Tag Archives: Reel Views

Reel Views, Review

Licorice Pizza

Let’s get this out of the way right at the top: Licorice Pizza is not about a pernicious pizzeria that tops their pies with the twisty black or red confection. Instead, the title of Paul Thomas Anderson’s latest masterwork refers to a defunct chain of record shops that circulated around southern California in the early 1970s. Though the film’s original title, Soggy Bottom, is referenced more explicitly in the film, Licorice Pizza is the kind of west coast callback that falls in line with the “if you know, you know” vibe that Anderson evokes through this expertly-made hangout movie. Sprinkled with facsimiles of Hollywood titans from William Holden to Lucille Ball, this is a trip through San Fernando Valley that feels too real to be entirely fictitious but magical enough to convince us that something ineffable really existed in that time and place.

Based loosely on the teenage exploits of film producer Gary Goetzman, Licorice Pizza stars Cooper Hoffman as Gary Valentine, a 15-year-old actor who always has his eyes on the next project before the current one is completed. He meets Alana (Alana Haim) while waiting in line to have his school picture taken and feels an immediate connection. It isn’t exactly love at first sight for Alana, who’s older and seemingly wiser than the cherubic but indefatigable Gary, but the two remain friends as they see what life has in store for them. Set across rolling hills of endless opportunity, Gary and Alana navigate entrepreneurship and emotional insecurity while well-known figures like the imprudent producer Jon Peters (Bradley Cooper) and up-and-coming politician Joel Wachs (Benny Safdie) pop in along the way.

Recalling both the off-kilter romanticism of Punch-Drunk Love and madcap episodic nature of the inscrutable but atmospheric Inherent Vice, Anderson once again casts a spell of winsome unpredictability more successfully than any other director working today. Refining the cinematography chops he established brilliantly in his previous Phantom Thread, he works this time with Michael Bauman to establish a lovely but lived-in look that mirrors the dust one might brush off their favorite LP before taking it for a spin. The camera often chases breathlessly after these young hopefuls as they search for their place in the Valley and in the world, like pinballs bouncing gleefully off the colorful bumpers that manifest before them.

Though the cast is filled out by veterans and familiar faces, the lead duo enters Licorice Pizza with no prior feature acting credits to their names. Hoffman, son of the late Anderson regular Philip Seymour Hoffman, gives Valentine a devious charm that works on nearly everyone but seems to stop short when Alana is at her most prickly. Haim, supported in the film by her real-life sisters and parents, presents the cynicism of a twentysomething unsatisfied with how her dreams fell short but still determined to seek out her watershed moment. Together, the two are absolutely electric, sporting a playful energy and seesaw repartee that makes the most of Anderson’s already lively screenplay. We don’t know how or when they’ll end up together but we know we’ll want to be there the moment it happens.

As it turns out, there are quite a number of vignettes that play out before that moment and I was completely taken with nearly all of them. Most of the asides and non-sequiturs follow Anderson’s idiosyncratic and indelible sense of humor. For instance, Gary and Alana meet with a casting director who interrupts Alana’s wayward interview by picking up a ringing phone and proceeds with a minute-long conversation in which she merely utters “no” three times with varying inflections before hanging up the receiver. There’s a hushed sequence with an out-of-gas moving truck floating down the Hollywood Hills that was more exhilarating than any car chase I’ve seen this year. Exuberant and eccentric, Licorice Pizza is a slice of life tale of two young souls who spin their wheels in every direction until they finally move in sync.

Score – 4.5/5

More movies to watch this weekend:
Streaming on Netflix is The Lost Daughter, a psychological drama starring Olivia Colman and Dakota Johnson about A woman who finds herself becoming obsessed with another woman and her daughter while on a summer holiday.
Continuing its run in theaters is A Journal for Jordan, a Denzel Washington-directed drama starring Michael B. Jordan and Chanté Adams about a fallen US Army Sergeant and the journal he left behind for his wife and son as a way of moving on without him.
Also still playing in theaters is American Underdog, a sports biopic starring Zachary Levi and Anna Paquin about the life and career of Super Bowl MVP and Hall of Fame quarterback Kurt Warner.

Reprinted by permission of Whatzup

Reel Views, Review

West Side Story

It’s been 60 years since Jerome Robbins and Robert Wise brought their vision of the stage musical West Side Story to the big screen and few films of the genre have captured the hearts and minds of audiences more since its release. It would take an audacious filmmaker to adapt the renowned 1957 Broadway show once again but when it comes to moviemaking, Steven Spielberg has rarely backed down from a challenge during his 50 years in the industry. He’s taken on nearly every category of film — even an ill-advised foray into war comedy — but this is his first dance with a genre that’s seen its fair share of duds in recent years. It turns out to be an expert calculation, resulting not just the most electric musical event of the year but the most vital work of Spielberg’s career since Lincoln almost 10 years ago.

Taking place in the Upper West Side of the mid-1950s, the Romeo And Juliet-influenced story finds young love in the crossfire between two rival gangs of teenagers. The all-white Jets, led by Riff (Mike Faist), lock horns with the Puerto Rican Sharks, led by Bernardo (David Alvarez), over control of their changing neighborhood. Riff looks to recruit the fresh-out-of-jail Tony (Ansel Elgort) for the next “rumble” between the two groups, while Bernardo’s sister Maria (Rachel Zegler) wishes to leave the street violence of their city behind her. When Tony and Maria lock eyes for the first time at a school dance, they have an immediate connection and instantly plan to run away together, if the ties to their neighborhood don’t weigh them down first.

