Everything Everywhere All At Once

Release: Friday, March 25, 2022

👀 Theater

Written by: Dan Kwan; Daniel Scheinert

Directed by: Dan Kwan; Daniel Scheinert

Starring: Michelle Yeoh; Ke Huy Quan; Stephanie Hsu; Jamie Lee Curtis; James Hong; Jenny Slate

Distributor: A24 

 

 

***/*****

No one makes a movie like Daniel Kwan and Daniel Scheinert, nor does anyone dare try. Relatively unknown as the guys behind viral music videos such as DJ Snake’s Turn Down For What, the writer/directors etched their shared first-name moniker into audiences’ minds forever with their supremely strange feature film debut Swiss Army Man in 2016. Now they return with a proposition that makes their first effort seem unadventurous by comparison.

With a fatter budget and increased confidence Daniels take massive swings for the fences with their own indie flavored multiverse movie. Everything Everywhere All At Once is undeniably the product of two of the most inventive and unapologetically odd filmmakers running around Hollywood at the moment. It is also a rare casualty of production company A24’s artist-friendly approach. Unfettered weirdness mutates from exhilarating to eventually exhausting over the course of two long and chaotic hours.

In the off-kilter and unpredictable world of Daniels nothing is certain except death, taxes and this pesky thing called Jobu Tupaki, an anarchic entity intent on destroying literally everything in existence. The story centers on a Chinese-American family whose matriarch is unwittingly pulled into a confrontation with this threat. In acquiring all kinds of abilities and insight jumping in and out of the various lives she might have lived she becomes the only one who can stop it. However, her ability to succeed may well hinge on her willingness to make amends with those closest to her.

The simple yet heavy question “what if my life went differently” is at the heart of this highly cerebral and often ridiculous journey. When we first meet her, Evelyn Wang (a dynamic Michelle Yeoh) is not exactly living the high life. Struggling to make ends meet with her laundromat, she is preparing for an audit by the IRS (represented by an amusingly frumpy Jamie Lee Curtis) while nervously awaiting the arrival of her intimidating father Gong Gong (James Hong). All is not well on the home front either as husband Waymond (Ke Huy Quan), at wit’s end trying to make their life happy, trails her around with divorce papers. Meanwhile daughter Joy (Stephanie Hsu) wants to introduce Gong Gong to her girlfriend Becky (Tallie Medel) but Evelyn doesn’t think that is a good idea.

There is enough tension and acrimony in the early going to serve a compelling family drama on network television. But this is Daniels, not This is Us, and so the film with all of its fantastical elements takes a rather circuitous route in elucidating what really matters. When we arrive at the IRS building the story takes on an entirely new life — The Matrix meets Boots Riley — and it’s as though Daniels have bailed on their early suggestion of more intimate drama. In an elevator, a transformation occurs and suddenly Evelyn’s pushover hubby becomes a kung fu master brimming with charisma. Like Morpheus, this more assertive Waymond from the “alpha-verse” has searched far and wide to find the right one for the job.

As it was with Swiss Army Man, the established rules and mechanisms that enable the action to tick forward can be challenging to accept. Here you’ll receive a crash-course in “verse-jumping,” learn what “mind-splintering” is (and perhaps, like me, experience it yourself) and encounter bagel-worshipping cults and people with hot dogs for fingers. Absurdism is part of the filmmakers’ appeal, but Everything Everywhere takes liberties with your goodwill — a moment in which a man flings himself across a room for the specific purpose of impaling himself on a sex toy seems like an easy cut to make.

Fortunately the performances are really good, particularly the dynamic between Yeoh and Quan. Together they imbue the narrative with just enough humanity to make the insanity relatable. Yeoh is a force to be reckoned with as she multitasks as both hero and an everywoman. Semi-retired actor Ke Huy Quan makes a triumphant return to the screen, falling toward the center of emotional devastation as a man who can’t imagine any version of his own life without his wife. As the daughter, Hsu fits in nicely as well, creating a character full of believable torment — a young woman caught between cultures who never seems to measure up to expectations.

Everything Everywhere toes the line between artistic freedom and pretentiousness. For all that this swirling mass of energy and ideas does differently and at times movingly, the cumulative effect is not entirely satisfying, the payoff frustratingly minimal for all the energy required to keep pace.

