Tag: Movie Review

Asteroid City (2023) | REVIEW

Jason Schwartzman’s Augie Steenbeck leaning out of a window in Wes Anderson’s ASTEROID CITY — PHOTO: Focus Features / Universal Pictures International.

Directed by Wes Anderson — Screenplay by Wes Anderson — Story by Wes Anderson and Roman Coppola.

Everyone who has ever seen one Wes Anderson film knows exactly what a Wes Anderson film looks like. His signature style has made him a lot of fans and admirers over the years, and it has also earned him some notable imitators. Nowadays, with the advent of AI, automatically generated images, and the like, a trend of recreating fake film trailers in the style of Wes Anderson has surfaced. You can now go online and find several videos hyping up fake Wes Anderson-style films with AI-generated images of well-known actors that don’t exactly look right (I even saw one for a fake American adaptation of the iconic Danish Olsen Gang films). With the emergence of such artificiality leading to so many conflicting emotions, might I suggest that you check out the real thing? Asteroid City, Wes Anderson’s eleventh feature-length film, is well worth seeking out. As a matter of fact, I think it might be one of his best. 

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Killers of the Flower Moon (2023) | REVIEW

Lily Gladstone, Robert De Niro, and Leonardo DiCaprio in “Killers of the Flower Moon,” in theaters now — Photo: Apple.

Directed by Martin Scorsese (Taxi Driver; Raging Bull; After Hours; Silence) — Screenplay by Eric Roth (A Star is Born; Dune; Forrest Gump) and Martin Scorsese.

Recently, I’ve been especially interested in how films sometimes act as history lessons to those who watch them, as well as how this can both be a good and a bad thing. Ultimately, films can be made for a variety of purposes depending on which person involved with the project that you’re asking. With films, there is often a commercial goal or an interest in serving as a piece of entertainment, and these aims can sometimes lead to historical films blurring the lines between truth and fiction to such an extent that you do history a disservice. Other times artistic expression is of the utmost importance, and then, of course, there are, indeed, times when films primarily exist to inform and teach. Most of the time, though, the true purpose of a film is a mixture of all of these motivations. Sometimes the artistic expression combines with a purpose to inform and thus the output manages to stand as a reminder of how certain events have been swept under the rug through history by those in power. Because ultimately history books are as easy to manipulate as any other medium. In the case of Killers of the Flower Moon, we have a piece of historical filmmaking that takes an intense look at the moral rot of America in the 1920s and 1930s. It is a bold and epic film about greed, betrayal, complicity, and a disturbingly very real attempt at genocide. It is an American tragedy from a master storyteller who shows for all to see that he understands exactly what his role is in telling this story, as well as who should be telling it.

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Pearl (2022) | REVIEW

Mia Goth in Ti West’s PEARL — PHOTO: A24.

Directed by Ti West (X) — Screenplay by Ti West.

In spite of its late release in my corner of the world, Pearl — a prequel to Ti West’s horror hit X — was initially released in the very same year as X was in the United States. Together they present us with a fascinating horror period piece exercise centered on the power of the craft of filmmaking, being and feeling seen, and the American Dream. Whereas X was set in the 1970s, Pearl takes place in 1918 and follows its titular character (played by Mia Goth), a young woman who lives with her German immigrant parents on a farm in Texas. This is, indeed, the same elderly woman that Mia Goth played while covered in make-up and prosthetics in X (one of her two roles in that film), and this film thus serves as an origin story for that character. In the film, we see how Pearl feels trapped and lonely partly due to the fact that her husband (played by Alistair Sewell) is fighting in World War One in Europe, while her strict mother (played by Tandi Wright) insists that she does chores on the farm. Meanwhile, Pearl becomes increasingly infatuated with entertainment and dancing, and she is desperate to one day get up on a stage and gain mass approval — which a theater projectionist (played by David Corenswet, who was recently chosen to be the next Superman) ensures her she is ‘pretty enough’ for.

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Flora and Son (2023) | REVIEW

Eve Hewson in “Flora and Son,” now streaming on Apple TV+.