Opening with a dazzling continuous crane shot, which glides over rubble and behind wrecking balls before landing on an underground door, West Side Story reminds us early and often that we’re in the hands of one of the medium’s most gifted visual storytellers. With longtime collaborator Janusz Kamiński, whose work here should win him his third Oscar for Best Cinematography, Spielberg lends fresh eyes to a world that was already vibrant to begin with. Too often, movie musicals have a glossy sheen to them that comes across as phony; this summer’s disappointing In the Heights and the much, much worse Dear Evan Hansen are two examples from this year alone. There’s not an uninspired shot in all of West Side Story and there are quite a few, like the bird’s-eye view of the long-cast shadows from the Sharks and Jets converging in a salt warehouse, that will take your breath away.

The iconic musical numbers, re-arranged this time by composer David Newman, are handled with the level of care and reverence that the genius team of Sondheim and Bernstein deserve. Spielberg certainly knows not to mess with a good thing, sticking with all of the classics from the original and not adding any new songs. Viewers who may be more reticent to musical fare may be surprised just how smooth the transitions from dialogue to musical numbers are. This isn’t a musical where the action stops so a character or two can belt one out; this is a world in which story and song move in tandem with one another. The choreography is just as fluid and propulsive, pairing the rhythm of the music with body movements in jaw-dropping synchrony.

If there’s a letdown, it’s not in the performances but in the lack of a spark between some of the actors. Elgort and Zegler obviously have the heavy lifting here, as much of the emotional drive in the story hinges on the spontaneous romance between their characters. They both have the vocal chops and the steps but when it comes to their chemistry, it falls short of the on-screen connection between Richard Beymer and Natalie Wood from the 1961 original. Still, they’re sensible picks for the roles and other members of the cast, like Ariana DeBose as Bernardo’s girlfriend Anita, are doing excellent work outside of the central relationship. West Side Story is a rich and magnificent achievement, a movie musical that will delight hardcore fans and newcomers one and the same.

Score – 4/5

New movies coming over the next couple weeks:
Swinging to theaters on December 16th is Spider-Man: No Way Home, the latest Marvel epic starring Tom Holland and Zendaya which finds the titular webslinger and mentor Doctor Strange tinkering with alternate realities within the multiverse.
Also playing only in theaters this weekend is Nightmare Alley, a neo-noir thriller starring Bradley Cooper and Cate Blanchett about an ambitious carny/con man who meets his match in a psychiatrist who is even more dangerous than he is.
Coming to theaters and also to HBO Max on December 22 is The Matrix Resurrections, the belated sci-fi sequel starring Keanu Reeves and Carrie-Anne Moss which finds the characters of the original trilogy seemingly plugged back into The Matrix to fight a new enemy.
Playing only in theaters starting on December 22 is Sing 2, an animated family comedy starring Matthew McConaughey and Reese Witherspoon about a theater owner who tries to persuade a reclusive rock star to join his new singing-based show.
Streaming on Netflix beginning December 24 is Don’t Look Up, a satirical political comedy starring Leonardo DiCaprio and Jennifer Lawrence about a pair of astronomers who set off on a giant media tour to warn mankind of an approaching comet that will destroy planet Earth.

Reprinted by permission of Whatzup

Reel Views, Review

Being The Ricardos

Though tens of millions of people tuned into I Love Lucy Monday evenings throughout the 1950s, it’s unlikely they knew its stars as well as the show made them feel like they did. The new biopic Being the Ricardos pulls back the curtain on Lucy and Ricky Ricardo to reveal the hard-working husband-wife combination behind the fantastically popular series. Lucille Ball and Desi Arnaz’s 20-year marriage was far from the rosy sitcom facsimile that they cultivated together but it was a sincere partnership between two talented individuals with mutual professional respect for one another. One of several hats this film wears is that of a cheerleader for their turbulent but trailblazing relationship, making it a frustrating experience when it tries to do too much elsewhere.

It’s 1952 and I Love Lucy is in its second season when a series of events over one production week threaten the life of the show and the marriage of its two co-stars Lucille Ball (Nicole Kidman) and Desi Arnaz (Javier Bardem). First, at a time when the Red Scare was at a fever pitch, there’s a news report claiming that Ball was a member of the Communist party. Then, there’s a tabloid story circulating that Arnaz is having an affair, although it’s not the first time such an accusation has been leveled against him. These issues are set against perpetual on-set tensions between William Frawley (J. K. Simmons) and Vivian Vance (Nina Arianda), who play the Ricardos’ neighbors, the Mertzes. Through it all, Ball and Arnaz resolve to overcome these obstacles and put everything they have into the show.

I imagine the performances will be the most glaring aspect of Being the Ricardos for audiences and the actors certainly don’t shy away from taking big swings right out of the gate. It’s important to remember that Kidman is only playing Lucy Ricardo during about 10% of her role, with the other 90% spent as the much more shrewd and domineering Lucille Ball. Writer/director Aaron Sorkin portrays Ball as something of a comedy savant, intensely visualizing the possibilities of a comedic premise and poking holes in it before the writing staff has a chance to pitch it completely. Kidman is a classic cocksure Sorkin protagonist, rattling off one-liners like “I’m Lucille Ball; when I’m being funny, you’ll know it” in her first scene.

