Wonka
Year of Release: 2023
Director: Paul King
Starring: Timothée Chalamet, Calah Lane, Olivia Colman, Tom Davis, Paterson Joseph, Matt Lucas, Mathew Baynton, Freya Parker, Keegan-Michael Key, Jim Carter, Rakhee Thakrar, Sally Hawkins, Rowan Atkinson, Hugh Grant, Rufus Jones, Natasha Tothwell, Rich Fulcher, Colin O'Brien, Sophie Winkleman, Dominic Coleman, Charlotte Ritchie, Phil Wang, Robyn Rose
Genre: Adventure, Comedy, Musical
Score out of ten (whole numbers only): 7
View Trailer

Synopsis and Review

After making a name for himself with the "Paddington" series, writer/director Paul King has ventured into illustrating the adventures of another iconic literary character, in this case Willy Wonka, one of the creations of Roald Dahl (who created this character specifically in 1964 as part of the book "Charlie and the Chocolate Factory"). This particular take on the character is in a way a prequel to the adventures Wonka subsequently has with Charlie Bucket and all the other children. This narrative focuses on young Willy Wonka who arrives on a thriving European city after exploring the world for a while. He's eager to start his own chocolate shop, something that he was influenced by his mother. Though he initially strikes a chord with the people of the city, he is also met with resistance from the three main chocolatiers who monopolize that business and who want to keep it that way. Willy, in need of a place to stay, ends up signing a contract with the sneaky Mrs. Scrubitt (mistakenly drawn in by her henchman, Bleacher). The contract basically forces him into hard labor, something he soon realizes has been her tactic with a series of people who are trapped in her web of deceit. Willy becomes fast friends with everyone, in particular with the young Noodle, who has been with Mrs. Scrubitt since she was a baby, doing hard work all the time. Noodle has no idea of who her parents are. They devise a plan which allows Willy to start selling Chocolate all over town without getting caught, and they also manage to do so thanks to the collective skills from his newfound friends, and Mrs. Scrubitt victims. However the Chocolate mafia isn't willing to give up so easily, and they resort to shady tactics to get back at Wonka.

"Wonka" takes a different approach to what Tim Burton and Johnny Depp did with their "Charlie and the Chocolate Factory" adaptation (which was also delightful). Paul King deliberately crafts a musical that traces the tribulations Willy Wonka has to go through, but also one that emphasizes the delight his creations bring to the city and its inhabitants. It's a film that is just as visually enchanting as Tim Burton's version of this universe was, but in this case the narrative is more focused on how an idealistic young man can change the world simply by sweetening it with chocolate (and other treats). While the central character here, Wonka, is described as a hero who is seeking to reconnect with his lost mother, but also someone who is ambitious and confident in his talents (at first glance), the remainder of the characters are actually very similar to the ones that typically pepper Roald Dahl's storylines. For instance, Mrs. Scrubitt seems like a decal from Ms. Trunchbull from "Matilda", while Noodle can actually pose for a similar type of hero as Charlie Bucket, Matilda or Sophie (from "The BFG") actually were in their respective storylines. All this to say, most of the supporting characters are indeed sketches, but they're sketches with something unique to them, something that gives them some dimension and relevance. They all make a good support for the magic Willy is trying to impart on the city. Paul King is successful in creating this particular universe, one that feels frozen in time, but also instantly recognizable: he creates a fantasy scenario of a city that could have easily existed in the 1940s or 1950s (when Roald Dahl was experiencing much of what inspired his stories). The musical numbers are superbly choreographed, and feature wonderful music and lyrics (the songs hail from the partnership of Neil Hannon and Joby Talbott, who have been working together for years on Hannon's musical project, The Divine Comedy). The cast is uniformly excellent with Timothée Chalamet creating an idealistic and hopeful character with ease and charisma, with wonderful support from Olivia Colman, Jim Carter, Matt Lucas and Hugh Grant. The production team is equally fantastic, including Chung-hoon Chung's cinematography, Nathan Crowley's production design, and Lindy Hemming's costumes. Worth watching. 