Gonna take this to another level.

Moral of the Story: Kung Fu Bagel. Enter the Bagel. Big Bagel in Little China. Whichever way you want to slice it, this crazy visual feast is unlike anything you’ll see this year. Personally, I don’t think the film’s messaging is particularly original or profound, but there’s certainly stuff here to strike an emotional chord. And I also do appreciate how the film’s conflict revolves around imperfect people vs chaos, rather than pure good vs pure evil. The villain(y) is refreshingly nuanced. 

Rated: R (for rocks!)

Running Time: 139 mins.

Quoted: “So, even though you have broken my heart yet again, I wanted to say, in another life, I would have really liked just doing laundry and taxes with you.”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited. 

Photo credits: http://www.impawards.com; http://www.imdb.com 

In the Earth

Release: Friday, April 16, 2021

👀 Hulu

Written by: Ben Wheatley

Directed by: Ben Wheatley

Starring: Joel Fry; Ellora Torchia; Reece Shearsmith; Hayley Squires; John Hollingworth; Mark Monero

Distributor: Neon

 

 

 

 

***/*****

Cabin fever never sounded so appealing after “getting back out there” in the new psychedelic experiment from avant-garde British filmmaker Ben Wheatley. His tenth film In the Earth is a thoroughly disorienting and unsettling venture through the woods, one set against the backdrop of a global pandemic.

Filmed over the course of just 15 days and during a locked-down August 2020, In the Earth may be horror done on the cheap but it doesn’t particularly look or feel like it. What admissions there are chiefly surface in some character interactions that feel rushed, while later on the more abstract passages can feel indulgent to the point of being filler. Impenetrable though it may become, you have to be impressed with the fact Wheatley has wrangled together such a crazy movie amidst creatively infertile conditions.

It’s what he manages to pull off with setting and atmosphere that leaves a bruising mark and that serves as the best distraction from the film’s financial limitations and, quite frankly, the barriers to comprehension it tends to build, particularly towards the end. A stone monolith with a perfect hole in the middle watches over all. You’ll spend almost the entire movie trying to get in its good graces so that it may allow you to understand what the frikk it is. The table-setting (and plain old setting) is reminiscent of Annihilation (2018) but this time the foolish entrants aren’t loaded with pistols and rifles and thingies that explode. Nope, just backpacks and research materials. And, as with so many characters in this kind of story, plenty of arrogance.

Stripped of the basic comfort of likable protagonists — they’re not unlikable per se, but hard to get a read on — In the Earth is a trippy, gory and at times perverse horror that follows a scientist and a park ranger into a forest laced with threats, some natural and others inexplicable — a surreal and dangerous ecosystem with its own rules, its own creepy mythology and maybe even its own agenda. Martin Lowery (Joel Fry) arrives at a lodge that’s been converted to a research facility on the edge of a dense forest just outside Bristol, England. He’s here to check in on a colleague and former lover, a Dr. Olivia Wendle (Hayley Squires), who hasn’t been seen or heard from in months.

Upon arrival he’s whisked through a rather serious sanitization procedure and meets a few researchers hanging about the place, all of whom seem physically and mentally worn down. Martin is to make a two-day trek to her research base deep in the woods, accompanied by experienced park guide Alma (Ellora Torchia). With all his focus on rescuing Wendle, he has no time to really care about the strange painting on the wall of the lodge, a depiction of an apparent woodland creature known around these parts as Parnag Fegg. That’s nice. It’s just cool artwork though, right?

The journey starts off with a bad omen as Martin confesses with annoying nonchalance to a lack of fitness and experience roughing it. Then a midnight assault in which both campers lose all essential equipment, including shoes, forcing them to continue barefoot. (Does this style of hiking ever end well?) Eventually they cross paths with a grizzled loner (Reece Shearsmith) who after a tense standoff introduces himself as Zach and offers to help and heal. It is at this point your brain might recall that early childhood lesson: Do not drink the mushroom milk offered by strange men in the woods.

