Don’t Worry Darling

Hot off its Venice International Film Festival premiere earlier this month, Olivia Wilde’s sophomore directorial effort Don’t Worry Darling lands in theaters with a whole mess of PR in tow. Reports of casting shake-ups and alleged on-set conflicts painted the picture of a troubled production before a disjointed press circuit further exacerbated the optics surrounding the film. It’s to the movie’s credit that all of this baggage begins to evaporate quite quickly, like a dream upon waking, after the lights dim and the projector begins to flicker. Unfortunately, the end result still isn’t good enough to overcome all the expectations most audiences will have going into the theater, nor is it bad enough for the hate-watching crowds to get their kicks either.

Set in an idyllic community deeply steeped in mid-century architecture and fashion, Don’t Worry Darling is told through the eyes of Alice Chambers (Florence Pugh), a stay-at-home wife who dutifully sees her engineer husband Jack (Harry Styles) off every morning. She spends her days rigorously cleaning the house and sharing a mid-day martini with next-door neighbor Bunny (Olivia Wilde) before preparing a lavish dinner just in time for Jack’s arrival back home. Alice’s utopian life in the town of Victory starts to fall apart when her friend Margaret (KiKi Layne) begins to press Frank (Chris Pine), the founder of the all-encompassing Victory Project, for details around the enigmatic operation. After seeing a plane crash in the desert one day, Alice makes a trip to investigate the wreckage but instead finds the Victory Headquarters, causing her to ask questions similar to the ones Margaret asked before suffering an alleged “accident”.

Anyone who has seen the trailer for Don’t Worry Darling, which played ad nauseam in theaters this summer, won’t be surprised that some of the film’s stronger points are its surface-level delights. The set design, location work and production design are absolutely first-rate, meticulously evoking a 1950s postcard-prepped Palm Springs paradise that is exquisitely rendered at every turn. The masterful cinematographer Matthew Libatique, whose work on Black Swan underscores the ballet classes that Alice takes in this film, beautifully renders these picturesque settings while implying a darkness under the surface. Juxtaposing the carefree doo-wop and jazz hits on the soundtrack, John Powell’s haunting music score blends chopped-up breaths and grimy synths to perpetually chilling effect.

It’s all fantastic window-dressing but the script for Don’t Worry Darling dooms itself by putting all its eggs in the basket dedicated to the central mystery concerning what is really happening at Victory. Wilde occasionally drops paltry breadcrumbs leading to the late third-act development but spends too much time spinning her wheels with one psychological horror trope after another. Without getting into details that would constitute spoilers, the reveal feels cobbled together from other movies and TV series that have explored its implications and ramifications more thoroughly and intelligently. Wilde adds some layers of gender politics and social commentary that feel fresh and germane to the story but not enough to triumph over the nagging questions that theatergoers will have when the credits roll.

The stacked ensemble cast, which also includes Gemma Chan and Nick Kroll, does everything they can to bring this wonderland to life. Translating the terrors of her Midsommar character into a somewhat similar scenario, Pugh is reliably outstanding at bringing us into the shattered psyche of a woman at odds with the perfidious paradise around her. Pine is also excellent as a confident and charismatic authority figure who conjures platitudes about progress and positivity so seductively that they start to sound profound in no time. Styles is fine conveying what is admittedly a pretty bland character but based on the strength of his latest album, I hope he makes music a bigger priority than acting from here on. Don’t Worry Darling has plenty going for it but ultimately comes undone by a backloaded screenplay that favors surprises over subtlety.

Score – 2.5/5

New movies coming this weekend:
Opening in theaters is Bros, a romantic comedy starring Billy Eichner and Luke Macfarlane about a New York museum curator with commitment issues and insecurities about his homosexuality who attempts a relationship with a workaholic lawyer.
Streaming on Disney+ is Hocus Pocus 2, a supernatural comedy starring Bette Midler and Sarah Jessica Parker bringing back the Sanderson sisters 29 years after the events of the first film as they face off against a new trio of high school students.
Premiering on Netflix is Blonde, a historical drama starring Ana de Armas and Adrien Brody which tells a fictionalized account of Marilyn Monroe from her tragic childhood to her meteoric rise to fame and her untimely death at the age of 36.