Rebel Moon

Movie Name: Rebel Moon
Year of Release: 2023
Director: Zack Snyder
Starring: Sofia Boutella, Michiel Huisman, Ed Skrein, Doona Bae, Charlie Hunnam, Djimon Hounsou, Staz Nair, Ray Fisher, Fra Free, Cleopatra Coleman, Stuart Martin, Ingvar Sigurdsson, Alfonso Herrera, Cary Elwes, Anthony Hopkins, Jena Malone, Corey Stoll
Genre: Action, Adventure
Score out of ten (whole numbers only): 2
Watch it on Netflix

Synopsis and Review

Zack Snyder is back, continuing his deal with Netflix after the somewhat mediocre "Army of the Dead" (and after being excised from Warner Bros. and their DC comics universe). "Rebel Moon" focuses its story on Kora, whose real name is Arthelais, and has been working as a farmer in a remote planet since being rescued by the father figure Hagen. Her community is breached by a ship commanded by Atticus Noble. Atticus and his men are part of The Motherworld, an empire that is now ruled by Balisarius, someone who is intent on keeping expanding the footprint of that empire through war and conquest. Atticus lands on the planet looking for supplies, but also is aware the community has sold some of its crops to the rebellion. After killing the leader of the community, Atticus leaves with the promise of returning to seize all crops. Kora eventually reveals herself to be a highly skilled and trained military officer, and embarks on a journey with another man from the community to seek warriors who can help the community defend themselves from the return of Atticus. They manage to get the help of Kai, a smuggler who introduces them to a series of highly skilled individuals, all with a motivation to fight back the empire, but everyone isn't who they appear to be.

"Rebel Moon" tries really hard to be a new version of George Lucas' "Star Wars", peppered with some hints of flavor of what the Wachowskis did with "Jupiter Ascending", with a dash of "Harry Potter" and even a hint of "Lord of the Rings". You'd think with such a rich tapestry of flavors, the overall confection would turn out far more elaborate than this, but the narrative has a difficult time finding a tone, and even building characters that actually have any motivation at all. The story of the renegade soldier who wants to move past a checkered and brutal past can make for a great narrative, however Kora is flatly described, and apparently her single motivation in the film is to a) escape the ships from the industrial complex and then suddenly b) find a couple of warriors to tackle the entire empire. While flimsy character development can at times be compensated by establishing a compelling universe in which the characters live in, Zack Snyder fails to give this universe and its characters much personality or distinctiveness. While pillaging narrative aspects from better films, he failed to realized that there needs to be some coherence in the storytelling that is being presented to the audience. So while we have the introduction of characters like Kai, the pseudo Han Solo, and the group that is created, which almost feels like a less interesting version of Joss Whedon's "Firefly", the subsequent group is rapidly put together, with little to no explanation to what makes these characters actually worth paying attention to or even caring about. The film feels like a rapidly assembled sketch/decal from other templates, all tossed in together, but with no consistency amongst themselves. Visually the film also lacks polish and sophistication, which is surprising, considering this director has made a name for himself more as a stylist than as a gifted storyteller. The visual effects look unpolished. The cast is a bit all over the place, with a highlight going to Sofia Boutella, who tries her best to bring Kora to life, with good support from Corey Stoll, while Doona Bae (who usually works with The Wachowskis), is sadly lost on this mishmash of a film. Charlie Hunnam who is typically a one note performer, manages to keep that streak intact, while Ed Skrein, who has now become the official new Michael Wincott, simply needs to find better roles. Anthony Hopkins who has a brief voice role, manages to bring more humanity and dimension to a character that is literally animated, when compared to the rest of the cast. The production team is also unmemorable, including the cinematography from Zack Snyder himself (just bring back Larry Fong), score from Tom Holkenborg and production design from Stefan Dechant and Stephen Swain. This is just not a very good film all around. 

The Boy and the Heron

Movie Name: The Boy and the Heron
Year of Release: 2023
Director: Hayao Miyazaki
Starring: Christian Bale, Dave Bautista, Gemma Chan, Willem Dafoe, Karen Fukuhara, Mark Hamill, Luca Padovan, Robert Pattinson, Florence Pugh, Mamoudou Athie, Tony Revolori, Dan Stevens, Barbara Goodson, Denise Pickering, Melora Harte, 
Genre: Animation, Adventure, Drama
Score out of ten (whole numbers only): 10
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Synopsis and Review