All of this, including the unholy and stomach-churning sequence that soon follows, remains predictable for a horror flick buried deep in the deciduous. Especially when you have nervous doctors back at the lodge foreshadowing the shit out of people’s tendencies to get “a bit funny” in the woods. On another level, for those better traveled in Wheatley’s exotic and weird brand of filmmaking you know the film is, sooner or later, going to walk off a cliff.

Avoiding of course the literal precipice, In the Earth frustratingly descends into an edit-fest, assaulting you with aural and visual menace in massively churned-up chunks of footage that feel pieced together from the weirdest acid trip you could possibly have. Dissonant sound overwhelms while strobing lights penetrate the eyeball like knives. Encroaching fog presents a terrifying new challenge while the stone monolith continues to breathe and sigh. The final act is something to behold, if not quite believed or even understood. Like the film overall, it becomes something to admire rather than enjoy.

Stoned out of your mind

Moral of the Story: Though appearing to be set in a time similar to our present miserable reality, this appears to me to be as much a movie about man’s relationship with nature as it is one about man and virus. Far from a crowd-pleasing good time, In the Earth is a novelty horror for the more adventurous. 

Rated: R

Running Time: 103 mins.

Quoted: “Let me guide you out of the woods.”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.impawards.com; www.movieinsider.com 

Titane

Release: Friday, October 1, 2021 (limited)

👀 Theater

Written by: Julia Ducournau

Directed by: Julia Ducournau

Starring: Agathe Rousselle; Vincent Lindon; Garance Marillier; Bertrand Bonello; Adèle Guigue

 

 

 

*****/*****

Really the best way to follow up a critical success is to make another, while further pushing boundaries to see what you might get away with. Titane certainly tests some limits. This is a potent, unpredictable and morally challenging exhibition that will either have you recoiling or marveling at the audacity of the artist.

A story involving cars, sex and violence sounds pretty mainstream but then this is Julia Ducournau, far from your garden variety director. Thus, gearheads and Fast & the Furious fans need not apply. For the moment, Ducournau seems enamored with transformative narratives that fixate on the body and alienate her protagonists from their own skin. But where her cannibalistic début feature Raw was more literal, in Titane it’s more about skin as one’s interiority, their sense of self. Though vaguely thematically related I suspect not even Raw‘s hard-to-stomach content would serve as adequate prep for the wild and uncomfortable ride she offers with her follow-up.

Titane deals with a young woman named Alexia who we first meet as a child (chillingly played by Adèle Guigue) in the jolting opening sequence — a car crash caused by her distracted father (Bertrand Bonello) which leaves the little girl with a titanium plate in her skull. Jumping forward in time Ducournau’s camera shadows older Alexia (Agathe Rouselle) as she heads in for another shift as a sexed-up model working seedy auto shows. When not writhing around suggestively on top of shiny hoods she’s signing autographs for desperate dudes . . . and murdering them when they try to get cute.

Indeed, it doesn’t take long to appreciate Alexia’s wired differently than most, the scar on the side of her head a kind of red marking to warn off her prey. And her prey turn out to be alarmingly susceptible. Acts that begin in self-defense become upsettingly random. We also quickly learn her sexual preferences are in constant flux and, uh, exotic.

There’s a girl, Justine (Garance Marillier), and a steamy moment where you begin to believe the movie is about to course-correct into a more familiar drama about being lost and desperately hoping to be found. However all bets are off when lovemaking with a car turns out far more productive than with her coworker, the former leaving Alexia pregnant and the latter devolving into a multi-room, multi-victim bloodbath that forces her to go into hiding by committing to an elaborate ruse that will have profound physical and psychological impacts.

Though the surreal, foreboding atmosphere never relents and disbelief and discomfort remain constant companions, Ducournau’s monstrosity (a term of endearment, in this case) evolves as a tale of two measurably different halves, distinguished not by quality but rather purpose as well as a noticeable shift in tone away from something fiercely feminine and toward brute masculinity. All the while this moody, bathed-in-neon head trip also morphs into something that for awhile seems out of reach; it becomes relatable.

French screen veteran Vincent Lindon provides a crucial link and the sledgehammer performance needed to match his co-star. He plays an aging fire chief who continues to mourn the disappearance of his boy Adrien ten years ago while blasting himself through with steroid injections, often to the point of collapse. When Adrien seems to reappear in police custody joy is soon replaced by concern over his son’s mute, sullen behavior. He attempts to integrate Adrien back into society, with mixed results.