Directed by John Carney — Screenplay by John Carney.

Set in Dublin, Ireland, John Carney’s Flora and Son follows the titular characters — Flora (played by Eve Hewson) and her son Max (played by Orén Kinlan) — as the struggling mother makes an effort to grow closer to her son, who is on the wrong track and on the bad side of the law. Flora, who had her son when she was in her late teens, feels like life has passed her by. She doesn’t have a good relationship with her rebellious son or his father (played by Jack Reynor), and all she has to look forward to is going to a local nightclub to dance, drink, meet men, and start all over again. In an attempt to reach out to her son, she finds an old guitar in a waste container, has it restored, and presents it to her completely disinterested son. Flora decides to take part in online guitar lessons with Los Angeles-based Jeff (played by Joseph Gordon-Levitt), whom Flora is instantly smitten by. As the film goes forward, Flora and Max’s growing interest in music brings them closer together. 

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The Exorcist: Believer (2023) | REVIEW

Ellen Burstyn in David Gordon Green’s THE EXORCIST: BELIEVER — PHOTO: Universal Pictures.

Directed by David Gordon Green (Halloween (2018); Halloween Kills; Halloween Ends) — Screenplay by Peter Sattler and David Gordon Green — Story by Scott Teems, Danny McBride, and David Gordon Green.

Based on the 1971 William Peter Blatty novel of the same name, William Friedkin’s 1973 film The Exorcist is often cited as one of the scariest films ever made. It is a brilliant film with unforgettable imagery, lines, and performances. Though what constitutes as being scary is ultimately subjective and can change over time, I think everyone with a working understanding of film history would agree that it is a culturally significant and iconic work of filmmaking that frightened audiences back then and, frankly, still does. Through sequels, attempts to recapture the immense power of The Exorcist largely failed. The original direct sequel Exorcist II: The Heretic is largely regarded as one of the worst films ever made, and attempts to make a prequel in the mid-to-early 2000s led to two versions of the same film, neither of which are remembered favorably. The one and only time it has worked — at least to some of us — to carry on with The Exorcist on the big screen was in 1990 when William Peter Blatty stepped behind the camera to craft a sequel with The Exorcist III, which features the always watchable George C. Scott in a lead role, as well as an unforgettable and effective jump-scare. Now, in 2023, studio heads have spent $400 million to distribute a sequel trilogy starting with this film, The Exorcist: Believer, from director David Gordon Green, who famously directed the recent Halloween sequel trilogy, which, like with this film, was also a Blumhouse-Universal collaboration. Now, while I wanted to like it, Green’s Halloween trilogy was a pretty significant disappointment to me. Similarly, I really wanted to like The Exorcist: Believer, but it, ultimately, doesn’t do enough to set it apart from other films like it. It’s a disappointingly inert start to the Exorcist sequel trilogy.

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Bastarden (2023) | REVIEW

Mads Mikkelsen as Ludvig Kahlen, an impoverished soldier who desires nobility, in BASTARDEN // THE PROMISED LAND — PHOTO: Henrik Ohsten / Zentropa / Nordisk Film.

Directed by Nikolaj Arcel — Screenplay by Nikolaj Arcel and Anders Thomas Jensen (Retfærdighedens Ryttere).

Titles can be tricky. Titles are obviously an essential part of marketing as they clue audiences in on what they can expect to see. A poster can be manipulated. A trailer can be manipulated. But more often than not titles mean something to the creatives who worked on the film. Then, of course, there are International titles. In the case of this Danish historical epic, its original title is Bastarden, which literally means ‘The Bastard,’ but it is known internationally as The Promised Land. Frankly, both titles feel accurate. Then, of course, there is the title of the source material, which is a Danish historical novel from Ida Jessen titled The Captain and Ann Babara (originally Kaptajnen og Ann Barbara in Danish). Internationally, distributors went with The Promised Land, which I honestly think is a bit of a mistake as it is such a generic title that has been used over and over again. Now, The Bastard isn’t exactly completely original. Still, it feels less conventional and speaks to its two principal opponents, a person born out of wedlock and his despicable antagonist. Regardless of which title you find it under, this Danish epic is one that I highly recommend, as it features strong performances, gorgeous photography, and a fair bit of violence which keeps this period piece from ever feeling stuffy. 