The genial Hayao Miyazaki has returned after the magical "The Wind Rises", with what can be considered another one of his all time masterpieces (and a companion to "Spirited Away"). The narrative focuses on 12 year old Mahito, whose mother is killed in a hospital fire in Tokyo (this during the Pacific War in 1943). His father who works for an air munitions factory, marries his late wife's younger sister Natsuko. Mahito and Shoichi (his father) soon move to the countryside to be close to Natsuko, who is pregnant. Mahito has a tough time adjusting to his new life, and has some trouble in school. He injures himself purposefully, which turns out to put his life in danger. While recovering Mahito notices a heron keeps coming by, and talking to him. Mahito in the meantime has uncovered a tower nearby that is supposedly off limits, and that his family had blocked access to, due to its strange nature. In the meantime Natsuko becomes ill, and soon disappears. All the maids in the property, start seeking her out, the same going for Natsuko. Mahito and one of the maids eventually wander off to the Tower, where the magical heron appears once more, but this time Mahito fires an arrow through his beak, which transforms him into a diminutive birdman. A wizard appears and orders the birdman to guide Mahito and Kiriko (the maid) in their quest for Natsuko.

Watching a Hayao Miyazki film is a unique experience, where one is literally transported to a universe that is very much his own. His films have long maintained a common thread throughout them, where they typically take place during wartime, or in the aftermath of war, where the world has been scorched, and people have to survive in a world that is nothing like it used to be. Nature has taken over, and in a way, is teaching humans to live more purely and without savagery. In these stories, technology is also one of the roots of evil, something that can be witnessed in "Future Boy Conan", "Nausicaa" or even "Castle in the Sky". These films of course tie with the director's own childhood experiences of living in aftermath of World War II. Another undercurrent of his features is the spiritual world (or fantastical), and how it can profoundly impact characters' destinies. That has been the case for instance of "Spirited Away", "Porco Rosso" or even "Howl's Moving Castle", all features which deal with ghosts, magicians and alternate realities. These are realities that at times are demonstrative of the grotesqueness of humans, but where kindness is always rewarded, as is selflessness. All these topics are perfectly coalesced in "The Boy and the Heron", where the film has various layers to consume, a family that has to rebuild itself in the aftermath of a tragedy, a devastating war, and a spiritual world nearby, that is far more than it seems. It's a film where the central hero once again has to redeem himself, emotionally mature up, and salvage his family, all this in a universe that is unaware of. It's a journey populated with phenomenal characters and details, one that never cease to impress. Mr. Miyazaki once again proves why his universe is so uniquely crafted and why the narratives he creates are simultaneously humorous, emotional, thrilling, and ultimately unforgettable. The animation is of course stunning, and this is a film worth savoring over and over. 

Love and Monsters

Movie Name: Love and Monsters
Year of Release: 2020
Director: Michael Matthews
Starring: Dylan O'Brien, Jessica Henwick, Michael Rooker, Ariana Greenblatt, Dan Ewing, Ellen Hollman, Tre Hale, Pacharo Mzembe, Amali Golden, Te Kohe Tuhaka, Tasneem Roc, Thomas Campbell, Joel Pierce, Melanie Zanetti, Bruce Spence
Genre: Action, Adventure
Score out of ten (whole numbers only): 4
Watch it on Amazon

Synopsis and Review

Originally slated to be released in the movie theaters back in 2020, "Love and Monsters" was one of the features who fell victim to changes in release schedules due to Covid 19, eventually being released on video on demand in 2020 and subsequently internationally by Netflix in 2021. The narrative follows the story of Joel Dawson who is also the narrator of the feature. He's the one who introduces what has happened to the planet and why people are for the most part living in underground bunkers. Turns out there was a massive asteroid on its way to Earth, however a plan to bomb it was carried through, resulting on its destruction. However the fallout residues from the asteroid resulted in alien particles becoming embedded in the Earth's ecosystem, which generated mutations in cold-blooded animals. These evolved into massive monsters who virtually destroyed most of humanity. Joel who at the time of these events was living in Fairfield, California, had a girlfriend by the name of Aimee, and they got separated, as Joel attempted to escape with his parents, and Aimee tried to rescue hers. 7 years later, Joel is living in one of the bunkers with other survivors. He's the only one not partnered, he's the cook for the group, but he's well liked and loved by everyone in the group. While attempting to communicate with other colonies in other bunkers leveraging a radio, Joel realizes Aimee is still alive and not that far from where he currently is. Even with his limitations and lack of experience in being outside of the bunker, he decides to go and check on her. While everyone on the bunker asks him not to go, he embarks on the journey, and soon finds himself in trouble, only to be salvaged by a stray dog, whom he soon realizes is named Boy. As they both continue their journey, they find more survivors and more dangers. 