In only her second film the 37-year-old provocateur is a rising star in her own right. The fact that she manages to turn so many negatives into a small but notable positive takes serious talent. But let’s not get things more twisted than they already are. There are many aspects that help inform the off-kilter vibe she’s going for — the rattling, industrial score and disturbing make-up work loom large — but not one thing, not one person commands your attention like newcomer Agathe Rousselle, an androgynous actor who burns up the screen, leveraging her lack of A-lister conspicuousness into one of the most compelling characters and performances this year has to offer, one that’s hauntingly human-adjacent.

The Palme d’Or winner at Cannes 2021, Titane might be memorable for timing alone, winning in a year in which the pomp and glam returns to the French Riviera after the event’s first hiatus since World War II. But Ducournau has the bizarre content and undeniable confidence to justify the strong reaction. Titane isn’t a crowdpleaser, it’s a crowd shocker, designed to start a conversation or quite possibly end one.

Not quite Titanic

Moral of the Story: I stop short of saying best movie of the year because ‘best’ is such an awkward term to apply to something so uncompromising and unusual, a movie touting a very challenging character to root for, no less. So to be more accurate Titane sits comfortably among the most unique cinematic experiences you are going to have in 2021. For all that is bizarre and unpleasant, I put it in the category of must-see-to-believe (or not). A stunning effort from a name already making noise in the industry. Spoken in French with English subtitles. 

Rated: hard R

Running Time: 108 mins.

Quoted: “My name is Alexia!” 

Strap in and hold on for dear life in the Official Trailer from Neon Productions here!

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited. 

Photo credits: http://www.impawards.com; www.chicago.suntimes.com

Malignant

Release: Friday, September 10, 2021

👀 Theater

Written by: Ingrid Bisu; Akela Cooper; James Wan

Directed by: James Wan

Starring: Annabelle Wallis; Maddie Hasson; George Young; Michole Briana White; Jake Abel

 

 

 

 

***/*****

Horror maestro James Wan returns to his stomping grounds with Malignant, an unabashedly strange film with a concept stretched like Playdoh to imaginatively icky extremes. Though featuring the gritty detective subplot of Saw, the creaky house tropes of The Conjuring and the mental trauma aspects of Insidious, the Australian has put together a delirious reel that feels different from the rest of his filmography (and more than a little David Cronenberg) with its spectacle of body horror.

The original story, a collaboration between Wan, his wife Ingrid Bisu and one-time American Horror Story writer Akela Cooper, opens with a creepy, adrenaline-pumping prologue at a Seattle medical facility before seemingly ditching it for the present day. Madison (Annabelle Wallis — Annabelle; Silent Night) lives in the suburbs with husband Derek (Jake Abel). They’re trying to have a child but Madison is struggling with the pregnancy. It takes no time to learn Derek is not a good support system. Returning home early from work after not feeling well, her concerns are met with resentment and eventually violence, leading to Madison experiencing a series of troubling dreams that turn out to be anything but dreams; they’re visions of murders happening in real time, one even involving her husband.

After surviving an attack from what she believes killed Derek she awakens in a hospital to even worse news. Wallis does not miss the opportunity to sell a mother’s anguish. Yet Wan and company have much more suffering on their minds as they put their fully committed lead through the wringer, scaling up her torment and ratcheting up the tension in steady increments. Braving a return to the same lonely house despite the gestures of her sister Sydney (Maddie Hasson) and insisting it’s “the one thing that won’t be taken” from her, she continues to experience harrowing scenes of people — those in the medical field, it seems — being hacked to death in their own homes. And rather than sweaty sheets she’s constantly “waking up” in a dried pool of blood on her pillow.

Meanwhile the authorities are rubbing their eyes red trying to make sense of the attack, which has been labeled a home invasion. The problem is the lack of evidence of breaking and entering, and weirder things like fingerprints with impossible orientations. Detectives Shaw (George Young) and Moss (Michole Briana White) may not quite appreciate what they have signed up for as digging into Madison’s apparently troubled family history brings about more questions than closure.

