Reel Views, Review

Mean Girls

An adaptation of a Broadway musical which was based on a movie that was adapted from a book, the 2024 version of Mean Girls can’t help but feel intrinsically derivative. When Rosalind Wiseman penned the parent’s guide Queen Bees and Wannabes (the basis for the 2004 comedy classic) in the early 2000s, I doubt she suspected the cultural cache that her work would eventually generate. But several reworkings later, we now have what could’ve been a worthwhile Gen Z remake of the original film but is instead something more frustratingly myopic. It’s both a beat-for-beat redo of the story from 2004’s Mean Girls and a full-fledged musical, the former of which is bound to generate disappointed déjà vu and the latter of which has been side-stepped in the marketing as it was for Wonka last month.

Once again, our way into the cutthroat high school setting of Mean Girls is through Cady Heron (Angourie Rice), a bright teen who has been homeschooled her whole life until she moves to the States from Africa. She is befriended right away by social outcasts Janis (Auliʻi Cravalho) and Damian (Jaquel Spivey), who give her the skinny on the cliques and hierarchies that rule their school. Cady inadvertently catches the attention of fiercely popular Regina (Reneé Rapp) and is taken into her group of similarly materialistic girls known as The Plastics. But things get complicated when Cady falls for the handsome Aaron (Christopher Briney), who recently ended a relationship with Regina. When Cady decides to pursue Aaron, even though fellow Plastics Gretchen (Bebe Wood) and Karen (Avantika) advise against it, a rift occurs in the coveted clique.

Whether the movie likes it or not, Mean Girls will lead to inevitable comparisons to its predecessor, likely beginning with the fresh lineup of new actors. The 2004 comedy is impeccably cast, with a career-best performance by Lindsay Lohan and breakout roles for now-bonafide movie stars Rachel McAdams and Amanda Seyfried. As Cady, Angourie Rice invokes a similar naiveté as Lohan and while she doesn’t quite nail the transformation into loathsome sociopath, she nonetheless renders an immensely likable protagonist at the outset. On the flip side, Reneé Rapp is mostly a bore as the villainous “queen bee”, which is ironic since she played the role in the stage musical for 2 years. When it comes to the singing and dancing, the talent is there but her performance lacks the alluring deviousness that McAdams used to make Regina George an iconic character.

While directors Samantha Jayne and Arturo Perez Jr. do what they can to make the musical numbers pop visually, the songs in Mean Girls don’t add much depth to the plot and don’t musically stand out much from one another either. Penned by Tina Fey, the 2004 film is bolstered by an endless string of memorable quips but the lyrics in these musical interludes just aren’t up to the level of that original screenplay. Auliʻi Cravalho, still probably most famous for playing the title character in Moana, leads the movie’s best number “I’d Rather Be Me” and comes closest to justifying why this movie should have song breaks embedded in it. Her soaring vocals do call to mind an interesting paradox: how can a character like Regina, who obviously sees herself as superior to the theater kids, belt out Broadway-ready numbers?

If you try to ignore the show tune elements — which audience members who go into this movie not knowing it’s a musical will no doubt be doing — there are some lateral moves from the first film that are hit-and-miss. Fey returns not only as the screenwriter but as math teacher Ms. Norbury, who gets some additional zingers this time around; when she finds out Cady is homeschooled, she sarcastically remarks “that’s a fun way to take jobs from my union.” Bebe Wood is uncanny at capturing the timbre and cadence of Lacey Chabert’s work as Gretchen in the 2004 movie but at the end of the day, it’s merely imitation. Avantika brings more unique obliviousness to her Karen but it still feels like it’s leaning on the work Seyfried initially created. Mean Girls is a so-so update on an excellent comedy that never really needed a makeover in the first place.

Score – 2.5/5

New movies coming this week:
Playing only in theaters is I.S.S., a sci-fi thriller starring Ariana DeBose and Chris Messina involving US and Russian crews of astronauts aboard the International Space Station who begin to turn on one another when conflict breaks out on Earth.
Also coming to theaters is Freud’s Last Session, a psychological drama starring Anthony Hopkins and Matthew Goode which depicts the fictional meeting of the minds between psychoanalyst Sigmund Freud and literary scholar C. S. Lewis as they debate the existence of God.
Streaming on Netflix is The Kitchen, a science fiction drama starring Kane Robinson and Jedaiah Bannerman set in a dystopian future London in which all social housing has been eliminated but a community known as The Kitchen refuses to abandon their home.