"Love and Monsters" is Michael Matthews sophomore directorial effort, following his debut with "Five Fingers for Marseilles". The film which is written by the duo of Brian Duffield (who has in his filmography the Natalie Portman fronted "Jane Got a Gun" and also "The Babysitter") and Matthew Robinson (who has worked on "The Invention of Lying" and "Dora and the Lost City of Gold"), while not the most original in its premise, manages to create a somewhat sweet and uplifting narrative from what could have easily become a re-hash of "Zombieland", only with monsters. The central hero has to come to terms with growing up and standing up for himself, since his bunker family has sheltered him from the world and from its challenges. This unexpected hero journey isn't uncharted territory of course, but Michael Matthews manages to illustrate the narrative with little pretension, peppering it with influences that at times brings to mind Ron Underwood's "Tremors" and Steven Spielberg's "AI". However and while the film is certainly sweet and quasi Disney-centric in its narrative, it could have certainly benefited from additional character development, some additional humor, and some edginess, considering the film takes place in a world where everything seems to have turned toxic or dangerous. Sadly these undernourished aspects of the film also result in making it less memorable: the protagonist is the sensitive guy with no real life experience, nor romantic one for that matter, with motivations that are quite limited, and the supporting characters become a cluster of clichés with no discernible traits amongst themselves (Aimee is the beautiful love interest, who is taking care of elderly survivors). The transitions between the external shots and the in-studio ones are also a bit demonstrative of a lack of consistency in terms of tone, with the in-studio work almost bringing to mind futuristic/Mad Max/New Age combo, that doesn't really gel with slightly darker/edgier look of the outside world. The cast isn't particularly memorable, save for the always iconic Michael Rooker (just give this gentleman his own show already), the same going for the production team, though the visual effects are solid for a film of this budget. It's watchable but ultimately a forgettable endeavor. 

May December

Movie Name: May December
Year of Release: 2023
Director: Todd Haynes
Starring: Natalie Portman, Julianne Moore, Charles Melton, Andrea Frankle, Gabriel Chung, Elizabeth Yu, D.W. Moffett, Charles Green, Chris Tenzis, Cory Michael Smith, Kelvin Han Yee, Mike Lopez 
Genre: Drama
Score out of ten (whole numbers only): 8
Watch it on Netflix

Synopsis and Review

After the stupendous "Carol", Todd Haynes tackled "Wonderstruck" and "Dark Waters", both features which while critically well received, were also somewhat muted in their audience response. That has changed with "May December" which had its debut at the Cannes Film Festival of 2023, where it was immediately greeted with good reviews, upon which Netflix bought it for distribution. The film which features a script by Sammy Burch (from a story co-authored with Alex Mechanik), and was on the Black List (for best unproduced scripts) focuses its narrative on the story of two women who come into each others' lives for very different reasons. Elizabeth is an actress who comes to Savannah, GA, to meet Gracie, a woman who years before was incarcerated for having a romantic relationship with one of her students, who was 13 at the time (Gracie was 36). Gracie who was married when the liaison occurred (and had children with her then husband), gave up the life she had built, in order to be with Joe (her student). Gracie and Joe have been together for more than twenty years and have had 3 children. Elizabeth ingratiates herself in the life of the Yoos, since she's about to play a fictionalized version of Gracie in an independent film. She reassures everyone she intends to portray their story honestly. As Elizabeth researches more about Gracie, she starts uncovering the impact that the controversial relationship had in the community, and on the people in their family and friendship circle. Elizabeth starts realizing that while Gracie is for the most part polite and welcoming towards her, everyone she talks to gives a slightly different version of her personality and of who she is. Joe in the meantime is also having his fair share of self-doubt, of where he is in his life, particularly since all his children are about to leave his house, he is only 36, and has only been in a serious relationship that has been tainted by controversy and also Gracie's control. 

