Love Cuts Deep In Heart Eyes
Heart Eyes combines the excitement of the most romantic day of year with the intensity of homicidal madness. Set against a seemingly idyllic Valentine’s Day, “The Heart Eyes Killer" targets and hunts down couples.
By far my favourite part of this movie is Mason Gooding (yup Cuba’s son.) Gooding delivers a standout performance in Heart Eyes, marked by a spectacular smile and natural charisma. His on-screen presence oozes magnetism as he adeptly navigates through the quintessential slasher flick tropes. Moreover, the chemistry between Gooding and Olivia Holt adds a delightful layer of romantic banter rarely seen within the genre. Nevertheless, Heart Eyes is not limited to sentimental exchanges and chiseled abs, there is a whole lot of blood designed to gross you out from start to finish.
If there’s one thing that could use improving in this film however, it would have to be the villain. The glowing mask looked great but we never become privy to all the juicy details regarding the killer’s motivations. A more detailed backstory, akin to Billie Loomis' in Scream, would have elevated this murderer to cult-like status. While Heart Eyes does not give us the killer payoff we deserve it is still a fun flick. The pace will keep you on your toes and Mason Gooding will win you over.
Heretic is a cerebral puzzle wrapped in a cinematic enigma
Heretic kicks off smartly with a premise involving two young female Mormons trying to recruit new members to their church. Their journey leads them to the doorstep of Hugh Grant just as the heavens open up.
Grant, in a delightful twist, ditches his charming stammer and delivers a performance that is as creepily good as it is unsettling. In his 60’s, he still possesses that coolness that can’t be bottled therefore making the scene with the “freshly baked blueberry pie” even more wicked. Up to this point I’m loving this movie and then it takes a sharp left turn into bizarro land. The rest of Heretic is a confusing jumble on religion and faith. It aspires to delve into profound themes and tries to shock us in the end, meanwhile the story loses complete coherence and meanders for well over an hour. It’s comparable to a first date where your companion is trying to impress you with all their knowledge until you finally realize it's all filler; they really are just a loser and not very smart to boot.
While the film aspires to investigate philosophical ideals, the initial spark is extinguished quickly. Consequently, leaving the viewer with more questions than answers. The divine timing is entirely off with Heretic leaving only emaciated celluloid in its wake.
Presence is all chill without the thrill
I recently watched Steven Soderbergh’s Presence and I was prepared to be impressed, especially with David Koepp (Jurassic Park, Panic Room, Spider-Man) as the screenwriter. Impressed… not quite, but I was let down.
Firstly, the acting was incredibly weak. In the first few moments alone I half-expected the entire cast to start asking for directions to the nearest acting school. Secondly, there was a lot of talk in the pre-show clip about the special camera technique Soderbergh used in Presence. While the camera floated between rooms like a “ghost,” it was as groundbreaking as a new flavour of vanilla ice cream. A younger Soderbergh had a flair for seamlessly combining storytelling with sleek cinematography, sadly both are missing in this film. Thirdly, while the film introduces a mysterious element it never achieves Poltergeist levels of intensity. The ending does manage to sprinkle in some excitement with a second story nose-dive but it was all too little too late.
Presence does not redefine cinema and it does not redefine the supernatural genre. Instead it putters about the house being more of a annoyance then fearful entity. I wonder why both Koepp or Soderbergh have resigned themselves to taking fewer risks and creating subpar work. Meanwhile, iconic filmmakers like Martin Scorsese continue to have the same passion for their recent movies that they had in their earlier works.
Love Hurts-the cinematic equivalent of a root canal without the novocaine
I typically like to begin my reviews with a synopsis of the film that I have just watched, Nevertheless, in lieu of the fact that Love Hurts is plagued by a plot that is non-existent, I am left desperately trying to come to terms with wasting $5 on this movie (cheapie Tuesday.)
To put it bluntly Love Hurts is a letdown on many levels. With two Academy Award-winning actors in the leads (Ke Huy Quan and Ariana DeBose,) it’s hard to fathom any talented actors being involved in this project. The storyline lacks cohesion and depth making Love Hurts a complete disaster. The production quality feels low-budget and the action scenes, which should have been thrilling (since Ke Huy Quan holds a second-degree black belt in taekwondo,) only serve to slow the film to a snails pace. Despite its brief run time of 1h 24m, Love Hurts seemed to drag on forever and no amount of buttered popcorn seemed to aid in my despair.
There are two microscopic bright spots in the film: Firstly, Marshawn Lynch, who showcases that can’t be taught humor that made him a fan favourite on Murderville. Secondly, the closing credits which feature the song Love Hurts by Nazareth, which offers a fleeting moment of enjoyment in an otherwise listless nightmare.