As they search for links between the victims and Madison circumstances only become more bizarre, each twist of the directorial knife getting more personal and . . . well, more twisted. That applies on an aesthetic level as well, the filmmakers deploying a number of creative camera stunts to pull us not so much into a world but a head space that’s never less than uncomfortable. Joseph Bishara’s shrieking score amplifies the mood. Transformative VFX early on not only communicate this uniquely cinematic sensation of being “there” with Madison, the motif helps prepare us for the full-on assault of insanity Wan commits to in the final stretches.

Marking a return to horror for Wan who has spent the last several years making big budget, commercial movies, Malignant proves he is not afraid of a little experimentation. It is also proof of the amount of goodwill he has built up in Hollywood. Original stories aren’t sexy anymore. Studios and ticket buyers have an increasing lack of adventurousness in common. It is difficult to part with your hard-earned cash on an unknown entity, even one helmed by an established director, when Marvel hardly needs the word-of-mouth to convince you Loki will be fun. Warner Bros. have gambled on Wan’s concept, itself a gamble on a modern audience’s willingness to go with the flow and to become absorbed in a singular experience.

Malignant is certainly an experience, one with a knack for tattooing its bizarre imagery into the back of your brain. Though the denouement leaves something to be desired, Wan unable to tame the beast as effectively as he builds it up, the majority of the film offers a unique challenge to viewers. This is a movie that you don’t watch so much as let happen to you. Like a freakish corporeal spasm the whole thing feels a little bit out of (your) control in the way a good horror should, twisting and reconfiguring into a pretty unpredictable beast. Those looking for something that feels grounded in reality, the door is right over there. 

“Who’s this joker?”

Moral of the Story: The most divisive horror movie I can recall in some time, Malignant goes for broke and very nearly breaks. Or for some viewers, it might be broken fairly early on. Either way, and despite my three-star rating (which I feel is strong, but not quite a rave) I would describe James Wan’s “new vision of terror” as a must-see. It’s in theaters and on HBO Max. For something so visually intense I’d highly recommend the theater setting. 

Rated: R

Running Time: 111 mins. 

Quoted: “It’s time to cut out the cancer.”

Get a taste of the absurdity in the Official Trailer #2 here! 

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited. 

Photo credits: http://www.impawards.com; www.hauntedmtl.com 

The Tomorrow War

Release: Friday, July 2, 2021 (Amazon Prime)

👀 Amazon Prime

Written by: Zach Dean

Directed by: Chris McKay

Starring: Chris Pratt; Sam Richardson; Yvonne Strahovski; Betty Gilpin; J.K. Simmons; Edwin Hodge

 

 

***/*****

The creatures at the center of Chris McKay’s fast-moving and action-packed sci-fi blockbuster are microcosmic of the overall experience of The Tomorrow War. You can’t take your eyes off them despite how familiar they are, an amalgam of iconic elements and concepts from bigger, more famous genre titles of years past.

It’s not looking good for us humble humans in the year 2051. The global population reduced to something in the hundreds of thousands, we’re well on our way to losing the war against the Whitespikes, a race of vicious creatures who look like some hybrid between H.R. Giger’s beloved Xenomorphs and the chaotic Mimics from Edge of Tomorrow (2014). In a last ditch effort, future people are time-traveling back to our reality to recruit citizens into the war effort because we regular Joes are literally the last line of defense. May as well cancel the sunrise at this point.

The gregarious Chris Pratt is our ticket in to experiencing this future hellscape for ourselves, charged with leading a platoon on what essentially amounts to a suicide mission into a world overrun with beasts that move with alarming agility and aggression and have this nasty tendency to shoot spikes from tentacled appendages. Pratt again proves to be a supportable hero though this time he disconnects more from his goofball persona to slip into the fatigues of career-depressed Dan Forester, a retired Green Beret now itching to retire from the grind of teaching high school biology to disinterested students.