Reprinted by permission of Whatzup

Reel Views, Review

The Beekeeper

Jason Statham starred in 4 action projects just last year alone (most recently in last September’s bomb Expend4bles) and he doesn’t show any signs of stopping this year either. Everyone’s favorite gravelly-voiced Brit kicks off 2024 with The Beekeeper, another preposterous actioner that at least seems to have a decent sense of how ridiculous it is. Not only is it a one-man army movie, where one guy can take on a dozen, highly-trained individuals with nary a scratch on him, but it’s also a shameless rip-off of John Wick too. Where the inciting event in that film was a group of thugs killing the titular assassin’s puppy, the kick to the proverbial hornet’s nest this time around is the death of a kindly elderly woman. In either case, men with a “particular set of skills” (to borrow a phrase from Taken, another blueprint for these types of movies) are drawn out of retirement to settle the score.

After an opening credit sequence that promises it’s taking the bee theme very seriously, we’re introduced to tight-lipped apiarist Adam Clay (Statham) as he assists his neighbor Eloise (Phylicia Rashad) with a troubling nest in her barn. While he’s handling that, poor Eloise gets suckered into a phishing scam that costs her millions in just a matter of minutes and the ensuing guilt prompts her to take her own life. Her daughter, FBI agent Verona (Emmy Raver-Lampman), is both devastated by the news and desperate to take down the scumbags responsible. Clay also seeks justice for Eloise but isn’t interested in doing things in the most strictly legal sense, his path of vengeance beginning with blowing up a scammer call center and eventually brings him to the head of the operation Derek Danforth (Josh Hutcherson).

Because, you see, Adam Clay isn’t just a beekeeper. He’s a Beekeeper, a member of a top-secret government program buzzing with deadly assassins who are to “protect the hive” at all costs. If you think The Beekeeper keeps its bee-related parallels there, then you may be shocked how many references to bee behavior the movie goofily strains to include in its narrative. Jeremy Irons pops up later on as a former CIA executive and even pulls up a PowerPoint presentation about bees to a group of ex-Navy SEALS while prepping them on how to take Clay down. Verona has to school a high-level FBI boss about the process of “queen slaying” that honeybees will carry out on defective hive leaders, as it should metaphorically track with Clay’s next target. Director David Ayer pours the apiary allusions on as thick as honey.

But it’s not like the world of The Beekeeper is much more grounded in anything resembling reality either. Scam call centers absolutely do exist in real life and, of course, they’re a scourge on society but as detestable as they are, I doubt they’re carried out with the Wolf Of Wall Street theatrics on display here. Here, the fraud victims are presented on huge display screens with Vegas style “cha-ching!” sound effects and monetary values presented like scores on a football jumbotron. When the Beekeeper program is peeled back, the John Wick borrowing becomes even more apparent, as that film’s High Table and Continental lore isn’t quite replicated but the Accountants are directly ripped off. The switchboard operators behind the Beekeeper operation are dressed exactly like the contract workers from the Administration in Wick and put out bounty information to their team in an extremely similar manner.

As much as the window-dressing and plot mechanics call back to the current top dog of the action scene, the action of The Beekeeper isn’t always up to the high standard set by the John Wick franchise. Ayer and his editor Geoffrey O’Brien too often favor quick cuts that likely sub out Statham in favor of stuntmen and don’t give us a sense of how the combat is actually playing out. A third act fight set in a hall of mirrors with a hard-to-kill South African brawler literally named Lazarus is easily the best fight scene in the whole movie because it actually shows struggle and holds on a shot for more than a few seconds. Compare this to a shoddily-shot scene earlier when Clay takes out a SWAT crew in broad daylight and the quality difference is night and day. The Beekeeper may not be state-of-the-art action cinema but it has enough over-the-top machismo and silly mythology to carve out its own nest in the swarm of post-Wick imitators.

Score – 3/5

More movies coming this weekend:
Playing only in theaters is Mean Girls, a musical comedy starring Angourie Rice and Reneé Rapp adapted from the classic 2004 teen comedy about a new girl who inadvertently breaks into an exclusive clique and makes a play for an off-limits crush at her high school.
Also playing exclusively in theaters is The Book Of Clarence, a biblical satire starring LaKeith Stanfield and Omar Sy about a down-on-his-luck man living in Jerusalem A.D. 33 who looks to turn things around by claiming to be a new Messiah sent by God.
Streaming on Amazon Prime is Role Play, an action comedy starring Kaley Cuoco and David Oyelowo about a couple who looks to spice up their wedding anniversary with a night of role-play that unintentionally reveals one of the pair’s secret life as an international assassin.