Sing Sing intertwines real-life woes with make believe
Sing Sing is the real-life drama of a group of inmates who trade in their cell blocks for stage blocks, as they perform plays behind bars.
One of the best parts of Sing Sing is how it flips the script on our usual views of inmates, choosing to highlight their growth while they’re doing time. Enter the ever-enthralling Coleman Domingo. Whether he’s dodging zombies in Fear the Walking Dead or losing his mind in The Madness, Domingo has a knack for pulling you in and making any narrative come alive. Every emotion from exasperation to sadness to a good ol’ fashioned “meh,” is delivered with such zeal that you can practically feel it emanating into your own soul.
While the concept has all the makings of a commercial success, I must confess the film felt a bit stagnant. The inclusion of real inmates, like Clarence Maclin, was astute but I was hoping for a bit more action and depth to keep things moving. More backstory on each inmate’s struggles would have given us a much needed glimpse into their pasts and personal battles. Not only would it have kept us mentally enthralled but it would have exemplified the full spectrum of each prisoner’s transformation. While Sing Sing could have used more pizzazz in the storyline, the performances are so strong that it’s still a worthwhile watch.
Conclave is a rollercoaster ride through the Vatican’s VIP lounge
My initial thought going into Conclave was “Who wants to watch a film about Cardinals shuffling papers?” l will admit Angels and Demons was enjoyable but it also benefited from Tom Hanks and Dan Brown’s popularity at the time. Conclave on the other hand sounded beyond dull… boy did I misjudge.
I watched Conclave with my mother, who had already figured out the shocking ending in the first half hour. Meanwhile, I was trying to remember which Cardinal was which, like a game of Where’s Waldo? with a mitre. As the stream of twists emerged it became increasingly clear these “holy men” were filled with the same vices and lust for power as everyone else. Tasked with deciphering these human foibles is the formidable Ralph Fiennes. Fiennes is authentic and intense serving as the bedrock of this film. The persistent close-ups on Fiennes drawn-out face illustrate the stress of an outdated Church. The supporting cast is equally impressive with Isabella Rossellini’s brief but powerful turn as Sister Agnes. Rossellini’s’ smirk in the cafeteria says everything you need to know about the treatment of women by their counterparts. One can even say that Sister Agnes is invited to the Conclave but only gets to stay for the hors d’oeuvres.
The finale of Conclave leaves a tense revelation that would make Agatha Christie proud. Despite the solemn subject matter this movie is so much fun. Thought provoking and carefully crafted, I eagerly awaited each revelation and I was never disappointed. Playing with a holier than thou attitude Conclave will surprise you by how much you will enjoy it.
The Damned showcases a winter wonderland: minus the hot cocoa and toasty memories
The Damned revolves around a group of fishermen battling the elements for a good catch. Their routine is altered when they see a ship capsizing. This incident ignites a moral conundrum: risk their lives to save the mysterious passengers or save their own skin?
The beauty of The Damned lies in its depiction of bleakness and isolation. The literally washed out characters contrast effortlessly with the cinematography's pristine white snow. Thus creating a palpable tension that increases with each drop of spilt blood. As I watched the big screen I was captivated by Eva, portrayed by Odessa Young. Despite the horror surrounding her, Eva’s face serves as a canvas of emotions that rival any Picasso. In turn, allowing Young to expertly jump between terror and strength in equal measure.
Although at times a bit slow moving you quickly realize there in lies the genius of this film. Each moment on screen is precise in its depiction of solitude and hunger. Moreover, just when I thought I had it all figured out the ending became an ambiguous "choose your own finale" experience. I felt as if I was a co-creator within an interactive experience. Overall, "The Damned" stands out for its atmospheric storytelling and thought-provoking climax. Mark my words, Odessa Young is one to watch.
The Substance proves that the quest for eternal youth always ends badly
Picture this: an opening sequence focusing on Elisabeth Sparkle’s (Demi Moore) star on the Hollywood Walk of Fame. The star goes from being newly minted and adored, to having food splattered on it and cracking in the middle. This bittersweet imagery leads to the introduction of a mysterious drug called “the substance.”
The Substance is two movies in one… and I much preferred the first part. Moore begins with a performance that is both intense and risqué. Perhaps drawing from her own personal experience, Moore captures the pressure to stay young forever as she continuously gazes at herself in the mirror. Coupled with an intense pulsing soundtrack it’s like the movie is giving you a musical earworm, but with an ominous undertone. It’s been a long time since I’ve seen Moore take on such a taxing role and she truly delivers. The movie is sleek, artsy… and sadly undone in the second half.
