Tag Archives: 2022

Reel Views, Review

Ambulance

Michael Bay. Just the mention of the director’s name has stirred up preconceived notions in the minds of cinephiles and casual moviegoers alike since he hit the scene in the mid-90s. The one-two punch of Armageddon and Pearl Harbor solidified the tropes that are now inextricably linked with the filmmaker, codified in a style popularly called “Bayhem”. Bay’s frequent uses of melodramatic dialogue and epic, saturated landscapes, along with his fetishization of the military and of women, are just a few trademarks of his often-replicated technique. His latest film Ambulance is as action-packed as his other work and maintains signature trademarks of his approach — intense close-ups, circular camera movement, excessive lampposts — but includes breakthroughs for the director that allow it to instantly rank among his finest work.

The film centers around two adoptive brothers who have gone their separate ways since their father’s passing years ago. Will Sharp (Yahya Abdul-Mateen II) is a former Marine fighting to care for his cancer-stricken wife and newborn son as the medical bills become more than his one-off jobs can pay. His brother Danny (Jake Gyllenhaal) has taken after their father’s life of crime, knocking off banks while fronting a car detailing shop in Los Angeles. While in the middle of asking Danny for money, Will makes a snap decision to assist with a lucrative heist, which goes swimmingly until young LAPD officer Zach (Jackson White) unknowingly interrupts their plan. The unraveling of said plan involves Zach sustaining a bullet injury and the Sharp brothers hijacking an ambulance with EMT Cam (Eiza González) and the injured Zach onboard as hostages.

From the outset, Ambulance sets up its characters and their motivations with more breadth and depth than your typical action thriller. Screenwriter Chris Fedak taps into the frustrations with medical bureaucracy to which many people can relate, especially the past couple years, and Abdul-Mateen does an excellent job selling it. Gyllenhaal presents his character as the sort of cool operator who is paradoxically the most anxious person in the room at any moment, while González portrays her paramedic as a consummate professional who is enviably heroic under pressure. The scenario that puts the rookie cop in that bank at the wrong time is loaded with layers of dramatic irony and social pressure that makes the situation tense and enthralling before the rubber even meets the road.

Don’t worry: the action does come and when it does, it rarely takes any breaks. Not since Mad Max: Fury Road has there been a sustained vehicular battle this utterly engrossing and casually inventive in the way that it interjects escalating variables into the predicament. With DP Roberto De Angelis, Bay ups his aerial camerawork game by use of roving drones that dive-bomb and zig-zag across LA with both speed and precision. Put bluntly: these are exhilarating shots that wouldn’t have been possible in an action movie ten, or perhaps even five, years ago. But the cinematic fundamentals of sound action moviemaking are also present throughout, underscored by editor Pietro Scalia’s adept sense of visual timing and storytelling priority.

Bay has been charged with having a stunted and sophomoric sense of humor that accompanies his seeming lack of self-awareness but there are signs in Ambulance that he may have at least temporarily overcome these obstacles. Two police officers reference two other Michael Bay movies in a five-minute span, the second joke coinciding with the low-angle hero shot so overdone that I’ll chalk up to knowing parody rather than self-own. Gyllenhaal also rips off some diabolically sarcastic one-liners with sadistic glee, while a police captain played by Garret Dillahunt does some excellent age-juxtaposed verbal sparring with other officers. It may not be the most sophisticated humor in the world but it’s a marked step-up from Bumblebee peeing gasoline on John Turturro 15 years ago. Prior to Ambulance, Transformers was the last Bay film I had seen in a theater but his latest is clear evidence that I shouldn’t wait another 15 for my next appointment.

Score – 4.5/5

New movies coming to theaters this weekend:
Fantastic Beasts: The Secrets of Dumbledore, starring Jude Law and Eddie Redmayne, is the latest entry in the Wizarding World franchise that finds members of the British Ministry of Magic battling dark wizard Gellert Grindelwald’s army.
Father Stu, starring Mark Wahlberg and Mel Gibson, is a based-on-a-true-story drama which follows the life story of Father Stuart Long, a boxer who turns to Catholic priesthood after suffering from an inflammatory muscle disease.
Everything Everywhere All at Once, starring Michelle Yeoh and Ke Huy Quan, is a sci-fi comedy about an aging Chinese immigrant who is swept up in an cosmic adventure where she alone can save the world by exploring other universes connecting with the lives she could have led.