"May December" is of course informed by the episode which occurred in the 1990s involving Mary Kay Letourneau and her underage student, Vili Fualaau. The script however takes a smart angle when it comes to depicting these events, by making them the backdrop for the investigation that Elizabeth embarks on. By placing Elizabeth as the narrator or the host for the narrative, it allows us to understand and view who Gracie and Joe are from the outside, as opposed to being a first hand retelling of what exactly took place. It also allows for a better understanding of the web of relationships that were impacted by their relationship, which started illicitly. What is very commendable about the way Todd Haynes illustrates this narrative, is the fact that all central characters are playing to a certain extent a role. While Elizabeth is indeed the actress researching her role, Gracie and Joe are themselves playing roles in their own lives and relationship. Gracie is passive aggressive, controlling and not necessarily the warmest person, but tries to embody the character of the loving housewife and mother, while Joe is trying to play a content husband, but everything about him screams lack of maturity, lack of conformity, fear for what's coming next and the lust for a liberty he hasn't experienced. It's a film that is made of layers, one that illustrates how characters details get progressively uncovered by interactions with others, by how different characters perceive them and their actions. And while Elizabeth is indeed the actress immersing herself in the lives of others, crossing lines that she probably shouldn't, there's a certain calculated aspect to everything she does. Sadly the script doesn't veer much in her direction, and that ends up being the biggest fault in this narrative. Very little is captured of Elizabeth and her aspirations, beyond what she's witnessing of these other people's lives. The cast is truly fantastic, with a knockout performance from Natalie Portman who is seemingly sweet, but also manipulating and almost machiavellian in her dealings, with great support from Julianne Moore who makes Gracie into someone not necessarily likable, and definitely more than meets the eye. Charles Melton is equally good as the young father who's coming to terms with his own crossroads in life, and what his next steps are going to be. The production team is solid, featuring the cinematography of Christopher Blauvelt and score from Marcelo Zarvos. A good film from a very talented filmmaker. 

Reptile

Movie Name: Reptile
Year of Release: 2023
Director: Grant Singer
Starring: Benicio Del Toro, Justin Timberlake, Alicia Silverstone, Eric Bogosian, Domenick Lombardozzi, Frances Fisher, Ato Essandoh, Michael Pitt, Karl Glusman, Mike Pniewski, Matilda Anna Ingrid Lutz, Catherine Dyer, Thad Luckinbill, Michael Beasley, JC Capone, Sky Ferreira, James Devoti, Amy Parrish
Genre: Drama, Crime
Score out of ten (whole numbers only): 6
Watch it on Netflix

Synopsis and Review

Another Netflix release, "Reptile" is the feature directorial debut from Grant Singer, who has a considerable career directing music videos for well known artists, including Ariana Grande, Troye Sivan and Sky Ferreira. The narrative focuses its attention on police detective Tom Nichols. He and his partner Dan Cleary, get involved in the case of a murder of a young woman who is the girlfriend of a well known local realtor (in the Maine area where they are). Will Grady the realtor, is distraught and confesses to the detectives that he couldn't marry the victim, Summer, since she was still legally married to someone else. Will in the meantime gets accosted by Eli Phillips, a person who was impacted by some dealings Will's family has had in the past, and who has kept a close eye on everything they've done ever since. Test results come back from Summer's forensics, which indicate she was intimately involved with her estranged husband, something that one of her friends confirms. When Tom and Dan go to his house with a warrant, he tries to escape and steals Dan's gun in the process, however Tom manages to shoot back and ends up killing him. Turns out the house where Sam Gifford was had a considerable amount of drugs in hiding. As Tom is commended for his actions, he suspects that there is more to the case than what has been uncovered thus far. Eli shows up unexpectedly at his house and Judy, Tom's wife, manages to control the situation, but in reality Eli's intention is to provide Tom with a flash drive which proves that Summer was caught up in a shady situation where Will and his mother were in reality laundering drug money. However the trail of corruption and crime doesn't stop there.