Puzzlingly, Sorkin uses a trio of faux-documentary talking heads to frame the action of the narrative in the present day before zipping back to the early 50s. He goes back to them a few times in the film but their placement never meshes with the flow of the story and the performances by the three actors are jilted and awkward. Sorkin complicates things further by flashing back to the early 1940s, when Ball and Arnaz’s paths first crossed and their fates in the entertainment industry were forever intertwined. It’s a fine way for us to invest in these characters and their relationship but these flashback scenes are thrown in among scenes from the 1950s and it can be difficult to parse between the two. This is Sorkin’s third directorial effort and while it’s his best when it comes to the performances he’s able to conjure up, he still has a way to go artistically as a storyteller.

Of course, dialogue has been Sorkin’s bread and butter for decades now and he doesn’t let off the gas this time around. Kidman naturally gets most of the best lines — “I’ll be funny by Friday,” she quips blithely during a Tuesday rehearsal — but I also appreciated the verbal sparring between head writers played by Alia Shawkat and Jake Lacy. His scripts have a verve and music to them that screenwriters have been trying and failing to emulate both in TV and in film. He’s done his best work when collaborating with great directors like Mike Nichols and David Fincher but ever since he got the idea that he can direct as well as he can write, the results have been below the bar of excellence he’s set for himself. Being the Ricardos may be the best of the three films Sorkin has directed so far but it’s relatively faint praise for one of Hollywood’s premier scribes.

Score – 3/5

More movies coming this weekend:
Playing only in theaters is West Side Story, Steven Spielberg’s take on the classic 1961 musical starring Ansel Elgort and Rachel Zegler about a pair of teenagers falling in love amid rival street gangs in 1950s New York.
Also playing exclusively in theaters is National Champions, a sports drama starring Stephan James and J. K. Simmons about a star collegiate quarterback who ignites a players’ strike hours before the biggest game of the year in order to fight for equal rights.
Streaming on Netflix is The Unforgivable, a legal drama starring Sandra Bullock and Vincent D’Onofrio about a woman who is released from prison after serving a sentence for a violent crime and re-enters a society that refuses to forgive her past.

Reprinted by permission of Whatzup

Reel Views, Review

House Of Gucci

At 83 years old, director Ridley Scott will take a crack at just about any story. He’s headed up classics in the horror, sci-fi and war genres, fine-tuning a chameleonic approach that has kept him sharp throughout his storied career. With his latest project, the glamorous but lugubrious House of Gucci, he finds his latest tale to tell at the intersection of high crime and high fashion. He’s tackled true crime stories before, most recently in 2017’s All the Money in the World, but where that film generally plays it straight when recreating the kidnapping of John Paul Getty, Scott decided he wanted to dial up the camp considerably this time around. It’s not a bad call, given the talented cast that he’s assembled, but when you take that element away from the film, you’re left with a flimsy story that’s not juicy enough to justify this big-screen retelling.

We’re introduced to Patrizia Reggiani (Lady Gaga) as she struts past cat-callers to the managing office of her father’s modest trucking company. She’s no stranger to using her lavish looks to get what she wants, allowing her to fast-track a meet-cute with fashion heir Maurizio Gucci (Adam Driver) into a swift marriage and pregnancy. Maurizio’s father Rodolfo (Jeremy Irons) expresses his suspicions of Patrizia early and often, while Rodolfo’s brother Aldo (Al Pacino) seems to favor Patrizia over his maladroit son Paolo (Jared Leto). Shake-ups in Rodolfo’s health lead to Maurizio inheriting 50% stake in his family’s prestigious brand, a shift that causes Maurizio to become more invested in the business than in his marriage.

Shot with the same steel-tinted remove as All the Money in the World, House of Gucci is the second film Scott has released this season that doesn’t exactly invite viewers into its potentially entrancing setting. Certainly the production design and the costume design are as stellar as one would expect — Gaga’s opulent outfits alone may be worth the price of admission for some — but there’s a repeated color palette here that I wish Scott would sidestep next time. He doesn’t exactly reinvent the wheel from the aural perspective either, tapping overplayed late-era disco hits like “Heart of Glass” and “I Feel Love” to remind us that we’re in early 1980s New York and things are moving fast. The opera cuts are even more predictable; there’s literally a scene where Patrizia and Paolo dance to “La donna è mobile” from Verdi’s Rigoletto (trust me, you’d recognize it) in an oversized kitchen.

Scott and his performers can’t quite decide how seriously we should be taking the pile of Italian cliches that stack up like knockoff handbags in an ignored bedroom closet. When characters don’t have an espresso cup pressed up against their lips, they’re speaking in a wide range of dialects that can best be categorized as “scattershot spaghetti”. Jeremy Irons barely abandons his native English accent, while Jared Leto runs with a phonology that would be considered borderline offensive even in a Super Mario Bros. animated show. Gaga not only gives the film’s best performance but also offers an accent that veers into Natasha Fatale territory at Patrizia’s most sinister moments but is otherwise the most measured vocal work in the movie.