Reprinted by permission of Whatzup

Reel Views, Review

Morbius

For those who don’t have their PhDs in cinematic universes, it should be said that the awful new superhero movie Morbius is the third entry in the Sony’s Spider-Man Universe that was created in 2018 for Venom. See, Sony leased the rights for Spider-Man away to Marvel Studios in 2015 but in an effort to ring all the cash out of the spider web that they could, they developed movies based around the character’s villains, even in the hero’s absence. Making a pair of Venom movies without Spider-Man is sort of like making a film about macaroni without cheese but at least baddies like Venom and Vulture are on the A-list of the webslinger’s foes. By selecting Morbius, Sony has already jumped down to the C-list of comic book antagonists as their SSU plows ahead against petty obstacles like artistic integrity and good taste.

We meet Dr. Michael Morbius (Jared Leto) as he arrives at a cave in Costa Rica and draws vampire bats out using a machine whose function is never clearly (or unclearly) stated. Along with his childhood friend Lucien (Matt Smith), Morbius suffers from a rare blood illness, for which the doctor has spent his entire life trying to develop a cure. His latest attempt involves splicing his DNA with the recently-captured bats, which gifts him with vampiric superpowers but also curses him with an unquenchable thirst for blood. Morbius’s hunger is temporarily satiated by a synthetic blood he created but his growing bloodlust has coincided with a string of attacks on the city by someone who has been sucking victims dry. Together with fellow scientist Martine Bancroft (Adria Arjona), Morbius sets out to take down the city’s new “vampire killer”.

Like many films that have been released over the past year, Morbius is yet another victim of covid-related delays after an initial July 2020 premiere window and as that’s the case, its trailer has played ad nauseum since movie theaters have reopened. It teases about a dozen Easter eggs and scenes that never made the final cut, which points to manipulative advertising rather than judicious editing on Sony’s part. It’s also indicative of aimlessness when it comes to what story director Daniel Espinosa is trying to tell. The film shamelessly rips off specific moments from better superhero films like Batman Begins and 2002’s Spider-Man but not in a way that helps justify why this interpretation of the Morbius character should exist in the first place.

From the casting of Leto as a brilliant scientist to a plot that’s been drained of every ounce of originality, there’s not an aspect of Morbius that doesn’t feel haphazard and sloppy. An awkward early flashback depicts a meet-ugly between Morbius and Lucien, where the former insists on calling the latter by the incorrect name to mock his expendability. From that moment on, the title character operates in two modes of “selfish jerk” and “outright bore” for the rest of the movie. Leto injects the film with lifeless voiceover narration that insults the audience’s intelligence, as if we’re not supposed to know what echolocation is. At least Matt Smith is trying to have some fun — he even gets a peppy dance number before a night on the town — but his antics are bogged down by the film’s brooding and moody nature.

What’s most painful about Morbius is just how hard it’s trying to be cool and how dated it looks in all of its efforts to do so. With speed-ramping bullet effects out of an Underworld sequel and color palette that blends shades of Hot Topic and Spirit Halloween, it’s about as edgy as an Evanescence cover band on a Tuesday night. I’m all for a comic book movie with moral complexity or a darker tone but there’s nothing ambiguous or artistic about the way this film tries to get across its message. Perhaps I was a bit too hard on Venom a few years ago because that movie and its sequel at least have an admirable, out-of-left-field goofiness that’s nowhere to be found in this self-serious dreck. Tawdry and toothless, Morbius is more BS from a media conglomerate that needs to put a stake in the heart of this bungled cinematic universe.

Score – 1.5/5

New movies coming to theaters this weekend:
Ambulance, starring Jake Gyllenhaal and Yahya Abdul-Mateen II, is a Michael Bay-directed action thriller about two robbers who steal an ambulance and hold an EMT hostage after their heist goes awry.
Sonic the Hedgehog 2, starring Ben Schwartz and James Marsden, is the sequel to the 2020 video game adaptation that finds Sonic and his new partner Tails squaring off against the evil Dr Robotnik and his new ally Knuckles.
Everything Everywhere All at Once, starring Michelle Yeoh and Ke Huy Quan, is a science fiction action comedy about an aging Chinese immigrant who is tasked with saving the world by exploring other universes connecting with the lives she could have led.

Reprinted by permission of Whatzup

Reel Views, Review

Apollo 10½: A Space Age Childhood

The 2019 documentary Apollo 11 was a just-the-facts recreation of the titular historic spaceflight but thanks to the magic of rotoscoped animation, we now have a fantastical prequel of sorts. Apollo 10½: A Space Age Childhood, the latest from writer/director Richard Linklater, is likely his most personal film yet and a fine return to form after a couple recent misfires. Utilizing the rotoscoping technique he helped launch in Waking Life and A Scanner Darkly, Linklater overlays live-action footage with bursts of animated color in a way that resembles a home movie that’s been strategically painted over. The effect is perfect for this wistful tale of remembering what was and daydreaming about what could have been during an era when anything seemed possible.