"Reptile" is an interesting feature, one that at times brings to mind the work of Sidney Lumet, particularly films such as "Prince of the City" or "Q&A". What Grant Singer is able to do with this feature, which also benefited from Benicio Del Toro's contribution on the script as a side note, is the fact that a tapestry of various characters and also contexts is successfully illustrated. The director is able to illustrate both the procedural work the detectives are going through, with the more intimate and familiar occurrences that take place in their personal lives, which gains more importance since they all form a close cluster of friendships and family ties. While the murder itself is a catalyst that jumpstarts the overall drama, what makes the film take an interesting turn is indeed the fact of how the relationships of all these professionals bleed beyond their professional interactions and actually impact their personal ones. What is less successful in this feature is the fact that for all the precision that it places into the conspiracy behind all of the events of the narrative, all the characters are bland, poorly outlined and ultimately repetitive. Some of the aspects of the film have been showcased to a better extent in the works of Martin Scorsese, Brian De Palma and even Barry Levinson, therefore the characters all come across as underdeveloped and not as interesting as they should actually be. The director doesn't push or impart a particular point of view on this genre, at least not in a similar vein to what Denis Villeneuve did with "Prisoners" or even "Sicario". The narrative keeps its momentum primarily due to the cast that features a strong array of talent, in particular Benicio Del Toro, with strong support from Alicia Silverstone, Erig Bogosian, Michael Pitt and Domenick Lombardozzi, all of whom manage to bring to life characters that are all broadly described. Justin Timberlake and Karl Glusman sadly have little to do, and Timberlake in particular fails to find much nuance in his character. The production team is a solid one, particularly the cinematography from Mike Gioulakis, and production design from Patrick M. Sullivan Jr.. It's a watchable film, one that while not bringing anything new to the table, is nonetheless worth watching. 

Leave the World Behind

Movie Name: Leave the World Behind
Year of Release: 2023
Director: Sam Esmail
Starring: Julia Roberts, Mahershala Ali, Ethan Hawke, Myha'la, Kevin Bacon, Farrah Mackenzie, Charlie Evans
Genre: Drama, Thriller
Score out of ten (whole numbers only): 7
Watch it on Netflix

Synopsis and Review

Sam Esmail who has steadily built a name for himself with the shows "Mr. Robot" and "Homecoming" has finally released his feature sophomore directorial effort, and has done so by adapting the novel from Rumaan Alam, a finalist for the National Book Award in 2020. The narrative focuses on the Sandford family, comprised of parents  Amanda and Clay and their children (teenagers), Rose and Archie. They live comfortably in Brooklyn, but one day Amanda spontaneously decides to rent a house in Long Island and take the whole family for a vacation. The house Amanda has rented is stunning, and the following day while the family is enjoying the beach, Rose notices that an oil tanker in the distance seems to be moving in their direction. Things take a turn for the unexpected when that tanker runs ashore. The family escapes and gets back to the house, only to realize that the television is no longer working, nor is their Wi-Fi. Later that evening, when Rose and Archie have already gone to bed, Amanda and Clay are interrupted by two people who show up at the house. It turns out to be a father and his daughter, and they introduce themselves as G.H. Scott and Ruth. G.H. mentions that the house is theirs and that a blackout in the city made them come that way (traffic issues and so on). While Amanda wants to revisit the renter's contract (until she realizes there's no internet), Clay is more forgiving and allows the couple to spend the night. The following day Clay goes into town to get a newspaper, something that may indicate what has happened with the blackout, while G.H. goes to one of the neighbor's houses to enquire what's going on. The neighbor's house is in shambles, and when he investigates a bit more around the area, he realizes he's on a crash site for an airplane. G.H. quickly escapes the scene when another airplane starts coming in the same direction and he barely has time to take refuge in the house as it crashes, much like the previous one. 

"Leave the World Behind" is one of the rare Netflix films that actually delivers on quality across the board. The output of Netflix produced feature films is all over the place, but mostly and primarily on the mediocre side, so this has been an unexpected delight. Sam Esmail crafts a great adaption of the novel with the same name, introducing an interesting array of characters who slowly peel away at their own layers and who progressively show who they are, particularly in such an extreme scenario. And that's one of the great things the director manages to stage so perfectly, the combination of almost a theatrical piece, where characters unveil themselves to each other, very much like a character piece, but combined with a cataclysmic event, where all their lives are at stake, where their fears are heightened, and their quest for survival is toppling everything else. Another very smart thing about this feature lies on the progressive disclosure that occurs during the narrative, where the context of what is actually happening is slowly presented, the same going for the impact that it has on the characters and their relationships (and also how these characters morph and adapt to the circumstances in which they find themselves in). And while there are some borderline clichés the film touches upon, particularly when it comes to its characters, it's still a very smartly conceived film, one that doesn't fall trap to typical destroy-cinema type of tropes, opting instead for a more microcosms type of analysis, dealing with very relevant concerns that exist these days. The cast is all uniformly fantastic, with Julia Roberts, Mahershala Ali, Ethan Hawke and Kevin Bacon crafting indelible performances, with good support from the younger actors, in particular Myha'la and Farrah Mackenzie. The production team is also impeccable, featuring the great cinematography from Tod Campbell, score from Mac Quayle, and production design by Anastasia White. A good film worth watching. 