Reprinted by permission of Whatzup

Pearl

When writer/director Ti West debuted his slasher film X at South By Southwest this past March, he announced that he secretly shot a prequel back-to-back with it that would fill in the backstory for X‘s elderly killer. Nine months later, we have Pearl, a horror movie as indebted to Technicolor melodramas of the 1950s as X was inspired by independently-produced slashers of the 1970s. Though this chapter takes place in 1918, when talkies hadn’t even been invented yet, West also taps into a golden age of Hollywood aesthetic with allusions to The Wizard of Oz and early Disney features. It’s in service of a villain origin story that generates a laudable amount of sympathy for its subject, mainly due to another outstanding performance from Mia Goth.

60 years before the events of X, the young Pearl (Goth) lives and works on a farm with her stern German immigrant mother Ruth (Tandi Wright) and her invalid father (Matthew Sunderland) while waiting for her husband Howard (Alistair Sewell) to return from the Great War. Unsatisfied with the squalor of her circumstances, Pearl goes to the theater in town to watch the Palace Follies dancers and aspire to a more glamorous life. She meets a handsome projectionist (David Corenswet), who immediately takes a liking to her and encourages Pearl to pursue her dancing dreams. Pearl’s sister-in-law Mitzy (Emma Jenkins-Purro) informs her that a nearby church is holding auditions for a new chorus line member, which Pearl naturally sees as her ticket off the farm.

Even those who haven’t seen the companion piece X should be able to surmise that Pearl’s dreams of stardom don’t exactly pan out as she’d like but the film’s merits allow it to stand alone and make this a story worth delving into. While some of the early stylistic touches can come across as self-indulgent, which isn’t terribly out of character for West as a director, Pearl gradually begins to settle into itself as a sort of twisted fairy tale with themes similar to those in X about fame and fortune. There are other shared details with its sequel, from the screening of a stag film to the appearance of a certain hungry alligator, that should delight those who saw West’s previous effort. There are also numerous parallels drawn between the Spanish flu outbreak of the era to the COVID-19 pandemic, the latter of which actually helped West to pursue production for this unlikely prequel.

Goth, who co-wrote the Pearl script along with West, donned layers of makeup to play the older version of her character in X but is able to be much more expressive here as the ingénue-turned-murderer. As she performs tasks like feeding the farm animals or bathing her father, it almost seems like Goth could break out into an “I Want” Disney song at any moment, even though she also exhibits disturbing tendencies from the get-go. Her wide-eyed innocence giving way to madness reminded me of Shelley Duvall, particularly in her tormented performance from The Shining; one imagines Goth had an infinitely more enjoyable time making this movie. She does an excellent job getting us inside Pearl’s headspace, especially in a flawlessly-performed barn-burner of a third-act monologue which is presented in an unbroken take.

As he did during SXSW, West announced during Pearl‘s premiere at the Toronto International Film Festival earlier this month that X would get yet another entry in this series called MaXXXine, following the title character into the 1980s. Interestingly enough, Maxine was also played by Goth, meaning that her dual role in X will now have a prequel for one of the characters and a sequel for the other. It’s been quite a treat watching this peculiar trilogy emerge piece by piece as West and Goth find new ways to flesh out the flawed characters from this slasher series. Both films so far have leaned more heavily towards style than substance but then there are moments, like the aforementioned confessional monologue from Pearl or the “Landslide” sequence from X, that achieve unreserved beauty and wisdom. Horror often depicts humans at their worst but Pearl makes room for the hopes and desires that drive us to be better.

Score – 3.5/5

New movies coming this weekend:
Playing only in theaters is Don’t Worry Darling, a psychological thriller starring Florence Pugh and Harry Styles about a 1950s housewife living with her husband in a utopian experimental community who begins to worry that his glamorous company could be hiding disturbing secrets.
Streaming on Peacock is Meet Cute, a romantic comedy starring Kaley Cuoco and Pete Davidson about a young woman who discovers a time machine in a nail salon and uses it to continually fix elements of a date she had the previous night.
Premiering on Apple TV+ is Sidney, a documentary honoring the legendary Sidney Poitier and his legacy as an iconic actor, filmmaker and activist at the center of Hollywood and the Civil Rights Movement.