Bursting onto the Hollywood scene with an Oscar-nominated role in A Star Is Born, Gaga proves once again that she has the chops to dominate the music and film industries simultaneously. As the original “Black Widow”, she balances femme fatale proclivities with a woman doing her best to find her way in the world. It’s a juicy role and it’s no surprise fashionista Gaga would jump at the chance to play someone tied into Gucci’s legacy but Scott and his screenwriters Becky Johnston and Roberto Bentivegna don’t seem to have the same gusto in their assignments. The events that lead to the tragedy of Maurizio and Patrizia play out with too little personal perspective on the corresponding real-life events. Like Disney’s Cruella from earlier this year, House of Gucci has plenty of window dressing but not enough in the store to back it up.

Score – 2.5/5

New movies coming this weekend:
Premiering on Netflix is The Power of the Dog, a Western starring Benedict Cumberbatch and Kirsten Dunst about a charismatic rancher whose world is turned upside down when his brother brings home his new wife and her son.
Streaming on Disney+ is Diary of a Wimpy Kid, an animated comedy starring Brady Noon and Chris Diamantopoulos about a beleaguered middle schooler who chronicles his hormonal hardships in the pages of his trusty journal.
Playing at Cinema Center is I Carry You With Me, a Spanish-language drama starring Armando Espitia and Christian Vázquez about a decades-long romance that begins in Mexico between an aspiring chef and a teacher.

Reprinted by permission of Whatzup

Reel Views, Review

Belfast

Irish writer/director Kenneth Branagh brings the memories of his childhood to the big screen with Belfast, a slight but sweet slice-of-life story with winsome performances that make up for the often too-tidy screenplay. Branagh has directed 18 movies to date, from multiple Shakespeare adaptations to more corporate fare like Cinderella and Artemis Fowl, but this certainly feels like his most deeply-felt film thus far. It captures the joys and fears of an era that Americans may not know as nearly as well as their European counterparts but will likely leave the theater eager to learn more about this turbulent time in history. The movie isn’t unlike a cold pint of Guinness after a hard day at work, in that it’s a nice break from reality that’s familiar and goes down easy.

The film is told from the perspective of Buddy (Jude Hill), a young boy living in Belfast with his mother (Caitríona Balfe) and father (Jamie Dornan) when The Troubles begin. Marked by years of street-level violence between Protestants and Catholics throughout Ireland, it was a time of conflict and unrest that understandably caused many to flee the country for greener pastures. But Buddy’s family, including his grandmother (Judi Dench) and grandfather (Ciarán Hinds), has unresolved debts that preclude their ability to just up and leave the only street that they’ve known. We see the struggles of Buddy’s family and friends through his eyes as he makes the most of his childhood, doing his best in school and trying to keep out of trouble on the streets.

Bookended by present-day shots taken around the titular town, Belfast is primarily presented in handsome black-and-white courtesy of cinematographer and frequent Branagh collaborator Haris Zambarloukos. It’s a bit ironic, then, that Branagh seems to recall these events with rose-colored glasses. The opening scene escalates from neighbors doffing caps and hollering pleasantries to an angry mob storming down the street in the span of one continuous 360 degree shot. It’s like an opening number from a musical desperate to introduce the setting and raise the stakes by the time the last note is sung but in a drama like this, such a scene strains credulity. Worse yet is a crucial moment that occurs during what should be the film’s climax, which suffers from downright poor editing that undercuts the dramatic tension of the sequence.

Thankfully, Belfast finds most of its power simply in the hushed discussions overheard between family members who care deeply for one another. Most of the performers are shot in close-up, especially when Buddy is talking with them, suggesting the full panoramic view that adults take up in a child’s field of vision. Sometimes it’s imposing and sometimes it’s comforting, depending on the context of the conversation. Zambarloukos also shoots from lower angles, suggesting the perspective of a boy always looking up to his elders for guidance. A humorous early sequence, and something of a running joke throughout, involves a sweaty preacher firing off about two metaphorical paths of Heaven and Hell, while Buddy innocently wonders which of his actions correspond with which road.

This is Jude Hill’s first credited role and he does a fine job balancing Buddy’s hopes and hang-ups while fostering a cherubic nature that carries through to the easy nature of the film. Dornan, who was a riot earlier this year in Barb and Star Go to Vista Del Mar, brings an easy charm here and continues to find colorful roles following his drab stint as Christian Grey in the Fifty Shades series. Balfe is radiant as the maternal figure who not only looks after Buddy and his brother but is something of a guardian angel for all of the children on their street, while Dench and Hinds add notes of wit and wisdom as grandparents. Belfast is a bit too nostalgic and sentimental for its own good but wins the day with likable acting and heartfelt direction.

Score – 3/5

Also coming to theaters on Thanksgiving:
Encanto, a Disney animated musical starring Stephanie Beatriz and John Leguizamo, tells the story of a young Colombian girl who is the only member of her family without magical powers and may be the only one who can save the magic when it comes under threat.
House of Gucci, a crime biopic starring Lady Gaga and Adam Driver, depicts the events and aftermath of the 1995 murder of Maurizio Gucci, Italian businessman and head of the fashion house Gucci.
Resident Evil: Welcome to Raccoon City, a survival horror starring Kaya Scodelario and Hannah John-Kamen, follows a group of survivors as they make their way through a dying town with great evil brewing below the surface.