Reprinted by permission of Whatzup

Column, Reel Views

My Top 10 Films of 2023

Undoubtedly, the year in film was defined by Barbenheimer, the simultaneous release of Barbie and Oppenheimer in the middle of the summer that generated almost a billion dollars at the box office in the US alone. Conversely, the months-long concurrent labor disputes between the writers and actors unions against the studios put Hollywood on standstill and delayed numerous productions. But a resolution was reached in early November and, through it all, the movies marched on. I watched just under 200 new releases in 2023; these are my 10 favorites:

  1. The Holdovers (streaming on Peacock and available to rent/buy)
    Alexander Payne’s acerbic yet tender tale of a trio holed up at a New England boarding school for Christmas break is a new holiday classic. David Hemingson’s first feature script is filled with innumerable quotable lines and Payne’s directorial touches beautifully evoke the film’s early 1970s aesthetic. It wouldn’t surprise me if Paul Giamatti, Da’Vine Joy Randolph, and Dominic Sessa all score Oscar nominations later this month for their performances here.
  2. Fair Play (streaming on Netflix)
    The most striking film debut of the year, this workplace thriller is almost unbearably tense at times but well worth the ride. Phoebe Dynevor and Alden Ehrenreich are magnificent as a newly engaged couple whose relationship implodes after one receives a promotion over the other at a ruthless hedge fund firm. Writer-director Chloe Domont paces her tale of ambition and passion breathlessly and announces herself as one of the best new filmmakers to watch in the coming years.
  3. Afire (streaming on The Criterion Channel and available to rent/buy)
    Part of German director Christian Petzold’s series of movies loosely inspired by the classical elements, the follow-up to 2020’s Undine is a smoldering evocation of the insulated worlds writers create for themselves. What starts as a story of a pair of artists looking for inspiration during holiday at a house by the Baltic Sea turns into a bizarre love triangle. Thomas Schubert is brilliant as an author whose best work may be behind him but who may still have a spark of inspiration left somewhere inside him.
  4. The Iron Claw (now playing in theaters)
    The tragic true story of the Von Erich family of wrestlers is told with strapping compassion and wrenching heartbreak by writer-director Sean Durkin. The fraternal bonds are deeply felt throughout, particularly in the electrifying performances by Zac Efron and Jeremy Allen White. I don’t typically have much of a soft spot for sports biopics but I was barely holding back tears by the time this film reached its cogent conclusion.
  5. Spider-Man: Across The Spider-Verse (streaming on Netflix and available to rent/buy)
    Despite ending on a cliffhanger that won’t be concluded until next year at the earliest, this sequel to the Best Animated Feature Academy Award winner is somehow an improvement on its already stellar predecessor. Where Into introduced a new style of frenetic animated action, Across developed its palette even more with emotive watercolor sequences that are stunning in their expressivity. Who knows when Beyond will be released but Sony Animation has captured lightning in a bottle again with another web-slinging dynamo.
  6. All Of Us Strangers (now playing in theaters)
    English filmmaker Andrew Haigh delivers another stunner with a powerful cathartic energy all its own. Andrew Scott is outstanding as a wayward screenwriter desperate for connection and finding it in imagined relationships that no less feel real to him. The soundtrack is filled with top-tier needle drops and the variegated cinematography by Jamie D. Ramsay bolsters the story’s warmth and intimacy.
  7. Dream Scenario (available to rent/buy)
    Nicolas Cage finds another indie winner after 2021’s sublime Pig in this dark comedy that feels like a direct descendant of Spike Jonze classics Being John Malkovich and Adaptation. Writer-director Kristoffer Borgli’s clever take on viral fame and its inevitable backlash is both sneakily incisive and and caustically hilarious. Once again, Cage is the key to making this weird world — in which people around the world start inexplicably seeing his milquetoast character in their dreams — work.
  8. Poor Things (now playing in theaters)
    Emma Stone turns in first-rate work in this cattywampus journey of sexual exploration and self-discovery that is bound to push buttons. Director Yorgos Lanthimos continues to let his freak flag fly with a steampunk Victorian rendering that’s both lavish and lascivious. The Favourite and The Great scribe Tony McNamara pens another witty winner with pithy exchanges and indelible insight into human nature.
  9. The Zone Of Interest (now playing in theaters)
    Holocaust movies are never an easy watch but writer-director Jonathan Glazer finds a wholly new way to thoughtfully interrogate the atrocities of the period and those who committed them. Set in an idyllic family home of a Nazi commandant within earshot of Auschwitz, their everyday lives are faintly scored by the implied violence occurring outside of their fortified gardens. The banality of evil has never been so exquisitely examined on film before.
  10. Oppenheimer (available to rent/buy)
    It may have been half of the Barbenheimer phenomenon but Christopher Nolan’s 3-hour biopic about the creator of the first atomic bomb was an unmissable event all its own. The finest ensemble cast of the year sported career-best turns from the likes of Cillian Murphy and Robert Downey Jr., with loads of other welcome faces along the way. Ludwig Göransson’s musical score is his most stirring work yet and the tireless efforts of editor Jennifer Lame tie this masterpiece about duty and betrayal together like no one else could.