Too ‘average’ to fit in at the Army Research Lab, Dan is handed (more like strong-armed into) an opportunity to fulfill a destiny, if not also risk his sanity. His number gets called and despite the protestations of his wife Emmy (Betty Gilpin — redeemed) whose experience as a therapist for returning survivors gives her a good idea of the best case scenario, he’s quickly on board for a one-week tour of duty in which the survival rate hovers at a miserable 30%. Those who do survive get beamed back to the present day from wherever they happen to be at the time. While a pre-jump exchange feels shortchanged between Dan and his estranged father James (a beefed-up J.K. Simmons), whose methods of dealing with his own PTSD have never sat right with his son, leaving behind his bright daughter Muri (a wonderful Ryan Kiera Armstrong) is the tear-jerking moment Zach Dean’s pedestrian screenplay flubs the most.

This brief snapshot of an average family life discarded with, we plunge headlong into the film proper, to the part everyone is anticipating. Blasting through the most hurried boot camp you’ve ever seen — mostly a loading platform where we pick up fellow goofball Sam Richardson as the nervous chatterbox Charlie and a dead-serious Edwin Hodge as Dorian, a jaded warrior on his third tour — we’re soon dumped unceremoniously onto the terrifying field, a visually stunning combo of war-ravaged metropolis, oceanic fortress and gorgeous locales both tropical and tundral. The future-world sets are the film’s best assets, a series of battlegrounds rendered both foreign and familiar and across which we rip on a death-defying mission to find the almighty toxin that can bring down these bastards once and for all.

In reaching for Interstellar-levels of wisdom director Chris McKay, in his first live-action feature film, misses the mark with only broad gestures toward its themes of redemption and familial sacrifice. After barely surviving Miami Beach and awakening in a military compound in the Dominican Republic Dan is brought face-to-face with a challenge greater than the physical ordeal. Australian actor Yvonne Strahovski ironically puts in the most emotional performance as the hardened Colonel Forester, who gives her trusted soldier plenty to think about à la Matthew McConaughey as his lonely little self slipped, preposterously, toward the singularity-cum-bookshelf.

Yes, almost by definition even the best sci fi are inherently ridiculous. Unfortunately The Tomorrow War lacks the emotional gravity and force of personality that can distract from overthinking. This is a blockbuster designed to keep your eyes busy and your analytical mind at bay. The film editors are key, masterfully sowing together the three major movements into one kinetic, fast-moving machine whose biggest malfunction is being forgettable pablum.

The Tomorrow War is likable, lively but ultimately shallow. However you could do a lot worse for an unwitting hero and for a piece of home entertainment. As yet another casualty of the COVID disruption, this two-hour wow-fest is found exclusively on Amazon Prime and is bound to rattle walls with its unrelenting energy.

“I’m court marshaling you for your Thanos-related antics. You really could have cost us, buddy.”

Moral of the Story: The living room may not be the ideal environment in which to take in a movie of such size and scale — The Tomorrow War is Amazon’s biggest film purchase ever, priced at an eye-popping $200 mil — but the convenience factor makes this derivative sci-fi yarn more attractive. 

Rated: PG-13

Running Time: 138 mins. 

Quoted: “If there’s one thing that the world needs right now, it’s scientists. We cannot stop innovating. That’s how you solve a problem.” 

Check out the (really long) Final Trailer from Amazon Prime here!

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited. 

Photo credits: http://www.impawards.com; The Atlanta Journal-Constitution

Free Guy

Release: Friday, August 13, 2021

👀 Theater

Written by: Matt Lieberman; Zak Penn

Directed by: Shawn Levy

Starring: Ryan Reynolds; Taika Waititi; Joe Keery; Jodi Comer; Lil Rel Howery

 

 

 

***/*****

Following more the logic of the heart than the brain, Free Guy is a whacky but entertaining circus of big visual effects, videogame Easter eggs, and shameless (more like proud) product placement for parent company Disney, which now owns the world. It’s also the perfect environment for Ryan Reynolds to flourish, one in which cutting loose and just doing you is the whole point. Or was supposed to be!

The movie’s big draw is of course Ryan Reynolds doing his typical Ryan Reynolds thing, but this is also literally a love letter to gamers and coders. Being knowledgeable about technical stuff will surely elevate the experience though by no means is it a requisite. Free Guy takes a surprisingly high concept approach to a basic template. This is all about a guy (lowercase ‘g’) pursuing his dream girl, a pretty classic convention often obfuscated by all the chaos. Very little here is designed to be stored in the long-term memory. Instead director Shawn Levy and his writing team work overtime to stimulate the pleasure center of the brain as often as possible, injecting silliness, cartoonish violence and a surprising amount of heart into one hyperactive summer blockbuster.