It’s 1969 in Texas and ten-year-old Stanley (Milo Coy) is at recess playing kickball when he’s called into a classroom to meet with two NASA officials (Glen Powell and Zachary Levi) about something top secret. As with his friends and family, Stanley is enraptured with the ongoing Apollo missions as they watch the shuttles launch on their televisions but these gentlemen have a proposal that will get him closer to his dreams than he ever imagined. Though NASA scientists are the best and brightest, they accidentally made a lunar module too small for an adult astronaut, much less three of them. So as to not waste resources, NASA offers to train Stanley in their program so that he can make the trip to the moon that Kennedy promised earlier in the decade.

Okay, so Linklater is playing a bit fast and loose with the historical facts of what actually landed man on the moon for the first time but the boyhood fantasy of Apollo 10½ is accompanied by very accurate details of time and place otherwise. About twenty minutes into the story, the film freeze frames on an unflattering moment during high-g training and goes on a lengthy detour that paints an evocative portrait of what life was like in this specific Houston suburb. As Daniel Stern did in The Wonder Years, Jack Black plays the adult version of Stanley looking back on his childhood via voiceover narration. It’s easy to see this as a younger brother to Linklater’s similarly nostalgic Dazed and Confused and Everybody Wants Some!!, as fascinated with 1960s culture as those were with the 1970s.

There’s quite a bit of archival footage used in Apollo 10½ but Linklater and his head of animation Tommy Pallotta incorporate plenty of deep cuts along with the expected cultural touchstones. Sure, most people who grew up during this time can relate to watching The Wonderful World Of Color on Sunday nights or hearing “Sugar, Sugar” played way too often. But the film is more specific about the subculture of Texas suburbanites who were smitten by NASA and their tireless endeavors throughout the decade at the nearby Johnson Space Center. As he does multiple times in the movie to rattle off lists of period-relevant board games or TV shows, Linklater fills up the frame at one point with revered astronauts as they appear on collectible trading cards.

Narratively, the film is split between the fictional account of Stanley’s trip to the moon and his life on the ground with his family of 8 but it doesn’t exactly split the time evenly. Obviously Linklater is using the outer space story as a way to show us a scrapbook of his early years, so it shouldn’t be surprising when the movie meanders for long stretches of time. Though it’s intentional, it does give things an uneven feel and the pacing can be a bit all over the place when the waxing nostalgic goes full throttle but the visual pizazz and the heartfelt nature carry the day. In one scene, Stanley describes one of his grandmothers as “a very sweet lady you couldn’t find much fault in” and the same could be said of Apollo 10½: A Space Age Childhood.

Score – 3.5/5

More new movies coming this weekend:
Playing only in theaters is Morbius, the latest entry in Sony’s Spider-Man Universe starring Jared Leto and Matt Smith about a scientist suffering from a rare blood disease whose attempts to cure himself afflict him with a form of vampirism.
Streaming on Netflix is The Bubble, a meta comedy starring Karen Gillan and Fred Armisen about a group of actors struggling to film the newest sequel of a dinosaur-based blockbuster franchise during the height of the COVID-19 pandemic.
Premiering on Disney+ is Better Nate Than Ever, a family-friendly musical starring Rueby Wood and Joshua Bassett about an unpopular 13-year-old who has a goal of becoming a Broadway musical star, even though he can’t land the lead in his school’s play.

Reprinted by permission of Whatzup

Reel Views, Review

Master

The powerful new horror movie Master opens with a pair of not-so warm welcomes. During orientation day at the prestigious Ancaster College, the bright Jasmine (Zoe Renee) is paired with the blasé Amelia (Talia Ryder) as roommates in a purportedly haunted dorm room. Across campus, professor and recently-appointed master of the storied Belleville House Gail (Regina Hall) struggles to open the front door to her new quarters. More generally, the specter of witchcraft-accused Margaret Millett from centuries ago looms over the school as students make up scary stories surrounding her myth. Amidst a student body and faculty with very few women of color, both Jasmine and Gail experience both subtle and overt forms of racism while the ghosts of Ancaster’s past grow into something even more tangibly terrifying.

Marrying the chilly campus creeps of The Blackcoat’s Daughter with the socially-conscious themes of Candyman, Master is utterly engrossing as goosebump-inducing horror and salient social commentary. In her first feature, writer/director Mariama Diallo captures the desperate sense of isolation felt by women who have a deep sense of unbelonging in their present setting. Amelia and other dormmates sardonically guess that Jasmine is either Beyoncé or Lizzo, while Gail is “complimented” by a fellow tenured professor through a comparison to Barack Obama. But these aren’t simply uncouth remarks by white folks who aren’t comfortable around their black counterparts. They’re products of a campus culture that has marginalized women and minorities decade after decade, where only the strongest survive.