Reprinted by permission of Whatzup

Reel Views, Review

Poor Things

Poor Things, the recent recipient of a record-setting 7 awards from the Indiana Film Journalists Association, is a lot. Then again, it never pretends it isn’t. The opening shot is awash with what seems like a thousand hues of blue, cerulean bleeding into cobalt as a woman with her back to the camera prepares to jump off a bridge. This is the latest grandiose vision from director Yorgos Lanthimos, whose previous film The Favourite was a provocative take on the costume drama and his newest is certain to widen some eyes in the audience as well. But unlike the recent Saltburn, Lanthimos’ provocations are borne organically from the story that he’s telling and convey a deeper subtext than simply being shocking for the sake of being shocking.

Emma Stone gives a career-best turn as Bella Baxter, a young woman living under the care of deformed surgeon Dr. Godwin Baxter (Willem Dafoe). We learn that Godwin found Bella moments after she attempted suicide and tapped into his mad scientist side to reanimate her while she still had a bit of brain activity left. The experiment saved Bella’s life but left her with the mental capacity of an infant, able to form rudimentary sentences and discover the world around her anew. Helping her along is one of Godwin’s students Max McCandles (Ramy Youssef), who quickly develops feelings for Bella while assisting her. But when Godwin’s brash lawyer Duncan Wedderburn (Mark Ruffalo) stops by the house one day, he sets out to free Bella from her bondage and travel across the world.

The world of Poor Things is entirely its own but it begins in a version of Victorian London with steam engines and resurrection machines and incorporates even more anachronisms and impossibilities as the setting expands further. The production design is a swirling canvas of Terry Gilliam-esque futurism with German Expressionist monumentalism, a surreal palette upon which to tell this exceedingly peculiar journey. With his music score, composer Jerskin Fendrix finds appropriately wonky motifs to weave into the music. For instance, Bella’s theme sounds like a harp that is being played in a giant sink filled with dirty dishwater, its undulating timbres matching the uneven steps of Bella’s toddler-like gait.

If this all sounds oppressively weird, Emma Stone’s transcendent performance alone makes Poor Things well worth seeing. It’s a tremendously physical role, requiring her to mimic the movements of a newborn at the outset and then slowly recalibrating motor skills as her character finds her footing. But it’s also language-centric work, and exceptionally funny to boot, as Bella starts with choppy phonetics and soon forms more complex sentences with abandon for tact or social grace. The notion of “polite society” is examined through numerous lenses and through her character, Stone navigates the contradictions and quandaries that the so-called cultured class throws her way. Tony McNamara, who also wrote the biting screenplay for The Favourite, gives her devilishly humorous lines to play with all the way along.

Poor Things is getting all sorts of critical acclaim, and rightfully so, but I must confess a tiny gripe with the movie and that’s with some of the cinematography by Lanthimos regular Robbie Ryan. He’s a terrific DP, responsible not only for The Favourite but other exquisitely-shot films like C’mon C’mon and long take fantasia Medusa Deluxe from earlier this year. Here, he uses a myriad of film lenses to contribute to the movie’s otherworldly field but overdoes it in a few places. At several points, he uses a lens so narrow that it looks like a porthole on a cruise ship and it comes across as a bit too forced for my tastes. During a rollicking dance scene like the one from The Favourite, he even moves to handheld with this constrained focus and the results are fussy and overindulgent. Having said that, it’s a minor nitpick and certainly doesn’t keep Poor Things from remaining a major artistic achievement from one of the most fascinating filmmakers around at the moment.