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Aftersun (2022) | REVIEW

Frankie Corioo (L) and Paul Mescal (R) in Charlotte Wells’ AFTERSUN — PHOTO: A24.

Directed by Charlotte Wells — Screenplay by Charlotte Wells.

There is no getting around the fact that I am extremely late to the party when it comes to Charlotte Wells’ Aftersun. Frankly, there are two reasons for that. Firstly, the 2022 film was released in February of 2023 in my region, so I would always be late to the party for this film which was first released at the Cannes Film Festival in May of last year (and which was already one of the most celebrated films in critics’ circles long before Danes would even get the chance to see it). Secondly, its local release back in February was inconvenient for me, as it came out at a time when I was preparing myself for something quite time-consuming (and potentially draining) in the first half of the year, as well as the fact that I was also scrambling to cover new 2023 releases at that time. I was, honestly, overwhelmed at that time — both in my daily life and by the hype that had snowballed rapidly for months with no end in sight. 

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NO ONE WILL SAVE YOU (2023) | REVIEW

Kaitlyn Dever hiding from an Alien in NO ONE WILL SAVE YOU — PHOTO: 20th Century Studios.

Directed by Brian Duffield — Screenplay by Brian Duffield.

It is possible to sometimes find true hidden gems in the vast library of streaming services. Frankly, sometimes studios opt to dump strong films onto streaming services, even though the film in question possesses a clear and obvious theatrical release potential. This is one of those occasions. Brian Duffield’s NO ONE WILL SAVE YOU is the kind of horror science-fiction film that knows exactly what it is and how it can carve out its own place among the many inspirations that will probably be clear for most people to see. It’s exactly the kind of film that I would go crazy for in theaters, but which we have been provided with from the comfort of our own homes. Subscribers of Hulu (or Disney+ depending on your location) have been given a special little science-fiction invasion film about alienation and a specific alien home invasion. 

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A Haunting in Venice (2023) | REVIEW

Kenneth Branagh as Hercule Poirot in A HAUNTING IN VENICE — PHOTO: 20th Century Studios.

Directed by Kenneth Branagh — Screenplay by Michael Green.

Trying to play an iconic character that has been portrayed by a litany of actors is a challenge. The challenge is more than doubled when you’re also the chief creative involvement shepherding the entire production. Such is the case for Kenneth Branagh with his Agatha Christie adaptation film series, in which he plays her mustachioed Belgian star detective, Hercule Poirot. After two so-so or at best lukewarm entries with his versions of Murder on the Orient Express and Death on the Nile, Branagh has taken a far less well-known story and adapted it for his third attempt. So, is the third time the charm for Branagh’s Poirot? Well, I’ll say this, it is by far the most interesting of his three Poirot whodunnit adaptations thus far, even though it’s not without issues.

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Influencer (2023) | REVIEW

Emily Tennant (Left) and Cassandra Naud (Right) in INFLUENCER — PHOTO: Jackrabbit Media.

Directed by Kurtis David Harder — Screenplay by Tesh Guttikonda and Kurtis David Harder.

Kurtis David Harder’s Influencer takes place in Thailand where we meet Madison (played by Emily Tennant), the titular influencer, who is documenting her journey through the country as a way to promote her profile as an influencer. In Thailand, she meets CW (played by Cassandra Naud), a young American woman, who Madison befriends. CW excitedly shows Madison the local hotspots and they hit it off, with Madison trusting CW enough to open up about her own frustrations with her boyfriend, Ryan (played by Rory J. Saber), who was supposed to be there with her. One day, Madison returns to her hotel in Thailand to find that it has been broken into and her passport has been stolen. Madison has to stay for a few additional days, so she decides to hang out with CW more. CW decides to sail them to a remote, deserted island with no cellphone coverage. Here Madison gets back in touch with nature, but she is also about to find out how dangerous it can be to be disconnected from the online life she has built for herself.

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