Unfolding across six chapters, Master tragically details the hopelessness felt by its female characters as they fight back against systemic racism and oppression organized by the founders of the school centuries ago. The solution would seem to lie in communal unity and while Jasmine and Gail attempt to support one another in a symbiotic student-teacher relationship, Diallo introduces English professor Liv (Amber Gray) to show where things can get complicated. Straight-A student Jasmine is shocked when her first writing prompt from Liv’s class is met with a dreaded F grade, one that she plans to dispute with the university. Knowing such a move would derail Liv’s upcoming bid for tenure, Gail presses Jasmine to reconsider such a plan of action. Diallo plants these seeds of mistrust and division and expertly depicts how the tangled trees choke the potential for progress.

The messaging may come across as heavy-handed by those who are simply looking for a spooky movie to get under one’s skin but Master delivers on the horror front with some exceedingly well-edited sequences. It’s never a good sign for the main character of this sort of film to admit that they’re a sleepwalker but that’s exactly what Jasmine does in an early scene during a game of Never Have I Ever. Such a confession naturally yields some chilling nightmare sequences that incorporate sleep paralysis, a noose-carrying hooded figure and larger-than-life shadows that linger just a bit too long. Gail also contends with personifications of the rot within the Ancaster history that force her out of her new home to make way for pest control fumigation.

Master is often a very somber effort but there are a few satirical jabs in the vein of Dear White People that add a bit of levity while staying on point. The most notable of these is a fake ad for Ancaster, where Gail and Liv preach the ideals towards diversity for which the university strives, while the dean proclaims “the one thing that is not Ancaster is discrimination!” Such savvy comedic moments made Get Out a touchstone of black horror several years ago and could have potentially allowed this film to reach a wider audience but Diallo is intentional about her vision. This is a fittingly serious film about serious social subjects that require their time in the cultural conversation. It’s not always an easy watch but Master represents both the powerful storytelling potential of horror and the emergence of an exciting new voice within the genre.

Score – 4/5

New movies coming this weekend:
Playing only in theaters is The Lost City, an adventure comedy starring Sandra Bullock and Channing Tatum about a romance novelist on a book tour with her cover model as they get swept up in a kidnapping attempt that lands them both in a cutthroat jungle adventure.
Also playing exclusively in theaters is Infinite Storm, a survival thriller starring Naomi Watts and Billy Howle about a climber who encounters a stranded stranger during a blizzard as they journey to make it down the mountain before nightfall.
Screening at Cinema Center this Friday and Saturday is Mogul Mowgli, a music drama starring Riz Ahmed and Aiysha Hart about a British-Pakistani rapper who is diagnosed with an autoimmune disease before his first world tour.

Reprinted by permission of Whatzup

Reel Views, Review

Deep Water

Returning to film after a 20-year absence following 2002’s steamy Unfaithful, Adrian Lyne once again finds himself in the erotic thriller genre he bolstered with classics like Fatal Attraction and Indecent Proposal. Adapted from the 1957 Patricia Highsmith novel, Deep Water would seem to be an easy swim for Lyne’s first pool laps in quite some time but the lane markers of compelling cinema trip him up repeatedly. With its pulpy story involving murder and mystery surrounding a loveless marriage, the film frequently basks in the reflected glory of David Fincher’s Gone Girl, while not exactly earning the comparisons on its own merits. Beyond other similarities like muted color palettes and ellipsoidal-shaped narratives, both films also share Ben Affleck in lead roles that admirably push his range as a performer.

Affleck stars as Vic Van Allen, a middle-aged computer engineer who retired early after a big payday from developing a chip crucial for drone technology. His extra free time allows him to develop apps, spend plenty of time with his daughter Trixie (Grace Jenkins) and try to ignore the affairs that his wife Melinda (Ana de Armas) flaunts openly in front of him. Their open marriage is a tenuous agreement between Vic and Melinda, who are no longer in love with one another but also don’t want to put Trixie through the pain of a separation. When one of Melinda’s ex-lovers turns up dead, rumors spread that Vic murdered him, which catches the attention of local crime writer Lionel (Tracy Letts). As Melinda’s trysts pile up, Vic’s jealousy grows along with his violent reputation around town.

The mystery surrounding Affleck’s character and the layered yet natural performance that he gives are enough to allow Deep Water float along for a time. The snippy script by Sam Levinson and Zach Helm finds Vic and Melinda sniping at each other with barbed exchanges that create a tragic portrait of their miserable marriage. “He lets me be myself and that turns me on,” Melinda blithely remarks to Vic about one of her lovers. While Vic’s jealousy and bitterness are understandable and give his character dimension by extension, Melinda comes across as more of a soulless nymphomaniac rather than a duplicitous femme fatale. Since her breakout role in Knives Out, de Armas has been a welcome presence in Hollywood but the role she’s chosen here is almost sexist in how plainly her character is written.