The Substance’s transition into a gory hell was both surprising and not entirely successful. One could analyze this film to death and say that the shift in tone symbolizes how the first half of life is filled with energy and beauty, while the latter can feel somewhat lackluster. Despite what might be an intentional juxtaposition, I did not love this. The Carrie-like blood bath at the end was disgusting to watch and ultimately degraded the overall experience. Moreover, the genre shift midway took a thought provoking storyline and imploded it in nightmare fashion. Nevertheless, I must concede that The Substance is worth watching due to its daring performances regarding our obsession with juvenility
Wicked will take you on a spellbinding journey
There will never be a duo as strong as Idina Menzel and Kristen Chenoweth, the original Elphaba and Glinda. Each woman had a recognizable voice, and when they harmonized, both shined in equal measure without ever overshadowing the other. Thus creating a remarkable partnership. Consequently, when the big screen adaptation was first announced I was tentative.
As I got comfy in my seat during the first hour of Wicked I began to swing between two emotions. I hated the clumsy CGI especially the fish, birds and foliage which was unnecessary and felt very much like a Disney live action. On the flip side I loved the casting. Johnathan Bailey as Fiyero, Jeff Goldblum as The Wizard of Oz and Michelle Yeoh as Madame Morrible were all sheer perfection, but what of the leading ladies? Cynthia Erivo creates an Elphaba that is bold and unflappable. Never trying to copy Menzel, Erivo’s voice may not be as sweet but reverberates with a guttural strength that will make your jaw drop. From her clever glasses to ornate black garb, Erivo will leave you transfixed. Ariana Grande on the other hand is the only disappointment of this film. Every line Grande gives and every word she accentuates comes across as a poor facsimile of Chenoweth. While Grande has a beautiful voice she is unable to create an apparent Glinda that is all her own. This is most notable during the songs Popular and Defying Gravity which come across as a regrettable impersonation of someone else’s brilliance.
The latter half of Wicked is where the magic truly happens. While the first hour serves as an introduction to the characters, the second fleshes out the important themes of the novel. Wicked is about identity and the need to harness one’s inner power. The ramifications of that power however can be manipulated and twisted. At this point I found myself completely invested in the movie, so much so, that my disappointment with Grande’s performance dissipated. As Elphaba and Glinda embark on their newly acquired friendship the film gains significant momentum. They dance, (visions of Wednesday,) they hop on a cool train and they finally reach The Emerald City. Every minute in The Emerald City is exciting from Goldblum’s Carousel of Progress-like number to the impressive transformation of the Winged Monkeys. The stakes are set high and everything comes together perfectly for Erivo’s huge onscreen moment. When Erivo hit that final note I actually got the shivers. Wicked is beautiful, powerful and relevant.
Sadly, we have to wait a whole year for the conclusion of Wicked, which for lack of a better term sucks big time. However, another musical just came out this weekend. They sing, they dance…and they live in a bunker underground because pollution has completely destroyed their world. Has your curiosity been adequately peaked yet…. My review of The End coming soon.
Dear Reader,
I know it has been over a month since you last gazed upon a new review. The thought crossed my mind that I might not be missed. The opposite happened however. In the last couple of weeks I have been inundated with messages from devotees asking “Has the Mademoiselle given up? and “I need your help on deciding which streaming service is worth it for the holidays, ASAP? Firstly, the Mademoiselle never gives up! Secondly, I have been doing all the things one would expect from a modern renaissance woman... Okay the truth is, there wasn’t anything good to watch and you couldn’t pay me to see Red One. Consequently, I focused my attention on a steady diet of Hallmark Christmas movies while anticipating the release of Wicked.
21 years ago on Christmas Day I received a book from a friend. I remember her saying that the cover art and clever tagline typified my personal style. Throughout my life there have been only a handful of books that have taken me two days to read. Notably Stephen King’s 11/22/63 and Gregory Maguire’s Wicked. Wicked was so unexpected that I immediately converted to team Elphaba while promptly purchasing tickets for the musical over a year in advance. I will admit as the book series continued I started to get bored and and forgot about poor Elphie, that is until Cynthia Erivo was cast in the titular role.
To be continued…
Smile 2 Will Have You Avoiding All Social Cues… Indefinitely
Tis the season for thrills, chills and strange cinema. Every October I go through the ritual of re-watching Halloween classics, and every year I am on the lookout for new films to enrich my growing list. Beetlejuice Beetlejuice was an immediate add on, but after watching it back in September I still ached for more. Enter Smile 2.