Reprinted by permission of Whatzup

Emily The Criminal

Playing at Cinema Center this weekend, Emily the Criminal is both a stunning debut for writer/director John Patton Ford and another outstanding showing for Aubrey Plaza in a more serious role. She’s still likely best known as the sardonic April Ludgate from the comedy series Parks and Recreation but with impressive dramatic turns in Ingrid Goes West and Black Bear, Plaza continues to make a name for herself as an acting force with which to be reckoned. As April, her deadpan delivery of droll downers served as a counterpoint to the altruistic nature of indefatigable series lead Leslie Knope. Here in the title role, her straightforward language is much more cutting and chilling within the context of a crime thriller.

Our introduction to Emily sets up her desperate situation, as she winces her way through a job interview where the employer ambushes her with a background check revealing DUI and assault charges from her past. She’s $70,000 in art school debt, which she’s hardly making a dent in with a food service job, so she takes a tip from her co-worker Javier (Bernardo Badillo) to join a service where one can make $200 an hour. She meets Youcef (Theo Rossi), one of the heads of the operation that uses fake credit cards given to “dummy shoppers” to make fraudulent in-store purchases. After Emily successfully rips a flatscreen TV, Youcef offers her a bigger job with a more lucrative payout but with a higher risk involved as well, forcing Emily to consider how far down the criminal rabbit hole she’s willing to go.

A subplot involving Emily’s friend Liz (Megalyn Echikunwoke) trying to secure her an interview at the ad agency where she works underscores one of Emily the Criminal‘s most potent themes about the decline of upward mobility. When Emily meets with Liz’s boss Alice (Gina Gershon) for a sit-down, she’s ambushed once again by finding out that the potential graphic design position is, in fact, an unpaid internship. Emily understandably replies that she can’t afford to work for free, causing Alice to refer to her as “spoiled” (stopping just short at “entitled”, a descriptor many a millennial abhor) for turning her nose up at the opportunity. The film doesn’t excuse a criminal lifestyle but it helps us understand why struggling individuals would turn to such measures in order to survive when more moral means don’t pay the bills.

This subtext enriches what is already a stellar crime tale and character study set up by Ford’s incisive script and instinctual direction. His insight into the mechanics of LA’s underbelly recalls the work of Michael Mann and Dan Gilroy, where situations can escalate beyond our protagonists’ expectations in no time flat. A cross-coast import from New Jersey, Emily is street smart and certainly knows how to hold her own but she still has tough lessons to learn along the way as she navigates this treacherous world. We’re proud of Emily for learning how to defend herself and not let others take advantage of her, even if the sometimes savage methods that she employs are lifted directly from dangerous people for whom we have little sympathy.

Ultimately, Emily the Criminal is not only a story of self-discovery but also how finding one’s true purpose can happen later in life than one may expect. In a scene when Emily waits for Youcef in his cramped office with flickering lights, he makes a self-deprecating comment about his surroundings and Emily non-rhetorically says “it’s only temporary, right?” The film’s title is deceptively straight-forward but a conversation between Emily and Youcef’s mother brings forth a meaning that fully reveals itself by the time the end credits roll. Yet another read on “Emily the criminal” is how interviewers and society choose to too easily write her off and compartmentalize her identity. Laced with potent social commentary that doesn’t draw too much attention to itself, Emily the Criminal is an enthralling crime drama with a live wire performance by Plaza.

Score – 4/5

More new movies coming this weekend:
Playing only in theaters is The Woman King, a historical epic starring Viola Davis and Thuso Mbedu centering around an all-female group of warriors during the 19th century in the West African kingdom of Dahomey.
Also coming to theaters is Pearl, a slasher prequel starring Mia Goth and David Corenswet that rewinds back to the first World War to fill in the origin story of the titular villain who was introduced in 2022’s X.
Streaming on Amazon Prime is Goodnight Mommy, a horror remake starring Naomi Watts and Cameron Crovetti about twin brothers who arrive at their mother’s house and begin to suspect that something isn’t right.

Reprinted by permission of Whatzup

Honk For Jesus. Save Your Soul.