In regards to storytelling, there are more than a few signs that Lyne is rusty when it comes to crafting a tale for the screen. There’s something awkward about the staging of these scenes; the claustrophobic parties and stilted dinners almost seem as if they’re from the perspective of a bored six-year-old who’s put off by their stuffiness and just wants to go home. The central mystery surrounding the tangibles of Vic and Melinda’s arrangement are teased but never satisfyingly revealed. There are also odd details that are given too much screen time like Vic’s hobby of collecting slugs, though that could serve as a metaphor for the snail’s pace that plagues the 115-minute runtime. By the time the outlandish finale rolled around, the movie did the impossible: convinced me that Tracy Letts could give a bad performance.

Originally slated for a November 2020 theatrical release, Deep Water is yet another cast-off from a major studio that now heads direct-to-streaming after the market has proven lukewarm to dramas like this from a box office perspective. With a tantalizing teaser trailer and backed by the tabloid-fueled off-screen relationship between Affleck and de Armas, a film like this would’ve likely made its budget in two weeks under different circumstances. If Lyne is to continue in a similar vein of psychological thrillers going forward, he’ll need to be more stringent about the screenplays that he chooses to bring to life. Coming from a director who is such a master of this genre, Deep Water is a suspiciously shallow experience.

Score – 2/5

More new movies coming this weekend:
Playing exclusively in theaters is X, a slasher movie starring Mia Goth and Jenna Ortega about a group of young filmmakers who travel to rural Texas to make an adult film but find themselves fighting for their lives when their hosts aren’t who they expect.
Also playing only in theaters is Umma, a supernatural horror film starring Sandra Oh and Dermot Mulroney about a mother peacefully raising her daughter on an American farm until the remains of her estranged mother arrive from Korea and haunt the two of them.
Premiering on Netflix is Windfall, a thriller starring Jason Segel and Lily Collins about a wealthy couple who comes to their vacation home, only to discover someone is in the middle of robbing it.

Reprinted by permission of Whatzup

Reel Views, Review

The Batman

While DC’s Extended Universe will continue to move forward with or without Ben Affleck as the Caped Crusader, another version of the Dark Knight now emerges from the shadows. Like Joker in 2019, The Batman aims to free the iconic comic book character from the tangle of shared universes and push the genre in new directions. This is less of a superhero movie and more of a hard-boiled detective story that happens to center around a vigilante dressed up like a bat. Behind the cowl this time around is Robert Pattinson, who has built up a distinctive resume in the 10 years since the Twilight franchise came to a close. His casting allows director and co-writer Matt Reeves to depict a younger version of both Bruce Wayne and Batman, one who’s more hot-blooded and eager to prove himself to a crime-addled Gotham.

When the city’s mayor is murdered in his home on Halloween night, Batman and lieutenant Jim Gordon (Jeffrey Wright) head up the crime scene as bizarre clues begin to emerge. A card addressed to The Batman contains a cryptic message inside and suggests that a new serial killer, soon dubbed The Riddler, is likely on the rise. More evidence at the scene draws Batman to a notorious nightclub in town run by Oz Cobblepot (Colin Farrell) and frequented by crime lord Carmine Falcone (John Turturro). While infiltrating the club, Batman crosses paths with waitress Selina Kyle (Zoë Kravitz), whose search for her missing girlfriend finds her plunging deep into Gotham’s criminal depths. As Riddler’s connected murder count rises, Batman works with his allies to take down the new supervillain.

Just as Joker leaned on specific entries from Martin Scorsese’s filmography, The Batman draws its influences from the psychological thrillers that David Fincher mastered in the 1990s. The partnership of Batman and Gordon often resembles the pairing of detectives Mills and Somerset in Seven, accentuated by the torrents of rain that permeate both films. The labyrinthine design of The Riddler’s plan echoes the paranoid plotting of The Game, while unexpected visual allusions to Fight Club pop up like pretty punches to the face. In comic book lore, Batman is referred to as the World’s Greatest Detective and while he doesn’t exactly live up to that title in this latest cinematic entry, this film attempts to evoke that side of his character more successfully than any other previous Batman movie.

While he doesn’t bring much to Bruce Wayne besides mascara and moodiness, Pattinson packs a formidable presence and menace to a type of Batman of which we’ve only seen glimpses in movies like The Dark Knight Rises and Batman v Superman. He and Kravitz also ooze a sensual “Bat and Cat” chemistry that gives this entry a tangible romantic spark missing from the franchise since Batman Forever. On the villain side of things, Colin Farrell is truly unrecognizable in a deliciously over-the-top take on Penguin that rivals what Danny DeVito did with the role in Batman Returns. Andy Serkis also brings a more rough-and-tumble and adversarial demeanor to an Alfred the butler character who is traditionally depicted as more kindly and obsequious.