Reprinted by permission of Whatzup

Reel Views, Review

Red Notice

On their comedy companion channel Netflix Is A Joke, the streaming giant has a series called Written Entirely By Bots, comprised of animated shorts allegedly written by a computer program tasked with watching thousands of hours of a given genre of film. If they did one called The First Action-Adventure Film Written Entirely By Bots, I can’t imagine it would turn out much differently than Red Notice. Seemingly rendered to trigger a new wave of post-human cinema, the new would-be blockbuster doesn’t seem designed by committee as much as it seems designed by algorithm. Hypothetically, it was made to entertain humans but perhaps bots will be trained to watch it to juice up Netflix’s Nielsen numbers and trigger an inevitable franchise. We, the ticket-holders (subscription-holders, more aptly), are finally obsolete.

The story goes that thousands of years ago, Cleopatra received three egg-shaped jewels as gifts that were lost over time and scattered across the world. Cut to present day and their mystique still drives art thieves like Nolan Booth (Ryan Reynolds) to scoop them up and sell the reconvened trio to the highest bidder. After nearly catching Booth in the act of stealing the first egg from Rome, FBI agent John Hartley (Dwayne Johnson) stays hot on his trail as he travels to Spain, where the second egg is allegedly held by arms dealer Sotto Voce (Chris Diamantopoulos). We discover Booth isn’t the only one scooping up eggs, as a fellow burglar known as The Bishop (Gal Gadot) is also drawn to the bejeweled artifacts and threatens to discover the lost third egg before he does.

From the expository opening voiceover that literally sounds like it was deep-faked into existence to the obligatory sequel its ending portends, Red Notice is gallingly generic throughout its 118 minute runtime. It apes globe-trotting escapades like Indiana Jones and The Mummy but does so with a stunning lack of personality and originality. Everyone here is squarely within their wheelhouse: Johnson as the stoic straight man, Reynolds as the wise-cracking fool and Gadot as the statuesque mystery woman who knows how to kick a butt or two. I understand actors playing to their strengths but these three stars are so unwilling to move away from their comfort zones that it just comes across as lazy. Perhaps Gadot and company still believe they’re under quarantine singing “Imagine” in their mansions, locked down from venturing out into the world of creativity.

Credited writer/director Rawson Marshall Thurber hit it big in the past with comedies like DodgeBall and We’re the Millers but has transitioned to helming anonymous actioners since teaming with Johnson in 2018’s Skyscraper. Red Notice is a little too eager to please with its comedic notes but despite itself, it lands a few laughs along the way. Almost all the attempts come courtesy of Reynolds’ trademark quips, which are exhausting in their frequency but not without their occasional wins. His Booth asking a Russian prison cafeteria worker if the gruel he just served is farm-to-table is one such example that caught me off guard enough to chuckle. However, on the subject of food and drink, I can’t roll my eyes hard enough at the fact that Reynolds didn’t think we’d notice product placement for his own line of gin.

Just like the on-screen persona that Reynolds has crafted over the past twenty years, Red Notice is simply far too pleased with itself. It’s fueled by the same self-satisfied soullessness that has plagued blockbusters in the past but that Netflix is cynical enough to bet on this brand of entertainment for home viewing further demonstrates their commitment towards quantity over quality. Just this month, they’ve already released two other films — The Harder They Fall and Passing — that are well worth one’s time but won’t get half the views of this star-studded sham. With a title that sounds like an ominous warning that the crimson-hued “N” will soon take over all of Hollywood, Red Notice is less of a movie and more of a call to arms for creatives at risk of being outsourced by machines.

Score – 1.5/5

New movies coming this weekend:
Coming only to theaters is Ghostbusters: Afterlife, a supernatural comedy sequel starring Paul Rudd and Finn Wolfhard about a recently evicted family who moves to a farmhouse and experiences unexplained earthquakes that they suspect could be tied to the paranormal.
Playing in theaters and streaming on HBO Max is King Richard, a sports biopic starring Will Smith and Aunjanue Ellis about how tennis superstars Venus and Serena Williams became who they are after the coaching from their father Richard Williams.
Premiering on Netflix is Tick, Tick… Boom!, a musical starring Andrew Garfield and Alexandra Shipp about an aspiring theater composer endures a quarter-life crisis as he approaches 30 and does not feel close to his dream.

Reprinted by permission of Whatzup

Reel Views, Review

Finch

Leave it to America’s Dad to make the end of the world more palatable. Tom Hanks’ latest sci-fi vehicle Finch finds the star in the titular role as a robotics engineer who is one of the last remaining people on Earth after a solar flare decimated the ozone layer. He spends his days scavenging for resources and staving off loneliness with the help of his dog Goodyear and diminutive robot assistant Dewey. Finch knows he won’t be around forever, with the threat of dangerous UV radiation and extreme weather events looming large every day, so he works at night to create a more advanced humanoid automaton to care for Goodyear. After years of trial and error, the robot, who Finch decides to call Jeff (Caleb Landry Jones), becomes operational and joins the team for a trek to San Francisco.