I enjoyed the first Smile but I felt more immersed in Smile 2 and the reason is simple: Naomi Scott. The sequel about a virus that makes you go crazy, smile and kill yourself gets a complete upgrade in this film. Scott plays Skye Riley, a Lady Gaga-esque singer who after surviving a horrific car accident that killed her boyfriend (played by Jack Nicholson’s son,) comes in contact with a “smiler.” Instantaneously we are drawn into the counterfeit world of celebrity life and with it a protagonist on the verge. Much gorier than the original, Smile 2 is focused entirely on Skye Riley. The film even has a killer soundtrack with six pop songs performed by Naomi Scott as Skye, with my personal favourite being Death of Me. As atrocious as this film gets, and trust me it gets ridiculously gross, you won’t be tempted to cover your eyes solely due to Naomi Scott. After being neglected in Aladdin and Charlie’s Angels, Scott finally has a breakout performance which allows her to dominate with every tantrum, reaction and blood curdling scream. Moreover, the final shot of Skye on stage with a microphone in her hand is guaranteed to haunt your dreams…at least for a few nights.
The ending of Smile 2 has me wondering what the franchise’s future holds. It did make me think of John Wick 2 and all the wildness that it prophesied in its final few moments, a similarity that Smile 2 directly evoked. It’s worth noting that as I walked out of the theatre I caught someone smiling at me and I will admit it did disturb me. Will I be avoiding all polite smiles in the near future? Well I do understand that Smile 2 is just a movie but it’s realism, heightened scare factor and relevance in light of the The Eras Tour pandemonium has me rethinking my public expressions. Perhaps a scowl is the way go… until Halloween is over that is.
Happy Haunting
Mademoiselle Movie
Joker: Folie à Deux Deserves The Last Laugh
By now you’ve heard the news: Joker: Folie à Deux is a box office flop and Warner Bros. disaster. While the expectations were high after the original Joker’s success (11 Oscar Nominations and a best actor win for Joaquin Phoenix,) the sequel was not triumphant. Here’s the rub though, I thoroughly loved Joker: Folie à Deux.
The foolishness of Joker: Folie à Deux is that it was a marketed as a grisly continuation rather than the musical hallucination that it is. I enjoyed the original Joker which had exceptional acting and a genuine depiction of mental illness. Phoenix’s Joker isn’t jovial like Nicholson or sadistic like Ledger. Instead this Joker is the product of a man who had been abused and slowly unhinged by an unforgiving society. I am glad however that the sequel did not continue on that same trajectory by lifting the Joker to Icon status. Instead the new film clearly portrays him as a killer who pays for his sins while being devoid of all criminal mastery. While there isn’t much to report plot-wise, the artistry in this film makes it memorable.
The first few minutes of Joker: Folie à Deux begins like a vintage Looney Tunes Cartoon in which Bugs Bunny is replaced by the Joker. The cartoon Joker is striking as he sings on stage while struggling with his animated duality. Quickly that vibrancy is replaced with despondency as the human Joker sits in his jail cell alone. This clever balance sees the Joker inhabit two worlds made ever more meaningful with the introduction of Lady Gaga as Lee Quinzel. Lady Gaga elevates the film while commanding the screen as she applies her clownish makeup and commits each high note. Consequently, a mind trip begins as the film alternates between musical numbers and dramatic interludes. Part Moulin Rouge and part One Flew Over The Cuckoo's Nest (with a little Sonny and Cher thrown in for effect,) make each minute entrancing.
Director Todd Phillips must be commended for going against type. Firstly, for making two Joker films in stark contrast to his Hangover glory days. Secondly, for removing the tropes associated with a comic book origin story. Panned by seemingly everyone this film softly arrived in theatres and will quickly become available on Home Premiere. Sadly, the lacklustre success of this sequel might suggest that comic book readers are not interested in pretentious displays of art. I don’t believe that, instead I see Phillips as a forward thinker. I have always believed that people don’t know how ahead someone else is until they catch up themselves. With a jaw dropping ending and twist that will have you rethinking everything, Joker is skillful and creative. Although ridiculed now I guarantee it will be lauded in years to come, and rightfully so.
Tim Burton’s artistry resurfaces with Beetlejuice Beetlejuice
Beetlejuice Beetlejuice is the sequel I didn't realize I had been anticipating my entire life. I can still recall dissecting the original Beetlejuice with my friends in a way that only a tween can. Here I am 36 years later and just as giddy about Tim Burton’s newest work.