Where issues like overstuffed plotting and sluggish editing threaten to put The Batman on ice, the stellar technical aspects underscore the project’s level of aptitude and ambition. Composer Michael Giacchino contributes another instantly memorable musical score, driven by a new theme that is overpowering and operatic, especially in IMAX. DP Greig Fraser, who brought Denis Villeneuve’s vision of Dune to the screen last year, shoots the fight scenes with clear precision but cleverly uses shallow depth of field in moments that could otherwise compromise the precious PG-13 rating. Matt Reeves’ The Batman takes a character that we’ve seen on-screen in myriad contexts and somehow adds a new perspective that feels raw and essential.

Score – 3.5/5

New movies coming this weekend:
Premiering on Disney+ is Turning Red, the latest Pixar offering starring Rosalie Chiang and Sandra Oh about the hormonal struggles of a 13-year-old Chinese-Canadian girl who turns into a giant red panda whenever she gets too excited.
Playing on Netflix is The Adam Project, a sci-fi adventure starring Ryan Reynolds and Mark Ruffalo that follows a time-traveling pilot as he teams up with his younger self and his late father to come to terms with his past while saving the future.
Streaming on Showtime and continuing in select theaters is After Yang, a sci-fi drama starring Colin Farrell and Jodie Turner-Smith that takes place in a world where robotic children are purchased as live-in babysitters and depicts one father’s journey to repair their family robot.

Reprinted by permission of Whatzup

Reel Views, Review

Studio 666

In addition to selling millions of records and packing stadiums around the world during their 25+ year career as a band, Foo Fighters has also demonstrated a propensity towards silly music videos. The visual companion pieces to songs like “Everlong”, “Learn To Fly” and “Long Road To Ruin” are spearheaded by the goofy charisma of frontman Dave Grohl, who has no compunction about sporting a wig or fake mustache for yuks. Conjured forth from those comedic impulses comes Studio 666, a horror comedy that could have worked as a 5-minute music video but absolutely flounders as a 105-minute feature. Shot partially during lockdown in the same mansion where the band recorded their tenth album Medicine at Midnight, it’s a lazy and pointless vanity project that inexplicably crept onto 2000 screens nationwide this past weekend.

The story features fictionalized versions of the Foos, pressured by their manager Jeremy Shill (Jeff Garlin) at the outset to complete new music for their record company. Looking for inspiration, they take Shill’s advice and move into an Encino house where fictional band Dream Widow almost finished an album of their own before the project ended abruptly by grisly means. After regurgitating riffs from tunes that he’d already written before, Grohl accepts that he’s going through a bout of songwriter’s block before happening upon the reels from Dream Widow’s partial recordings in the basement. Listening to the tracks possesses Grohl, not only figuratively in terms of musical inspiration but also literally, as the music unlocks unholy spirits that turn the frontman demonic.

Lifting visually from horror classics like The Exorcist and The Omen and narratively from scores of others, Studio 666 simply doesn’t have enough of its own ideas to justify its existence. Grohl is credited with coming up with the story, obviously conceived during his time recording the real-life album, but the screenplay by Jeff Buhler and Rebecca Hughes is paper-thin and painfully puerile. When the band members aren’t exchanging naughty four-letter words with one another, they’re stuck with witless dialogue about subpar grilling technique or aversions to meditation. Comedians like Whitney Cummings and Will Forte, the latter as a delivery guy who professes Foo Fighters are his “2nd favorite band after Coldplay”, pop up to punch things up but their effort is sadly in vain.

In the aforementioned music videos and numerous TV appearances throughout the years, Grohl has exhibited an endearing charm that has served him even outside the context of Foo Fighters fans. However, the rest of the band clearly doesn’t share his affinity for a life in front of the camera. Of course the other five members are great musicians but their unnatural and unconvincing acting feels like the product of Grohl pushing these guys past their natural abilities. Drummer Taylor Hawkins, who reportedly didn’t bother to learn any of the lines from the script, ironically gives the funniest performance of the lot simply by replaying the same note of weirded-outness at the occult occurrences. The other four Fighters are relegated to reaction shots that don’t produce any laughs nor add to the impact of the would-be scares.