Score – 4.5/5

More movies coming to theaters this weekend:
Aquaman And The Lost Kingdom, starring Jason Momoa and Patrick Wilson, is a superhero sequel in which Aquaman is forced to protect Atlantis and his loved ones from devastation after an ancient power is unleashed by Manta obtaining the cursed Black Trident.
Anyone But You, starring Sydney Sweeney and Glen Powell, is a romantic comedy about a pair of young attractive people who pretend to be a couple during a destination wedding in Australia, even though they secretly hate each other.
Migration, starring Kumail Nanjiani and Elizabeth Banks, is an animated adventure comedy about a family of ducks who try to convince their overprotective father to go on the vacation of a lifetime.

Reprinted by permission of Whatzup

Column, Midwest Film Journal

Hold On To Your Butts: Black Snake Moan

Originally posted on Midwest Film Journal

Though 2006’s Snakes On A Plane contains one of Samuel L. Jackson’s most famous movie lines, another film with “Snake” in the title which premiered later that same year has one of Jackson’s most accomplished performances. Black Snake Moan was released by Paramount Vantage in March of 2007 against the biker comedy Wild Hogs, which made more in its opening weekend than Moan could amass during its entire domestic run. While that’s dispiriting, it’s not exactly difficult to see why; Paramount Vantage tried to market the film with a titillating poster and trailer that drastically shortchange its thematic complexity. Yes, it’s a movie whose risqué subject material was bound to raise some eyebrows, but its provocations are backed by compelling characters and a nuanced storyline about addiction and redemption.

Jackson stars as Lazarus Redd, a former blues musician-turned-gardener whose wife Rose (Adriane Lenox) is leaving him for his brother Deke (Leonard L. Thomas) after an affair happening behind his back. Coming back from town one morning, he discovers a young woman named Rae (Christina Ricci) beaten and unconscious on the side of the road. Lazarus tasks himself with tending to Rae’s fever and wounds and when she deliriously runs out of his house one night, he does what he considers to be the sensible solution: chains her to his radiator to keep her from running away. He then learns that Rae’s sex addiction is well known around town now that her boyfriend Ronnie (Justin Timberlake) is away on National Guard deployment. Ever the devout man, Laz keeps Rae confined at his house even after she recuperates, seeing it as his spiritual duty to rid her of sin.

In a lesser movie, this premise could set Lazarus up as a religious kook who’s gone off the deep end and, naturally, we’d root for Rae to break free from his secluded farm. But Black Snake Moan doesn’t settle for those kinds of rote characterizations and routine plotting. Writer-director Craig Brewer is more interested in the ways that these two people, who seemingly have nothing in common, will draw out their surprising similarities in close quarters. Though Rae initially tries to use sex to parlay her way out of her waist chain, she soon finds that Lazarus has no interest in a sexual relationship with her. Both characters have emotional wounds that have festered over time and, though the circumstances are highly unusual, they find that they can help heal one another in their time together.

Jackson is sensational as Lazarus, a man who has tried all sorts of ways to battle his demons and has found the closest thing to salvation in the form of blues music. The veteran actor took months to learn the guitar from scratch, even getting some help with his chops from the prop master while on the set of Snakes On A Plane. Not only does Jackson play several songs on guitar in Black Snake Moan but he also accompanies himself with blues singing as well. In the style of Son House, who pops up in archive footage interludes at a few points in the story, Jackson alternates between singing and speaking when belting out his tunes. He may not have the most conventionally pleasing voice but Jackson is pitch-perfect in terms of allowing the character to cathartically sublimate his anger and sadness.

When it came to crafting the character, Jackson drew from experiences he had with family members who grew up in the Deep South, specifically his grandfather. That could be the main reason that his work here comes across as deeply-felt and personal, tapping into an emotive range that Jackson seems to reserve for his finest on-screen work. “We ain’t gonna be moved,” he growls with conviction after he makes the decision to hold Rae captive by chain. In trying to exorcise her demons, Lazarus knows that his methods aren’t legal, and maybe not even moral, but feels it’s the only way to get the evil out of someone he sees as “possessed” by sin. Jackson is brilliant at balancing Lazarus’s religious convictions with his deep sense of sympathy for Rae’s tragic background.