In an open-world game called Free City, Guy (Reynolds) wakes up each morning in a Groundhog Day loop of obliviousness to what this place really is and his role in it. His best friend is Buddy (Lil Rel Howery — Get Out; Bird Box), the cheerful security guard at the bank where Guy works as a teller. Neither has a clue that their lives are a programmed simulation. One day on his way to work he passes a woman humming a Mariah Carey tune and is smitten. He pursues her but unfortunately that train goes off the rails. However something profound has changed within him.

Molotov Girl’s the name and “Leveling Up” is the game he must play if he is to impress her. So of course the eternally upbeat and decreasingly naive Blue Shirt Guy plays along, but he won’t gain experience by doing what most players do — holding NPCs (non-player characters) hostage, blowing things up, generally being lawless savages. No, he’s going to do good deeds, a strategy that earns him Molotov Girl’s respect and a cult following. In fact he fast becomes a “player” of interest for many throughout the world plugged into Free City, represented in a series of stilted cameos by real YouTube celebrities and gamers.

His increasing autonomy also attracts the attention of game developer Antwan (Taika Waititi), for whom the brilliant code writers Keys (Stranger Things‘ Joe Keery) and Millie (Jodie Comer — Killing Eve; Star Wars: The Rise of Skywalker) work as dogs for their master. I mentioned before how very little is going to be remembered for long, and if you’re a fan of the Kiwi comedian that’s definitely a good thing. He’s actually pretty awful as the movie’s one-note villain whose whole deal is stealing other people’s work and being as insufferable as possible. In fairness, the character isn’t written to be anything more but his acting is of a quality where you suspect the director didn’t have the cohones to edit his Oscar-winner.

Maybe the director didn’t feel like meddling because he has so much on his plate. Free Guy is arguably over-ambitious, particularly considering a sequel has already been green-lit. What’s going to be left to tell? Yet for all that it is burdened with, the story moves pretty fluidly as it hops in and out of the game, an anarchic environment inspired by the likes of GTA, Fortnite and The Sims, with spirited input from the young Keery and Comer keeping us invested in the affairs of the real world. Concurrent to the Guy plot is a heist involving precious data which could incriminate Antwan and potentially save Free City from his future nefarious plans. To get there, Millie and Keys need to access a secret location called The Stash, and they could really use some help.

Combining the playground aesthetic of Ready Player One, the voyeurism of The Truman Show and The Matrix‘s march toward salvation, Free Guy is a Frankenstein of elements and homages that somehow ends up morphing into its own ridiculous thing. I mean, where else are you going to see Reynolds as an evil David Hasselhoff avatar whose coding is disturbingly incomplete and whose face is super-imposed on an actual bodybuilder? Okay, so I lied. That’s one thing you’re never going to forget from this movie.

Lucky Guy

Moral of the Story: Huge entertainment value trumps logical storytelling and one seriously annoying villain. Because I am a big fan of Ryan Reynolds’ comedic act Free Guy is probably my favorite blockbuster of the year. It’s far from perfect but it is really fun and super easy to get along with, even for non-gamers such as myself. 

Rated: PG-13

Running Time: 115 mins.

Quoted: “Is this what recreational drugs feel like?”

Check out the pretty sweet new music video for Mariah Carey’s Fantasy here! 

All content originally published and the reproduction elsewhere without the expressed written consent o the blog owner is prohibited. 

Photo credits: http://www.impawards.com; 20th Century Studios 

Together Together

Release: Friday, April 23, 2021 

👀 Theater

Written by: Nikole Beckwith

Directed by: Nikole Beckwith

Starring: Ed Helms; Patti Harrison

 

 

 

 

****/*****

More than an acting showcase for its two leads, Nikole Beckwith’s romantic comedy Together Together is a wonderfully subversive effort that reconfigures the way we look at intimate relationships and how they can be formed.