The one aspect that the production team seemed to put any effort behind is in the gory practical effects during the inevitable kill scenes, which are admirable in their craft if not completely novel in their execution. Director B.J. McDonnell, who headed up the third entry in the Hatchet slasher series, leans into his skill set and delivers a few sequences that pay off with over-the-top slayings that make fine use of unique props and settings. An icon of the horror genre also shows up in an all-too-brief cameo as a sound engineer, while a legend of soul music says “hello” in another scene without adding much of an impact. Studio 666 obviously doesn’t diminish the Foo Fighters’ music legacy but it should put a swift demise to any future cinematic aspirations for the group.

Score – 1.5/5

New movies coming this weekend:
Playing only in theaters is The Batman, the latest reincarnation of the Caped Crusader starring Robert Pattinson and Zoë Kravitz about Batman’s second year of fighting crime as he teams up with Catwoman to take on The Riddler and The Penguin.
Streaming on Amazon Prime is Lucy and Desi, a documentary from director Amy Poehler covering the rise of comedian icon Lucille Ball, her relationship with Desi Arnaz, and how their groundbreaking sitcom I Love Lucy forever changed Hollywood.
Premiering on Hulu is Fresh, a comedy thriller starring Daisy Edgar-Jones and Sebastian Stan about a young woman who navigates the hurdles of modern dating and discovers that her new boyfriend may have sinister proclivities for sustenance.

Reprinted by permission of Whatzup

Reel Views, Review

Uncharted

Tom Holland and Mark Wahlberg seek box office treasure with Uncharted, an adaptation of the popular Playstation video game series in another synergistic bit of cross-platforming from the folks at Sony. Originally slated for a 2020 release, production was halted early and often due to covid for this potential franchise starter and that’s after the years of revolving directors and shuffled-around cast. Decisions like settling on Zombieland‘s Ruben Fleischer as the director and casting Wahlberg in the mentor role instead of as the main hero feel more perfunctory than purposeful. With these problems at the forefront, it’s admirable that the result of these struggles is formally sound and occasionally thrilling, if unremarkable on the whole.

After being separated from his adventure-loving brother as a teenager, young hotshot Nathan Drake (Holland) harbors an obsession for long-lost treasure while tending bar in New York. As fate should have it, treasure hunter Victor “Sully” Sullivan (Wahlberg) engages Drake at his workplace and tells tale of a Magellan-era fortune lost to time that’s just waiting to be rediscovered. The pair jet set to an art auction in Barcelona, where they plan to steal a cross-shaped key to kick off their journey but are met by fellow gold seeker Santiago Moncada (Antonio Banderas) and his ruthless accomplice Jo (Tati Gabrielle). Another key turns up in the hands of Chloe Frazer (Sophia Ali), a fellow adventurer who reluctantly joins Drake and Sully in their conquest to find Magellan’s fortune before Moncada and his deadly crew get the chance.

To cut to the chase, Uncharted is two terrific action setpieces in search of a complete movie. The first such sequence is the lynchpin of the film’s advertising, which features Drake bouncing from one supply crate to another as they plummet through the sky. Add some henchmen, a tumbling Mercedes and some ripped-from-the-video-game physics and you have a fun, gravity-defying crescendo so nice, they play it twice. The second takes place in the third act and without giving too much away, it involves a pair of helicopters making some impressive aerial maneuvers while lifting precious cargo below. Apropos of the action-adventure genus, there are plenty of secret passages and mechanical doors that lead up to (“get in the way of” may be more apt) these airborne acrobatics.

As with genre classics like Raiders of the Lost Ark and Pirates of the Caribbean, whose protagonists are name-dropped during scenes that borrow heavily from the respective films, characters remain key for staying power. Sadly, Uncharted‘s trio of screenwriters don’t provide enough on the page for the actors to create memorable ones. Most of Drake and Sully’s repartee revolves around disparities in their age (Sully leaves too many apps open on his phone!) or in their masculinity (Drake orders girly drinks!) but the characterization remains thin. Gabrielle and Ali are able to add a bit more nuance to their roles, by virtue of not being saddled with clunky comedic dialogue, but their performances don’t exactly lift the material much either.

Fresh off the blockbuster that recently overtook Avatar‘s #3 spot on the list of all-time domestic earners, Holland does what he can to distance himself from the version of Peter Parker with which he’s most commonly associated. As someone who’s never played the game upon which this movie is based, I can’t say how his Drake compares to the digital counterpart but Holland brings a grifter’s charm that won me over. He’s certainly better off here than he is than in disasters like Chaos Walking and Cherry. Wahlberg may have been a better fit for Drake when he was originally tapped for the role 10 years ago but recasting him as the sidekick is about as awkward in execution as one may expect. Uncharted doesn’t go as off the map as it could’ve but it doesn’t chart enough of an original course to make it worth the journey.