Insidious: The Red Door

Movie Name: Insidious: The Red Door
Year of Release: 2023
Director: Patrick Wilson
Starring: Patrick Wilson, Ty Simpkins, Rose Byrne, Sinclair Daniel, Andrew Astor, Hiam Abbass, Juliana Davies, Lin Shaye, Leigh Whannell, Angus Sampson, Steve Coulter, Peter Dager, David Call, Stephen Gray, Joseph Bishara, Robin S. Walker
Genre: Horror, Thriller
Score out of ten (whole numbers only): 4
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Synopsis and Review

The always fantastic Patrick Wilson whose work includes such memorable performances in "Angels in America", "Little Children" and "Young Adult", has also maintained a long association with filmmaker James Wan, and they together have collaborated on two successful horror series, "The Conjuring" and "Insidious" (not to mention of course their collaboration on the DC Universe with the "Aquaman" films). This fifth chapter in the "Insidious" saga marks Patrick Wilson's feature directorial debut, working from a story cooked by Leigh Whannell and Scott Teems (with a screenplay by the latter). The narrative once again focuses on the story of the Lambert family, specifically Dalton who is now a young adult, ready to go to college. He and his father Josh have grown distant, as a result of what Josh calls a "fogginess", but also he has since divorced Renai his supporting wife (which has added a bit to that friction). They all meet once again for Josh's mother's funeral. Josh takes Renai's advice and volunteers to take Dalton to college since he's starting his freshman year. Dalton has become a talented artist and is going to be attending an art degree course. When the two are getting Dalton's things settled in the dorm room, they meet Chris Winslow the roommate, who turns out to be in the room by mistake, but nonetheless she and Dalton hit if off quite well. Dalton starts drawing some unexpectedly dark elements in his classes, and things he doesn't quite understand start occurring. He also starts asking more about what what happened in his childhood, when he was in a "coma" for close to a year. As he probes deeper he uncovers that what happened wasn't really a coma, but something that his father also has had to contend with, something involving a dark place called "The Further".  

This chapter in the "Insidious" series is a direct sequel to the second chapter which came out in 2013 (while the other two films in the series went in different directions and also focused on different characters). Sadly and for all of Patrick Wilson's good intentions and considerable talent, he's unable to do much with such a mediocre script (maybe it's time for Mr. Teems to really move on to something else, since all the scripts he has delivered including "Halloween Kills", "Firestarter" and "The Exorcist: Believer" have all been eviscerated by bad reviews). What was interesting about the series, and in particular about the first film, was the way Leigh Whannell and James Wan created a different universe, a scary one at that, by relying on the creation of a suspenseful and horrific parallel reality which coexisted with the one in which the characters lived. As it typically happens in most successful horror films, it placed a family unit as the target of something almost inexplicable, malevolent and seemingly unstoppable. It managed to bring an updated and yet darker dimension to Tobe Hooper's "Poltergeist" in a way to the 21st century, doing so with fewer resources but just as much imagination. "Insidious" wasn't revolutionary in terms of character development, at least for the genre, but it established the characters enough to allow the audience to understand the journey they went on. Patrick Wilson's chapter however, feels like an unnecessary take on a story that was already closed and fairly played out. And this chapter doesn't add anything in terms of knowing what these characters have been doing and what has happened to them since the last events, the same way that the introduction of "The Further" feels forced and ultimately uninspired. What salvages and ultimately makes the film watchable is the cast, with Patrick Wilson, the always fantastic Rose Byrne, Lin Shaye and Steve Coulter always making the characters compelling and watchable. The production team is solid, including Autumn Eakin's cinematography, Joseph Bishara's score and Adam Reamer's production design. It's watchable and forgettable, and ultimately doesn't add much to the series. 

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.