For two decades Tim Burton has been focusing his talent on lacklustre retellings, from Planet of the Apes and Charlie and the Chocolate Factory to the nonsense that was Dark Shadows. The imagination that transformed Beetlejuice, Batman and Edward Scissorhands from film to pure art seemed all but lost. Heads up: Beetlejuice Beetlejuice begins in a disjointed manner as we quickly struggle to play catch up with the characters. We learn ghost whisperer Lydia Deetz (Winona Ryder) is all grown up with a dissatisfied daughter of her own named Astrid, played by Jenna Ortega. Beetlejuice meanwhile has expanded his Bio-Exorcist company and now has a call centre run by shrunken heads. However, a clever claymation sequence and Monica Belucci entrance (stylishly backed to the Bee Gees song Tragedy,) create the perfect mood. By the time Astrid arrives at the treehouse Burton is firing on all cylinders.
What I loved most about Beetlejuice Beetlejuice is that all the characters have a new level of depth. Lydia’s rebellious goth girl has been replaced by an easily damaged woman. While Delia’s (Catherine O’Hara) superficial veneer showcases a new found intensity. Moreover, the notion of dying has been transformed from an endless purgatory to one of hope. In Burton’s afterlife you can dance your way onto the ‘soul train’ or even find your dream job. Death is no longer an ending but a journey that might be even more exciting then one’s time on earth. Case in point Wolf Jackson’s (Willem Dafoe) clever turn from actor in life to detective in death. Even Beetlejuice (played with exactness by Michael Keaton,) finally gets a Burtonesque backstory set in black and white complete with subtitles. Burton’s creativity is abundant in this film while the costuming and makeup serve as a beautiful reprieve from a cgi saturated world. Moreover, each costumed demise effectively serve up a backstory of what happened during their final moments. Never feeling like a simple rehash, this new chapter continues to push the story forward while steering us toward a trilogy.
Once Beetlejuice Beetlejuice started and the classic Geffen logo disappeared I was nervous. Would this newest incarnation be as fun as it was in the 80’s. I am happy to report Beetlejuice Beetlejuice is original, exciting and smart. The depiction of the living and dead, and how they intertwine, is not only amusing but also a beautiful metaphor. Who would have thought that a movie with a main character called Beetlejuice could have such existential possibilities.
The Cut Proves That Ozempic Isn’t The Only Way To Lose
It’s TIFF time and I must admit I have become disenchanted. Perhaps it’s due to my nostalgia for the festival in the noughties when tickets were $11 and celebrities actually hung out in the city. Nevertheless, I was thrust into “Tiffing” once again after being invited to the World Premiere of Orlando Bloom’s film. So I put my favourite dress on and made my way to Festival Row. First impression: Festival Row was beyond disappointing with nothing to do other than get a free slice of pizza. Once inside the Princess of Wales Theatre I noticed a large amount of empty seats, but at a price tag of $95 per ticket I wasn’t surprised. With Orlando Bloom and Katy Perry both in attendance the audience was electric complete with necks craned at full capacity and iPhones set to maximum zoom.
Orlando Bloom stars in The Cut about a retired boxer needing to make weight in order to fight one more time. This movie is unconventional in the fact that the majority of the film deals with “the cutting” of 32 pounds in 6 days in order to qualify. Scenes of fighting are replaced with graphic depictions of weight loss. Consequently, we see Bloom purge, sweat and harm himself in order to shed pounds. Last year after watching Gran Turismo I wrote: “When did Bloom lose his ability to act because his performance is based solely on a variety of bizarre facial expressions and over the top shouting. (I miss Legolas.)” After attending The Cut I can attest that Bloom still has it. Bloom does a spectacular job of portraying a man tortured mentally and physically by a life that hasn’t turned out quite right. His once handsome visage is marked by deep creases and downcast expression while his enviable physique becomes unbearable to look at.
Although Bloom really shows up in this project the film overall is not great. The reason I say this is simple, too many plot lines are introduced and statements are made that go nowhere. As a viewer I felt confused as I was pulled from one direction to the next without any recompense. While Caitríona Balfe, his trainer/girlfriend, and John Turturro, a master cutter, give good performances the story leaves too many loose ends. Why does Bloom’s character want to fight again? What is Balfe’s backstory and is Turturro an actual murderer? The entire film creates a thick fog surrounding what we think we know. One could argue that is the point thus creating a daze similar to Bloom’s hallucinations but what I see is sloppy storytelling. While the weight loss is the meat of the film where is the rest of the stuffing? While The Cut is unlike any boxing movie I have ever seen the potential is tainted by a bitter aftertaste of dissatisfaction. It is worth noting that there is a subtly beautiful moment at the end of the film involving a beef burger, a belt and a phone call. Orlando I urge you to keep making choices that push the envelope and showcase your masterclass capabilities. No Gran Turismo 2, I beg of you!
The Last Timbit
During my recent trip to the theatre I learned that the “BEST” Timbit is the Birthday Cake flavour. In homage, I have made my review 80 words long, the same amount of calories in one Timbit!