Last September, The Eyes of Tammy Faye took the straight-laced biopic approach to telling the story of a pastor’s wife standing alongside her husband amidst a turbulent time of scandal and mistrust. Its spiritual companion, so to speak, now arrives a year later in Honk For Jesus. Save Your Soul., which works off of a similar premise but takes a markedly different approach to the story. Half of the film plays like a mockumentary version of The Righteous Gemstones, while the other half resembles Spike Lee’s Bamboozled, if its target was organized religion instead of the entertainment industry. While it has some strong laughs early on and a pair of terrific lead performances, the film is stylistically incongruous and narratively superfluous.

The movie centers around fictional Atlanta megachurch Wander To Greater Paths Baptist, led by perfervid pastor Lee-Curtis Childs (Sterling K. Brown) and congenial “first lady” Trinitie (Regina Hall). Together, the pair have cultivated a congregation of 25,000+ members but their status in the community is at risk when accusations come out against Lee-Curtis that force the Childs’ to temporarily close the church’s doors. In the interim, the nearby Heaven’s House, led by Keon and Shakura Sumpter (Conphidance and Nicole Beharie, respectively), has seen a steady uptick in congregants that the Sumpters would like to retain even after Greater Paths reopens. With their backs against the wall, the Childs’ plan a comeback of biblical proportions that will restore their reputation and return their sheep to the fold.

Opening with Trinitie fumbling over a rat-based parable to an unseen camera crew, Honk For Jesus. Save Your Soul. gets off on the right foot early with a faux-documentary style to which fans of The Office or Modern Family will feel acclimated right away. The more image-conscious the subjects are in this genre, the more fun their characters are to observe and the Childs’ fit this billing to a T. Whether they’re flaunting “divine additions” courtesy of Prada or making sure that the indoor fountain in frame behind them is spitting all sorts of unnecessary water, there’s plenty of comedy to be had with their conceited diversions. We’re also treated to domestic moments of Trinitie and Lee-Curtis trading verses on “Knuck If You Buck” and arguing about the en vogue pronunciation of “amen” that give these characters depth and personality.

But around the halfway point, Honk For Jesus. Save Your Soul. turns from a lighter comedy about commodified Christianity to a more serious and pointed satire about hypocrisy at the highest levels of power. It’s certainly a worthy subject but compared to the tone of what came before it, the more biting commentary feels deflating and out of place. Ostentatious preachers and histrionic churchgoers are low-hanging fruit but it’s when the film tries to climb up the tree that it not only loses its sense of humor but also its sense of purpose. The Childs’ start as caricatures and become more sharply defined as the story progresses but I lost what writer/director Adamma Ebo is ultimately trying to say about them as people.

Fortunately, we never want to take our eyes off of Lee-Curtis and Trinitie, due to the sheer magnetism of the performances by Sterling K. Brown and Regina Hall. The pair has an outstanding chemistry with one another and plays off each other beautifully, interplaying guile and grace all while trying to look good for the ever-present cameras. Conphidance and Nicole Beharie are quite good also but the movie seems to lose track of the Sumpters as it narrows in on the nature of Lee-Curtis’ indiscretions. If this had been a matter of the Childs’ vs. the Sumpters in a holy royal rumble for church members, it could have been played more broadly but I wouldn’t have complained as long as the jokes still landed. As is, Honk For Jesus. Save Your Soul. is a mixed bag of blessings and woes whose script could have benefited from some divine intervention.

Score – 2.5/5

New movies coming this weekend:
Playing only in theaters is Barbarian, a horror film starring Georgina Campbell and Bill Skarsgård about a woman who arrives at an Airbnb to find that it’s apparently been double-booked as a man is also staying there the same time as her.
Premiering on Disney+ is Pinocchio, a live-action remake starring Tom Hanks and Joseph Gordon-Levitt about an Italian woodcarver whose puppet is brought to life after he wishes upon a star one evening.
Streaming on Netflix is End of the Road, a thriller starring Queen Latifah and Chris “Ludacris” Bridges about a cross-country road trip through the New Mexico desert that becomes treacherous for a woman and her family when they become the targets of a mysterious killer.

Reprinted by permission of Whatzup