Compared to survival sci-fi stories like The Martian and I Am Legend, the scale of Finch is reduced drastically but the stakes remain high due to Hanks’ initial affability and also due to the rest of his crew’s vulnerability. Dewey, resembling Johnny 5 from Short Circuit, roams around on his four wheels but is defenseless against any traps that survivors may have set in abandoned buildings. Goodyear, portrayed by real-life good boy Seamus in an all-timer of a pet performance, is well-behaved and intuitive but can still end up in the wrong place at the wrong time. The nascent Jeff is deceptively strong and possesses lightning-fast encyclopedic knowledge but lacks the rapport and shorthand that Finch’s other two companions have with him.

Besides the impressive feat of carrying a movie as the only on-screen human performer a la Cast Away, another aspect of Hanks’ performance that I admired was his willingness to show a more stern side of his ailing protagonist. After Jeff is “born”, director Miguel Sapochnik treats us to a zippy montage of Finch teaching him traits like how to walk and how to carry bags but the lessons aren’t always fun and games. Even moving the RV back a few feet so that Finch can avoid the 140 degree sun rays is critical and when Jeff fails to complete relatively simple tasks like that, Finch lets him know about it. Like any father, Finch is hard on Jeff because he wants him to be able to make it on his own and when Finch’s coughing fits become more frequent, we’re to understand how little time he may have left.

Jones, who was motion-captured on-set with Hanks but replaced immaculately with CGI, gives a terrific vocal performance that starts out sterile and mechanized but grows more cherubic and soulful as his relationship with Finch thaws. His body language goes through changes too, his militaristic rigidity and inelastic gait slowly melting into a more slumped body posture like Teenage Groot from Avengers: Infinity War. My favorite detail in Jones’ physical performance is his idle hand movements, fidgeting while trying to fill uncomfortable silence with Finch and fumbling when trying to build up his fine motor skills between pit stops. The replacement of Jones, who had to wear two-foot-tall stilts to make his interplay with Hanks more organic, with the computer-generated Jeff, is nothing short of state-of-the-art.

I don’t talk about movie dogs very often, as they’re typically not integral to the plot of a film and if present in a horror movie, they’re almost always the first to go. Last year’s The Call of the Wild made the choice to completely computer generate Buck instead of casting a real-life canine, which worked better than one might expect but still felt a bit uncanny. Given the amount of time Goodyear/Seamus interacts with an imposing human in a robot costume, he does an impressive job maintaining the illusion that Jeff is an actual robot. It’s part of a trio of unconventional performances that helps Finch overcome its conventional narrative to deliver a heartwarming post-apocalyptic tale.

Score – 3.5/5

New movies coming this weekend:
Playing in theaters and streaming on Paramount+ is Clifford the Big Red Dog, an adventure comedy starring David Alan Grier and Jack Whitehall about a young girl’s love for a tiny puppy that makes the dog grow to an enormous size.
Premiering on Netflix is Passing, a black-and-white drama starring Tessa Thompson and Ruth Negga about a pair of mixed-race childhood friends who reunite in adulthood and become increasingly involved with one another’s lives.
For their grand re-opening on Friday November 12th, Cinema Center is screening Archenemy, a superhero film starring Joe Manganiello and Skylan Brooks about a teenager who meets a mysterious man claiming he lost his superpowers after arriving from another dimension.

Reprinted by permission of Whatzup

Reel Views, Review

Last Night In Soho

Following up his music documentary The Sparks Brothers from earlier this year, director Edgar Wright continues to expand past his comedy roots with Last Night In Soho, a shoddy but stylish thriller that taps into the filmmaker’s affinity for pop cultural touchstones. Titled after the song by English beat band Dave Dee, Dozy, Beaky, Mick & Tich, the film dives into the Swinging Sixties scene of south London through the lens of our current obsession with non-stop nostalgia and retrograde romanticism. Opening with its lead Thomasin McKenzie aping Audrey Hepburn and dancing around in an ornate dress like something Emma Stone would have worn in Cruella, it’s not until about ten minutes in, when her character is seen with Beats headphones, that we realize it takes place in the present day. As we soon find out, getting lost in the past has its price.

McKenzie plays Ellie Turner, an orphaned fashion designer who moves from the English countryside to the big city after she’s accepted into the London College of Fashion. Things don’t get off to a great start with her haughty roommate Jocasta (Synnøve Karlsen), leading Ellie to move off campus to an aged apartment run by the strict landlady Ms. Collins (Diana Rigg, in her last performance). On her first night there, she has an evocative dream which sends her back to mid-60s London, where she manifests as an aspiring singer named Sandie (Anya Taylor-Joy). Night after night, she is magically transported back to that time but as the dreams continue, she grows increasingly suspicious of Sandie’s manager Jack (Matt Smith). Back in the present day, the images from her vivid reveries pop up unexpectedly with troubling frequency.

Centered around an old soul longing to return to a seemingly better time, the first (and better) half of Last Night in Soho resembles the wistful Woody Allen fantasy Midnight In Paris, swapping protagonists from a stubborn screenwriter to an aspiring fashionista. The much messier second half plays like Mulholland Drive if it were directed by Roman Polanski, though it doesn’t live up to the potential of that amalgamation. What connects the two halves is a curiosity about history as it’s written vs. history as it was lived, peeling back the glossy glamour of a vaunted era to reveal a less wholesome underbelly. It’s a worthy theme, one that directors like David Lynch have explored previously with outstanding results, but Wright missteps in how he attempts to personify these “ghosts” of the past.