The Last Timbit had a run of five performances at The Elgin Theatre. Think Come From Away inside a Tim Hortons. I’ll admit the play was a blatant ad with musical numbers referencing menu items and fresh coffee. However the talent, particularly Chilina Kennedy and Jake Epstein (both from Broadway,) elevate a story that could have gone stale. The songs were catchy, the story was Hallmark reminiscent and the laughs were sugary. A pleasurable night out regardless of coffee affiliation.
Bummer Summer?
Lately I have found it hard to motivate myself to go to the cinema. With a lack of “summer blockbusters” I have chosen to jump into a public pool rather than sink into a bucket of popcorn. It may seem like a bummer summer but I remain optimistic.
Deadpool and Wolverine finally claw their way to the top in this buddy farce
The first 20 minutes of Deadpool and Wolverine had me terrified. The words Time Variance Authority sent a chill down my spine and my heart racing. Sacred timelines, branches, blah…blah…blah... I am tired of Marvel’s Multiverse. Let’s face it, it’s annoying, redundant and extremely confusing. In comparison it makes Christopher Nolan’s Memento a straightforward plot. However, as I gently clung to my Wolverine Best Friend’s necklace for support, a shift began to take place…the movie began to get really good. The story revolves around the fact that 20th Century Fox was sold to Disney in 2019. Consequently, imploding 20 years of Fox/Marvel content. Nevertheless (to my chagrin,) through the help of the multiverse Wolverine and Hugh Jackman are resurrected. To be clear Deadpool and Wolverine is not meant for children but it is fun and action packed. With all the hallmarks of Planes, Trains and Automobiles intertwined within the superhero genre, the story takes you on a road trip filled with hijinks and surprising characters. Ryan Reynolds and Hugh Jackman play off each other to perfection, while Channing Tatum must be commended for both his indecipherable delivery and deadpan face. While the story fails to propel the Deadpool franchise forward it will leave you with a pain in your side and hope for the future.
Trap takes you on a cat and mouse chase through the Rogers Centre
Upon seeing this trailer I was transfixed by Josh Hartnett’s gaze into the camera with a plastered on smile and twitch in his eye. Immediately it brought back images of Anthony Perkins in the final few moments of Psycho, and I was intrigued. Let’s get this out of the way. M. Night Shyamalan is not the inspiring director he once was, but movies such as Split and Old have set his trajectory on the uptick with Trap continuing that momentum. Trap takes place during a Taylor Swift-like concert attended by a serial killer and his daughter. The Rogers Centre is transformed into Tanaka Arena while a tween paradise is converted into a psychological playground. I will admit at first I was annoyed by the fact that Shyamalan nepo-cast his daughter in a central role. Nevertheless, Saleka does a good job and the reality is that Shyamalan has earned the right to cast whoever he wants. Boy am I glad he cast Josh Hartnett though, because it is refreshing to see him lead a good movie again. Although it has been long time it is clear that Hartnett has evolved his craft. As Hartnett’s character struggles we feel both his fear and need to escape. With each psychotic smirk he makes us cringe in response followed up with our own smirk, perhaps even hoping for his success. This movie is clever, multi-faceted and a mere fraction of the price of an Eras ticket.
The Bikeriders αnd A Quiet Place: Day One
Here we are in the midst of summer, a season that used to be associated with the blockbuster. This year I’m not quite feeling it. Sure there have been some good movies but nothing has dominated or even gained momentum as the season has progressed. Consequently, I’m feeling nostalgic for the bygone summers of Spielberg (or even Barbie for that matter.) So which movies are worth your time?
The Bikeriders is a mashup of, Easy Rider, vintage Levi’s and Marlon Brando
20 minutes into this film and I started to get a sense of déjà vu. The imagery reminded me of a series of photographs I had seen at the AGO. My memory ended up serving me well because The Bikeriders depicts the lives of a motorcycle club inspired by Danny Lyon’s 1968 photo-book. This movie is not only an enjoyable ride but has one of the best casts I’ve seen in years, Firstly, Jodie Comer commands the screen. Her accent will blow your mind and leave you speechless with every event she recounts and every eyebrow raise she makes. Austin Butler oozes coolness as he balances an unhinged personality with an impressively coiffed head of hair. Meanwhile, Tom Hardy convincingly portrays the enigmatic club President, and in doing so channels Marlon Brando without becoming a caricature. What I particularly loved about this movie is the organic form of storytelling. Similar to a series of Polaroids, we are introduced to vivid characters (each acted exceptionally by an assortment of men,) and backstories that are quick, effective but never confusing. We see this club behind the veneer, we fear some if its members and we understand the desire to join. With such diversity to immerse yourself in, The Bikeriders it worth the trip.