Ricci has a challenging role here, not only as someone who is struggling immensely with infidelity and nymphomania but also fighting hard against bettering herself. Rae is a character for whom seduction is practiced out of habit and is conducted like a first language, until she finds that Lazarus isn’t fluent. Walking right up to the line of exploitation, Brewer has Ricci in very little clothing for most of Black Snake Moan and I would understand some being upset with how Rae as a character and Ricci as an actress are portrayed here. It’s an unquestionably brave performance that attempts to authentically capture the experience of having a specific kind of sexual dysfunction that could easily be played for cheap thrills in more immature films.

Black Snake Moan is an immaculately-crafted two-hander between a pair of broken souls who are chained together through their shared pain and freed by hard-fought understanding.

Reel Views, Review

Eileen

Early on in the new thriller Eileen, we’re tipped off to the fact that something about the title character may be a little off. Played with tremulous longing by Thomasin McKenzie, Eileen creeps on a couple making out in a cliffside car and does little to resist sexual urges for guards at the corrections facility where she works. Anything to get away from the cruddy reality of her Massachusetts life in winter, bogged down by the obligations to look after her alcoholic father Jim (Shea Whigham) and to put up with the hectoring of her co-workers. Then comes Rebecca (Anne Hathaway), the new prison psychologist whose platinum blonde hair shines like a beacon in Eileen’s bleak existence. The two share cigarettes and conversation at work and soon become friends outside work as well but something darker lurks below their burgeoning relationship.

Based on the acclaimed 2015 novel of the same name, Eileen is an intoxicating film noir that oozes with both sumptuous style and pernicious undercurrents. Though the film takes place in the 1960s, it more closely resembles Technicolor white-knucklers of the 1950s like Niagara and Dial M For Murder in terms of narrative inertia and intent. The title card sets the mood brilliantly: a static shot of Eileen’s dashboard as her crummy car slowly fills with exhaust, with Richard Reed Parry’s music score emulating urgent Bernard Herrmann-style strings underneath. Director William Oldroyd lays out the plight of Eileen’s daily life so thoroughly in the opening scenes that when Rebecca shows up that one fateful day at Moorehead prison, we’re as lured in by her beguiling opulence as Eileen is.

Though she’s performed variations on the femme fatale role in The Dark Knight Rises and Serenity, Hathaway in Eileen is playing a more archetypical seductress like that ones that screen legends Barbara Stanwyck and Lana Turner perfected in the 1940s. Marked by worldly candor and breathy beauty, her Rebecca has an agenda that isn’t much more obvious to us in the audience than it is for Eileen on-screen but it’s alluring either way. While Hathaway plays all the right notes of mystery and eroticism in her performance, her Massachusetts accent too often falls prey to Transatlantic and British dialectical detours. It’s an aspect of the film that’s a bit hard to shake off, since her character is meant to be casting a spell and the wrong-sounding word or phrase can quickly shatter the illusion.

McKenzie, on the other hand, gives the more accomplished performance overall and, specifically, weaves together a linguistic timbre that is absolutely authentic from start to finish. Whether her character is murmuring words under her breath or shouting obscenities, her articulations and non-rhoticity remain consistent. You would never know that McKenzie’s native accent is New Zealand, given that she pulls off various dialects so convincingly; she’s done Cornish in The King, “standard American” in Leave No Trace and German in Jojo Rabbit. She also does a British variation in Last Night In Soho, another film about a mousy introvert who gets taken in by a blonde beauty. She’s only 23 but given what McKenzie has shown us so far, her acting talents will continue to astonish for years to come.

If Eileen falters for some, it’ll be with its audacious third act, which pushes the storyline into even psychologically darker territory than the film noir genre tends to go. It’s not the most tactful of shifts from Oldroyd but the husband and wife screenwriting duo of Luke Goebel and Ottessa Moshfegh, the latter of whom wrote the book upon which the movie is based, keep things from veering too off track. DP Ari Wegner also tinges the frame with an inviting warmth that’s a well-conceived foil to the grimy and cold street-level settings. Though there are narrative and performance elements that keep it from greatness, Eileen is a frosty-paned noir throwback that titillates at every turn.

Score – 3.5/5

New movies coming this week:
Playing only in theaters is Wonka, a fantasy musical starring Timothée Chalamet and Calah Lane detailing the origin story of chocolatier Willy Wonka as he dreams of opening a shop in a city renowned for its sweet confections.
Streaming on Paramount+ is Finestkind, a crime thriller starring Ben Foster and Jenna Ortega following two estranged brothers as they hatch a deal with a Boston crime syndicate, with unexpected consequences for the pair as well as their father.
Premiering on Apple TV+ is The Family Plan, an action comedy starring Mark Wahlberg and Michelle Monaghan about a former top assassin living incognito as a suburban dad who must take his unsuspecting family on the run when his past catches up to him.