Building off a story he fleshed out with screenwriter Krysty Wilson-Cairns, Wright asks us to consider the connection that Ellie has with Sandie but the answer is disappointing and more than a bit puzzling. As more and more specters from Ellie’s dreams-turned-nightmares pop up, the screenplay spins its wheels with redundant story beats and obvious red herrings before inevitably pulling the curtain back. It also wastes the talents of newcomer Michael Ajao, an afterthought as a potential love interest for Ellie who seemingly has no life outside of being at her beck and call. In fact, the male characters are so poorly written in this film, it makes me wonder if Wright did so intentionally to help men understand how women may have felt with a lack of meaningful representation on-screen in decades past.

What the film lacks in clear-eyed storytelling, it more than makes up for with overwhelming style and alluring presentation. Shot by frequent Park Chan-wook collaborator Chung Chung-hoon, the sumptuous cinematography pushes past the familiar iconography and brings this lively era to life once again. Wright has always been a music-driven filmmaker and brings his eclectic taste to bear with a terrific collection of well-known oldies and overlooked gems. Tight editing, another hallmark of Wright’s films, contributes to the dreamlike quality of the throwback scenes, especially during a dance sequence that uses Texas Switches to alternate between McKenzie and Taylor-Joy. Wright is an inspired and inventive filmmaker but he’ll need a stronger script than the one for Last Night In Soho to get things right in the future.

Score – 3/5

New movies coming this weekend:
Playing only in theaters is Eternals, the newest entry in the Marvel Cinematic Universe starring Gemma Chan and Kumail Nanjiani about the titular immortal alien race as they reunite to protect humanity from their evil counterparts.
Streaming on Netflix is The Harder They Fall, a Western starring Jonathan Majors and Idris Elba about a notorious cowboy who reassembles his former gang to seek revenge against the man who murdered his parents.
Premiering on Apple TV+ is Finch, a post-apocalyptic sci-fi drama starring Tom Hanks and Caleb Landry Jones which follows the last man on Earth as he goes on a journey across the country with his personal android and his dog in company.

Reprinted by permission of Whatzup

Reel Views, Review

Dune

As well-regarded as Frank Herbert’s seminal 1965 novel Dune is, it’s had quite the journey making it to the big screen. First, there was a failed attempt in the mid-1970s by avant-garde auteur Alejandro Jodorowsky, whose efforts were documented in 2013’s Jodorowsky’s Dune. Then came the 1984 adaptation by then up-and-comer David Lynch, who has since disowned the film despite its small but fervent cult following. Now Denis Villeneuve, who earned his sci-fi credentials with Arrival and Blade Runner 2049, is up to translate Herbert’s expansive work to cinema and he proves that the third time’s a charm. Simply put, this is large scale science fiction done to perfection: wholly immersive, richly detailed and bursting with imagination. If you’ve been waiting to go back to the theaters, it’s difficult to imagine a better movie for which to return.

The year is 10191 and humans have populated throughout the universe. The ocean planet Caladan is governed by House Atreides, led by Duke Leto Atreides (Oscar Isaac) and his partner Lady Jessica (Rebecca Ferguson) with their heir Paul (Timothée Chalamet). By decree of the imperial emperor, Atreides is called to take over control of the desert planet Arrakis from House Harkonnen, led by the corpulent Baron Vladimir (Stellan Skarsgård). During their reign, Leto aims to make peace with the Fremen, a nomadic group of natives who vigorously protect the planet’s prized natural resource known as “spice”. After an ambush on Arrakis splits Paul and Jessica up from the rest of House Atreides, the two must navigate the treacherous deserts with the few resources they have at their disposal.

While Dune weaves in dense futuristic concepts, myriad new terminology and lots of different languages into its narrative, its primary tale is modeled after the hero’s journey popularized by Joseph Campbell. If you’ve seen The Matrix or the original Star Wars trilogy, this story template will feel familiar, even though Herbert’s novel pre-dated all of those movies. Villeneuve spices up this formula with a world that is overwhelming in its scope and exemplary in its specificity, a treat especially for those unfamiliar with Herbert’s work as I was before watching the film. There are times I allowed myself to tune out of the plot for a moment and surrender to the meticulously rendered images. For that reason, among others, this film should richly reward rewatches.

Villeneuve has assembled some talented casts in his previous films but he’s really outdone himself this time. The ensemble, which finds Villeneuve teaming up again with actors like Josh Brolin and Dave Bautista, features each actor and actress in a role that’s perfectly tailored to their skillset. For example, Charlotte Rampling is only in one scene but her chilling presence gives her limited time a memorable stamp. I can’t say I’ve entirely warmed up to Jason Momoa just yet but as a cocksure pilot named Duncan Idaho, he’s playing perfectly in his wheelhouse and makes the most of his swashbuckling screen time. As the leads, Chalamet and Ferguson get the most time to shine and both give lived-in performances that register on a deeply empathetic level.