A Quiet Place: Day One provides little excitement and a whole lot of boredom
As I settled in to watch this this film in IMAX I expected War of The Worlds meets Independence Day meets indie film…that is until everything went quiet. Am I missing the point here? The reality is A Quiet Place: Day One sets out to thrill us by taking us to where it all began, but boy does it miss the gut punch one would except on the first day of an alien invasion. The real problem with this movie starts in the first scene when we are introduced to Sammy, portrayed by Lupita Nyong’o. Immediately you know what is going to happen to her character and that destroys the entire trajectory of the film. Other plot line killers include the ridiculous speed in which it is determined that these aliens hate loud sounds and the reappearance of the same characters repeatedly. This is set in New York City, the most densely populated major city in the United States, what are the odds of running into Djimon Hounsou over and over again or finding a runaway cat three times. I did enjoy seeing Joseph Quinn (Eddie from Stranger Things) on the big screen but had hoped for a better role for him. Although there is some good acting, A Quite Place: Day One misses the entire point of taking us back to where it all began.
Next week I review The Last Timbit.
I remain in awe by which Timbit is considered “The Best”
The Watchers is an unpolished M. Night Shyamalan film
I remember when M. Night Shyamalan was touted as an Alfred Hitchcock for a new generation, and he proved it with three blockbusters one after the other. The stories, cinematography and twist endings made the Shyamalan name synonymous with thrills and mystery. The Watchers however, is not directed by M. Night Shyamalan but his influence can be felt throughout the entire movie.
25 years after M. Night Shyamalan’s breakout film debut his daughter, Ishana Shyamalan, is at the helm of a big budget Hollywood movie. Do I hear the groans of Nepo baby? Of course! How can we not go there, think Sofia Coppola before she became an esteemed director. Nevertheless, the real question should be does this young Shyamalan have the talent? To be clear The Watchers exceeded my tepid expectations. Based on A.M. Shine’s cult gothic novel the story takes place in the Irish woods where a group of four find themselves trapped and observed on a daily basis. While escape from the woods is forbidden, the consequences for not falling in line are even more dire. Immediately my curiosity was piqued and it stayed in that state for more then half of the film.
With all the hallmarks of the Shyamalan style there was much to enjoy. The acting is superb with breakout performances by Georgina Campbell and Olwen Fouere. The pacing and visuals are intriguing, from the initial caged bird’s perspective to the image of Dakota Fanning up against the two-way mirror. The flow of the storytelling seems familiar however, with the use of lingering memory flashbacks reminding me of Signs and Split. Nevertheless, the biggest problem with this movie is the lacklustre ending. M. Night Shyamalan’s most recent movies such as Glass, Old and Knock at the Cabin have all fallen flat due to blah finales. Ishana Shyamalan falls into that same fate with a climax that is confusing, muddled and stitched together haphazardly. While the journey begins enjoyably, the ending destroys much of its potential and will have the viewer seeking out the novel for a more satisfying experience.
I found it almost impossible to discern which Shyamalan was at the helm of The Watchers. I want to believe that Ishana Shyamalan has talent and there were moments throughout the film that felt fresh. Even if we are to believe that M. Night Shyamalan did not help his daughter we can all agree that she had the best of movie making talent at her disposal. From cinematographers to camera men and script writers to special effects crew, The Watchers had an advantageous start. My hope is that with more experience Ishana Shyamalan’s future projects will find their own distinct appearance thus rising her to ranks of other prestigious father-daughter directing combos. *BTW I saw the trailer for M. Night Shyamalan’s The Trap (coming out in August) and it looked intriguing, with a homage to Anthony Perkins that will make your skin crawl.
Furiosa A Mad Max Saga is an enjoyable hellish nightmare
The Mad Max world is not one that I have found myself seeking out or particularly enjoy being immersed in. The inhabitants are filled with gross deformities and even more perverse minds, which makes the Wasteland a squeamish place to visit. After purchasing my ticket to Furiosa: A Mad Max Saga, I found myself mentally preparing for a difficult trip.
Furiosa serves as an origin story and begins 15 years before the events of Mad Max: Fury Road. Anya Taylor-Joy takes over from Charlize Theron as Furiosa, a girl abducted by a demented motorcycle gang lead by Chris Hemsworth, aptly named Dr. Dementus. Both Taylor-Joy and Hemsworth find themselves in unchartered territory yet are able to shine. When an actor makes you forget about their celebrity status you know they have done a good job. I can honestly say I did not think once of the always valiant Thor while watching Hemsworth onscreen. Meanwhile, Taylor-Joy’s expressive large eyes gave Fuirosa a fresh pulse. The meaningful performances continue with Tom Burke (Praetorian Jack) who says little but emotes much. Moreover, Charlee Fraser (Mary Jo Bassa) steals the opening credits and leaves you wishing she had more screen time.