Reprinted by permission of Whatzup

Reel Views, Review

Dream Scenario

Nicolas Cage must know that he’s on our minds. Between GIFs, memes and the 100+ films in which he’s starred over the past 40 years, it can be a challenge getting through the week without seeing his face pop up at least once somewhere. His latest, the outstanding absurdist comedy Dream Scenario, seems to play with the idea of his unavoidable persona and the specific space he inhabits in our collective cultural subconscious. Like the shadow version of last year’s reflexive The Unbearable Weight Of Massive Talent, in which Cage played multiple versions of himself, this film deals with the consequences of a meteoric rise to fame. Sure, other movies have tackled the rise and fall arc of immediate notoriety under various circumstances but Norwegian writer-director Kristoffer Borgli brings a unique sense of fatalism and irony to the familiar narrative.

Cage stars as Paul Matthews, a biology professor so milquetoast that he perfectly encapsulates the Thoreau quote of “men [who] lead lives of quiet desperation.” In between his college lectures and his time at home with his wife Janet (Julianne Nicholson) along with their daughters, he plots a book about ant intelligence that he can’t seem to actually start. But then a strange incident keeps occurring to Paul: strangers recognize him. When he presses them, it turns out that he’s been popping up in their dreams, not even as the focal point but commonly as a bystander observing the main events. So many people begin to see him in their dreams that it becomes a worldwide phenomenon and so, this mild-mannered nobody is thrust into the spotlight, even if it’s not the manner in which he expected. But when everyone’s dreams turn into violent nightmares, the backlash is even more intense than the wave of appreciation that preceded it.

Dream Scenario is simultaneously a Kafkaesque and Charlie Kaufman-esque parable about men who say they value their anonymity but get visibly excited when a Like count on their Facebook post hits double digits. Of course, what distinguishes this movie from others about a swift rise to ubiquitousness is that Paul doesn’t have any control over what’s making him so popular. No one, least of whom Paul, can explain why he’s visiting random people during their sleep cycles and, of course, he has no say in what he’s doing in them. Borgli takes this high-concept premise to explore the ideas of identity and intention in the internet age, where captured moments and floating faces can go viral in a heartbeat. He calls to mind the notion that no matter the size and scale of our interactions, we can never completely manage how people perceive us.

Recalling his dual role in Adaptation, in which he plays struggling screenwriter Charlie Kaufman and his fictitious brother Donald, Cage is pitch-perfect as a man so meek and mired that it’s hard not to feel bad for him. We learn early on that, sadly, the more Paul attempts to take hold of the bizarre situation, the harder he will likely fail. He returns the call from a PR firm, headed by a hilarious Michael Cera, who doesn’t understand the origin of Paul’s fame but wants to capitalize on it all the same. He tries to parlay the prompt popularity for an invite to a colleague’s dinner party that he previously wasn’t cool enough to attend but the evening goes wildly astray. Those who lament in watching protagonists engage in Sisyphean efforts to overcome their circumstances may be driven mad by Dream Scenario but, as a huge fan of Cage’s virtuosic pathos, I was delighted.

Of course, the film also calls back to another Spike Jonze project in Being John Malkovich, but almost in reverse; where that movie was about everyone trying to get into one celebrity’s head, Dream Scenario is about a reluctant celebrity trying to get out of everyone else’s. Like Malkovich, it also evokes how we strive to spice up the mundane nature of everyday life with pop culture fixations. Paul’s increasingly threatening pervasiveness in people’s dreams naturally points to Freddy Krueger from the A Nightmare On Elm Street series, which Borgli cleverly integrates in the third act. An iconic costume from an iconic concert film is also implemented as a lynchpin for a tender memory between Paul and Janet, similar to one that would appear in Eternal Sunshine Of The Spotless Mind. Despite its modern sensibilities, Dream Scenario‘s central theme of how we perceive one another is timeless and endlessly resonant.

Score – 4.5/5

New movies coming this week:
Playing only in theaters is The Boy And The Heron, an animated fantasy film starring Robert Pattinson and Christian Bale about a boy who discovers an abandoned tower in his new town after his mother’s death and enters a fantastical world with a talking grey heron.
Streaming on Netflix is Leave The World Behind, a psychological thriller starring Julia Roberts and Mahershala Ali about a family’s getaway to a luxurious rental home that takes an ominous turn when a cyberattack knocks out their devices and two strangers appear at their door.
Premiering on Amazon Prime is Merry Little Batman, an animated action comedy starring Luke Wilson and Yonas Kibreab about Bruce Wayne’s son Damian safeguarding his home and the rest of Gotham City from supervillains during the holiday season.