If not wholesale reinvention — structurally this is still beholden to a formula — her sophomore feature film, following 2015’s psychological drama Stockholm, Pennsylvania, proves there are still nooks and crannies to explore within an overcrowded genre rife with trite titles. Written and directed by Beckwith, the story tells of a pair of strangers brought closer together through the shared experience of a surrogate pregnancy and how they reconcile the ephemeral nature of their connection. So the movie builds from an already intriguing and specific place. When you add in the sensational performances from Ed Helms and transgender actor Patti Harrison, you have something pretty special.

The film’s penchant for surprising you begins with the characters. In a career-best performance Helms plays Matt, a 40-year-old app developer who wants to start a family but the pieces just haven’t come together. What reads on paper or might come across in another rom-com as a potential sad-sack is brought to life by Helms as an average Joe with an unyielding optimism that makes you gravitate to him quickly, warts and all. Matt is undeniably an awkward dude, but his bouts of overbearingness and invasiveness come from genuine caring and excitement. His confidence and sense of purpose separate the character somewhat from the archetypal drifter or forever bitter man-child. It’s the fact his search for fulfillment involves having offspring rather than hooking up that makes him a rare breed of male rom-com lead.

Similarly, the pregnancy does not define the woman. Matching the established funnyman stride-for-stride, and in many instances besting him, is Patti Harrison in her début lead role. As Anna, the relative newcomer brings an authenticity that seems effortless. She, a 26-year-old single woman working as a barista, is of an obviously different social sphere and, less obviously but more significantly, a different background than Matt. Her own past is marked by controversial decisions that have led to strained familial relationships. In contrast to Matt’s to-a-fault enthusiasm Anna is more enigmatic and downbeat, not morose or depressive but rather more emotionally conservative despite the chaos under the surface. She also has aspirations beyond helping Matt fulfill a dream, using the money she will make from the transaction to fund her college tuition.

While Beckwith’s story is most interested in the awkward tension between her two principles, she also has an eye on external factors, such as the social norms that compel outsiders to speculate, judge, assume and/or in some way push back against something they view as weird or even amoral. In supporting roles (not all of which are necessarily supportiveTogether Together features the likes of Fred Melamed (In A World. . .; A Serious Man) and Nora Dunn (Pineapple Express; Bruce Almighty) as Matt’s parents, the latter the most overt representation of disapproval. Tellingly, Anna’s parents never appear on screen.

Conspicuous meta commentary on infamous Hollywood perverts notwithstanding, this is a charitable movie that considers a lot of different perspectives, and those who aren’t necessarily supporting the team aren’t made out to be villainous. Others, if not fully-realized characters, are at least enjoyable to be around: Tig Notaro warmly plays a therapist who monitors the not-couple’s psychological and emotional progression across the weeks, while Sufe Bradshaw (Murder Mystery; VEEP) as an irritable technician and Julio Torres, in his first feature film appearance as Anna’s self-destructive coworker Jules, are here to kick the comedy factor up a few notches.

What’s impressive is the way Beckwith keeps the parameters of a more traditional romantic plot in place (the awkward dinner, the moving in together, the “break-up” and reconciliation) while never losing sight of the unique stakes. Rather than feeling like lazy checkpoints the tropes feel entirely plausible and, with the exception of a couple of overly quirky scenes, natural.

Delivered in three distinct acts turned appropriately into trimesters, Together Together opens with an interview as Matt vets Anna as a potential surrogate. These candid minutes are the first uncertain moves in what ends up becoming a complex, difficult and ultimately rewarding dance that the two characters engage in on a journey from strangers to something more than friends but less than lovers. The tricky part is not getting too emotionally attached. As it turns out, that might be even harder for us as viewers than it is for the participants.

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Moral of the Story: Short, sweet, and as poignant as it can be funny, Together Together doesn’t set a new standard but it comes with a level of humanity that feels really rare in the genre. Even better, there is such great balance from a writing standpoint, neither character or their concerns overshadowing the other. Nikole Beckwith’s compassionate, sensitive direction is not to be taken for granted. Now streaming on Hulu. 

Rated: R

Running Time: 85 mins. 

Quoted: “It’s weird to be perceived as hopeless in this moment when I’m feeling incredibly hopeful.”

Get a taste of the meet-awkward in the Official Trailer from Bleecker Street here! 

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Photo credits: http://www.impawards.com; www.nytimes.com