Inexplicably, Warner Bros. has yet to officially greenlight a sequel, even though the movie is titled on-screen as Dune: Part One and it ends on a cliffhanger that explicitly sets up a larger battle to come. This is the same studio that waited to announce It Chapter Two only after It made beaucoup bucks at the box office, even though the first movie only told half of the story from the book that inspired both films. WB’s reticence in allowing Villeneuve to shoot both chapters at one time likely comes from the financial disappointment of Blade Runner 2049 but if that’s the case, why give him Dune in the first place? Even if Part Two takes longer to arrive than it would if things had been planned better, it’ll be more than worth the wait if the follow-up is as stellar as this opening salvo.

Score – 4.5/5

New movies coming to theaters this weekend:
Last Night in Soho, starring Thomasin McKenzie and Anya Taylor-Joy, is a psychological horror movie about a present-day fashion designer who is mysteriously able to enter the 1960s, where she encounters a dazzling aspiring singer.
Antlers, starring Keri Russell and Jesse Plemons, is a supernatural horror film about a middle-school teacher whose enigmatic student hides dark secrets that lead to terrifying encounters with a legendary ancestral creature who came before them.
My Hero Academia: World Heroes’ Mission, starring Daiki Yamashita and Nobuhiko Okamoto, is a superhero anime which follows a group of heroes as they try to stop a group of terrorists who are out to eliminate superpowers around the world.

Reprinted by permission of Whatzup

Reel Views, Review

Halloween Kills

All things considered, horror movies aren’t dissimilar from comedies. Both benefit greatly from the element of surprise and suffer most when redundancy renders story beats predictable. One has setups and punchlines; the other has tension and release. Scary movies and funny movies tend to perform better in movie theaters than their dramatic counterparts, most likely due to their ability to draw spontaneous reactions from a crowd. For the same reason you don’t see many consistently great comedy trilogies, outstanding horror triptychs aren’t very common either and the latest Halloween entry Halloween Kills is further evidence of why that’s the case. It’s a middling middle chapter of a three-part saga that is still struggling to find purpose outside of furthering a franchise fronted by an unstoppable force.

Those who have yet to watch 2018’s Halloween or haven’t rewatched it since its initial release would do well to remedy that before going into Halloween Kills, as it picks up the action right after its predecessor. Michael Myers survivor Laurie Strode (Jamie Lee Curtis) is being rushed to the hospital by daughter Karen (Judy Greer) and granddaughter Allyson (Andi Matichak) as the masked murderer stays trapped in her burning home. Unfortunately, firefighters didn’t get the memo about basement-bound Michael and are taken out one by one after unwittingly freeing him. After hearing the news of Michael’s escape, town local Tommy Doyle (Anthony Michael Hall) rounds up a posse to put an end to Michael’s 40-year reign of terror.

Fans of the Halloween franchise will recognize the setup of Halloween Kills mirrors the now incontinuitous Halloween II, which also takes place primarily in a hospital where an injured Laurie Strode hides from Michael Myers. However, the pace and atmosphere of the two movies are vastly different. Eschewing the cat-and-mouse tactics of that 1981 sequel, this new film favors a much more chaotic and vicious methodology when deploying its narrative. The inevitable slayings at the hands of Myers are curiously absent of the kind of suspense that John Carpenter built up so flawlessly in the original 1978 Halloween. Instead, returning director and co-writer David Gordon Green seems especially fixated on the bone-crunching and blood-squelching brutality exhibited towards Myers’ victims.

Of course, this is a slasher movie and I can’t exactly begrudge its impulses to stack up bodies, especially when some of Myers’ murders are admittedly well-staged and well-lit. Additionally, the camerawork and editing during the film’s climax are more compelling than most of the aesthetic choices Green made previously in 2018’s Halloween. Another welcome diversion that he makes to the traditional formula for this series is the exploration of themes like herd mentality and the insatiable desire for revenge. When Tommy Doyle leads an angry mob chanting “evil dies tonight!” past security guards protecting the hospital, its real-life parallels are truly scarier than anything in this film.

When Green conceived of this new trilogy (which will “conclude” with Halloween Ends next October) with co-writer Danny McBride, he seemed to have a beginning and end in mind but not quite as much for the middle. Asking myself the questions “where is Michael and why?” at various times during the movie, I struggled to produce satisfactory answers. If Michael’s sole motivating force is to kill Laurie Strode, as it would seem to be, then this film is nothing more than a collection of particularly gruesome detours. Perhaps Green and company will have something more profound to say about Myers and Strode in their final chapter but until then, Halloween Kills will have to suffice as a halfway decent time-killer during the spookiest of seasons.

Score – 2.5/5

New movies coming this weekend:
Playing in theaters and streaming on HBO Max is Dune, a sci-fi epic starring Timothée Chalamet and Rebecca Ferguson about the son of a noble family entrusted with the protection of the most valuable asset and most vital element in the galaxy.
Coming exclusively to theaters is Ron’s Gone Wrong, an animated comedy starring Zach Galifianakis and Jack Dylan Grazer about an awkward middle-schooler and his new robot friend whose malfunctions send them on a journey of self-discovery in the digital age.
Streaming on Netflix is Night Teeth, a horror thriller starring Megan Fox and Sydney Sweeney about a Los Angeles chauffeur who picks up two mysterious young women for a night of party-hopping but soon discovers that they’re actually centuries-old vampires.

Reprinted by permission of Whatzup