Reprinted by permission of Whatzup

Reel Views, Review

Saltburn

Academy Award-winning writer-director Emerald Fennell follows up her provocative breakout Promising Young Woman with another button-pusher in the new stately and seductive psychological dramedy Saltburn. Where Fennell’s previous effort targeted rape culture and male entitlement in the States, her latest takes place across the pond and focuses on class disparities and resentments in England. It’s an ever-shifting mirrorball of a movie, resembling a ritzier redo of The Talented Mr. Ripley one moment and then an especially twisted version of a Jane Austen tale the next. Though it can undoubtedly spin out of control at times, the performances and mise-en-scène ultimately sell its brash vision of sociopathic caste warfare.

Miles from his sweet and sensitive turn in The Banshees Of Inisherin last year, Barry Keoghan stars as Oliver Quick, a prickly undergrad struggling to make friends during his first year at Oxford University. After a serendipitous favor, he’s taken under the wing of the fantastically well-off Felix (Jacob Elordi) and invited to Saltburn, his family’s opulent estate, for school break. Braving the sweltering summer sun with them are Felix’s posh parents Lady Elspeth (Rosamund Pike) and Sir James (Richard E. Grant), along with his licentious sister Venetia (Alison Oliver) and his contumelious cousin Farleigh (Archie Madekwe). They spend the days donning tuxedos for pick-up tennis and the nights singing Pet Shop Boys karaoke, all with a full martini glass in hand for every moment. But underneath the hazy-minded fun, a more deviant game is afoot.

Holding over from Promising Young Woman, Carey Mulligan pops up in a brief role as an oblivious hanger-on of Elspeth’s who portends Oliver’s fate should he remain at Saltburn past his welcome. The stoic Paul Rhys rounds out the exceptional ensemble as the head butler, who seems to be holding back so much that he wishes he could say at every moment. But it’s ultimately Keoghan’s show and, indeed, he puts on quite the perverse spectacle; he’s played creepy before in The Green Knight and The Killing Of A Sacred Deer but this is his most unnerving performance to date. Though his frame is noticeably more diminutive than 6′ 5″ co-stars Elordi and Madekwe, Keoghan gives Oliver an imposing disposition that implies his threat is more psychological than physical.

Shooting with lurid colors in a more constrained aspect ratio, cinematographer Linus Sandgren contributes to the lecherous and voyeuristic vibe that Fennell aims to impart with Saltburn. Oliver is frequently framed as an outsider, peering through doorways and windows into a privileged life that he desperately desires for himself. The question is who will he become once he’s granted access inside such a life and the answer may turn off those who most enjoy movies where you can guiltlessly root for the protagonist. At the very least, Keoghan does everything to sell his character’s trajectory as the summer trudges on.

But like in Promising Young Woman, Fennell can’t help but hit us over the head with the messaging and plotting in the final act. In a way, it’s more disappointing in Saltburn, since there’s so much subtlety in the performances — by Keoghan and Elordi, in particular — that gets wiped out by Fennell’s garish storytelling instincts. I was gobstruck when she opted for a “what you didn’t see” montage in the final stretch; my hope is that Fennell starts to trust her audience a bit more her next time out. She does, at least, score a barnburner of a closing scene that doesn’t necessarily add much to the narrative but is irresistibly conceived and choreographed. Those who are in a naughty mood this holiday season may feel right at home within the confines of Saltburn.

Score – 3/5

New movies coming this week:
Playing only in theaters is Silent Night, an action thriller starring Joel Kinnaman and Scott Mescudi following a grieving father as he wordlessly enacts his long-awaited revenge against a ruthless gang on Christmas Eve.
Streaming on Netflix is May December, a drama starring Natalie Portman and Julianne Moore about a married couple with a large age gap who buckles under the pressure when an actress arrives to do research for a film about their past.
Premiering on Amazon Prime is Candy Cane Lane, a Christmas comedy starring Eddie Murphy and Tracee Ellis Ross about a man who makes a pact with an elf to help him win the neighborhood’s annual Christmas decorating contest.

Reprinted by permission of Whatzup

My thoughts on the movies