Score – 2.5/5

New movies coming this weekend:
Playing only in theaters is Studio 666, a horror comedy starring Foo Fighters members Dave Grohl and Taylor Hawkins which finds the frontman tangling with supernatural forces while the band records their tenth studio album in a mansion.
Premiering on Hulu is No Exit, a snowbound thriller starring Havana Rose Liu and Dennis Haysbert about a college student stranded at an isolated highway rest stop who discovers a kidnapped child hidden in a car belonging to one of the people inside.
Streaming on Netflix is A Madea Homecoming, a family comedy starring Tyler Perry and Cassi Davis-Patton that reconvenes the feisty matriarch with her family for a celebratory dinner for her great-grandson’s graduation.

Reprinted by permission of Whatzup

Reel Views, Review

Kimi

With virtual assistants like Alexa and Siri politely invading our pockets and homes at an alarming rate, a movie that taps into their ubiquity for paranoia was about as inevitable as the fact that one of their corresponding devices is probably listening in on you right now. Enter Steven Soderbergh’s Kimi: a smart and enthralling thrill ride that takes its title from the chirpy AI built into smart speakers that pop up everywhere in this film’s version of pandemic-era Seattle. Like last year’s The Mitchells vs. the Machines, it branches off from a knee-jerk “technology bad” tack and creates a conversation between analog and digital that sees the merits of both. The fact that Kimi is optimized from the input of human programmers who fix bugs stemming from user-device miscommunication is just one example of this film’s vision of how man and machine can co-exist.

One such data analyst is Angela (Zoë Kravitz), an agoraphobic voice stream interpreter who listens to recorded interactions between people and their Kimi-equipped devices and codes corrections from the “comfort” of her apartment. She becomes alarmed listening to an audio clip plagued by loud industrial music, not because the song itself is jarring but due to the screams of a woman that she faintly hears over it. Naturally, there’s protocol for this but given that Amygdala (the corporation behind Kimi) is days away from an IPO, Angela gets the runaround from her boss (Andy Daly) and boss’ boss (Rita Wilson) in trying to do the right thing. Circumstances dictate that she face her biggest fear of leaving her loft to get to the bottom of that chilling recording that she overhears.

As tech-focused as it is, the basis of Kimi‘s tense conceit stems from 1970s thrillers like The Conversation and Three Days of the Condor; Soderbergh even sneaks in an homage to Marathon Man for good measure. Computers may have taken up the space of entire rooms back then but the notion that “just because you’re paranoid doesn’t mean they’re not out to get you” is just as relevant here as it was in those movies. Kravitz does an excellent job absorbing this anxiety along with her fears of the outside world and creates a protagonist that is easy to root for even in her most unpredictable moments. Most of this movie’s first half, she’s interacting with actors through Skype and FaceTime because of her character’s condition but bridges the gap with a palpable physicality around her conspicuously large apartment.

In trying to get to the truth, it’s all about having the right tool for the job. When Angela first hears the suspicious stream, she extracts the audio file and puts it through noise reduction software. It helps but doesn’t get it all the way there. That’s when she runs to the closet to find an analog chassis of equalizers that notch out the necessary frequencies and reveal the disturbing detail of the recording. This push-pull of analog and digital working in tandem is at the heart of what makes Kimi such a fun ride but also a subtle commentary on how much power technology can give and take. The system that allows a potential violent assault to be uncovered is the same system that prohibits a keycard from opening the right door at the right time during a foot chase.

As cerebral as all of this may sound, the biggest joys of Kimi are ephemeral, courtesy of a top-notch director who knows how to pack a lot into 90 minutes. With over 30 feature films to his name, Soderbergh is simply one of the most impressive filmmakers around, also handling editing and cinematography here under pseudonyms as he’s done in past projects. He knows just how much information to give us in the moment so that we can recall prior details just in time for a rich payoff. Not all of his movies are home runs but when Soderbergh connects, there’s nothing sweeter than the sound of that bat cracking. Kimi is a first-rate thriller that people everywhere should be shouting at their devices to play right away.

Score – 4/5

New movies coming this weekend:
Playing exclusively in theaters is Uncharted, an video game-adapted action-adventure starring Tom Holland and Mark Wahlberg about a pair of rebellious treasure hunters out to recover a lost fortune amassed by Ferdinand Magellan.
Also playing only in theaters is Dog, a road trip comedy starring Channing Tatum and Jane Adams about a U.S. Army Ranger tasked with bringing a military working dog to attend her handler’s funeral.
Streaming on Netflix is Texas Chainsaw Massacre, a reboot of the iconic 1974 horror film starring Sarah Yarkin and Elsie Fisher which finds Leatherface returning to terrorize a group of idealistic young friends who accidentally disrupt his carefully shielded world in a remote Texas town.

Reprinted by permission of Whatzup