Within the first few minutes of Furiosa I began to see Director George Miller in a new light. On one hand he paints this cringe-worthy universe but with that same brush he fleshes out female characters who are strong willed and totally bad ass. Comparable to Beatrix “The Bride” and Wonder Woman, each female portrayed is unwavering in her strength and has an innate ability for sacrifice and battle. Miller’s genius continues with his stunning apocalyptic cinematography highlighted by Gas Town and The Bullet Farm. The fast fidgety cuts add another layer to his artistry while taking an exhausted plot and revitalizing it. It is worth noting there is a Mad Max cameo to watch out for while the closing credits will pump you up just when you thought the action was over.
As a woman I expected to be repulsed by this film, instead as a movie buff, I found myself completely enjoying it. Is this movie better than Fury Road? I thought Charlize Theron was excellent but this new chapter makes Furiosa more meaningful because of her backstory, and I found myself liking it even more. With themes of rebirth, vengeance and a good old fashioned David vs Goliath story, Furiosa: A Mad Max Saga is a worthy addition to the franchise.
* I received a request from one of my readers for a review of the 1996 movie Fargo which was both surprising and exciting. After rewatching it I realized I didn’t enjoy as much anymore. Yes, it has its Quentin Tarantino edginess, which in 1996 was revolutionary, but the depiction of small town folk as simple and dimwitted really turned me off. The acting is masterclass but the present changes in attitudes and sensitivities date this movie. That said, Season 2 of the TV series was the best.
The Fall Guy Pulses Forward at Full Speed
Not since Jaqueline Smith has anyone looked gorgeous when taking off a full face helmet, yet Ryan Gosling rises up to the challenge and succeeds spectacularly. The Fall Guy takes its name from the 1980’s TV show starring Lee Majors about a stuntman/bounty hunter. Truthfully, this movie has little to do with the TV show but what it lacks in homage it more then makes up for daringness. Gosling is sharp as a stuntman seeking atonement from his true love (Emily Blunt.) He is contemplative, fun and proves he is more then capable of the comedy and action fusion that is demanded of him. Moreover, the supporting cast is dripping with talent, from the ever-endearing Emily Blunt, chameleon Aaron Taylor-Johnson and director David Leitch (Atomic Blonde and Deadpool 2.) While jam packed stunts will be the main draw for the masses, it’s worth noting that the chemistry between Gosling and Blunt is almost too good to be true. It has been a long time since I have seen a couple onscreen be so effortlessly playful with one another and I found it both refreshing and inspiring. The banter between these two will leave you smiling and perhaps questioning whether this is reality or just (REALLY)good acting. It is this exact point however that brings me to my first criticism of the film. In both The Fall Guy trailers there are some super cute moments between Blunt and Gosling that were scratched from the movie. Nothing annoys me more than seeing something in a trailer that initially grabs my attention (and I am anticipating,) only to be disappointed at its removal in the final cut. Sorry David Leitch you dropped the ball with that one. Secondly, as much as I love the song I Was Made For Lovin’ You I don’t want to hear it repeated on a loop throughout the entire movie. How about a little Bon Jovi or Aerosmith as an option for the official soundtrack? Regardless of a few sticking points The Fall Guy delivers everything that you would expect from a true summer blockbuster. So get off that couch and head to the cinema with me.
Kingdom of The Planet of The Apes puts the waste in wasteland
Decades before this newest incarnation there was Charleston Heston and the remnants of the Statue of Liberty…and that was awe inspiring. Nevertheless, since 1968 there have been countless spinoffs and retellings all of which I have trouble remembering. I recall Woody Harrelson and Keri Russell were part of the saga and there was an origin story with James Franco that was good, but there is nothing wow-wee about each story. On its own Kingdom of The Planet of The Apes is adequate. The voice artistry of Owen Teague (Noa) and Peter Macon (Raka) is well performed with Teague portraying an honest vulnerability through his words (a departure from his role in The Stand 2021.) The CGI is exceptional with a heightened realism that brings vibrancy to a tortured tribe and desolate world. The plot is capped off with a powerful scene in which Noa and his fellow apes encounter a children's book that shows a drawing of a caged monkey in a zoo. All these elements should be meaningful enough but there is nothing new that is being offered. Essentially, its the same story over and over and over again with each version sadly blurring into its predecessor.