Tag Archives: #moviereviews

Air

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Release: Wednesday, April 5, 2023

👀 Theater

Written by: Alex Convery

Directed by: Ben Affleck

Starring: Matt Damon; Ben Affleck; Jason Bateman; Viola Davis; Chris Tucker; Marlon Wayans; Chris Messina

Distributor: Amazon Studios

 

***/*****

Air is a sports drama detailing the birth of the Air Jordans, the Nike shoe line that would change the sports marketing landscape forever. It may not be the kind of material that gets the adrenaline flowing in the traditional way, but Ben Affleck and a star-studded cast bring the brand recognition necessary to make a film about footwear actually fun.

Directed with verve by Affleck, with a script provided by Alex Convery, Air plays out as a corporate underdog story about how Nike, then a distant third to rivals Adidas and Converse, managed to woo a young Michael Jordan to the most lucrative athlete endorsement deal in history. It’s also a total time capsule of a movie, shuttling us back to the era of questionable fashion, big hair and the beeper. The opening montage pulls us down a tunnel of 80s nostalgia before settling on 1984 and a blocky brick building in Beaverton, Oregon.

It’s in these relatively limited confines of the Nike corporate headquarters where Robert Richardson’s camera swooshes through like a nervous intern trying to identify where all the most important rooms are, taking us into the lab where dust gathers compared to the way in which things are about to change. Everything including the mood seems to be trending downward, red lights flashing. It’s this limited line of sight that makes Air not the victim of predictability, but rather the beneficiary of hindsight and dramatic irony. 

Nike founder, CEO and meditator-in-chief Phil Knight (Affleck) is particularly concerned over the future of his basketball shoe division, which is coming off of an annual loss. He taps brash talent scout Sonny Vaccaro, portrayed by an affable (and out of shape) Damon, to find a new spokesperson. Vaccaro, in essence the star and to whom the film plays as a belated thank-you note, believes Nike’s saving grace is in getting Jordan to sign with them. Convincing the 21-year-old hot shot to walk away from his preferred choice (Adidas, then the market leader) isn’t going to be easy. And as marketing VP Rob Strasser (Jason Bateman) doggedly reminds him, even less financially viable. 

Vaccaro wants to allocate their entire $250,000 budget to attracting a player who he sees as a generational, franchise-changing talent. He will differentiate Nike from the field by not just building a shoe, but custom designing a product specifically for MJ, despite him not yet having played a minute of pro ball. Matthew Maher portrays designer Peter Moore, whose conception of the name ‘Air Jordan’ serves as an amusing bit of controversy. Of course Vaccaro’s plan is met with heavy skepticism, not just from his colleagues but from Jordan’s ruthless agent, one David Falk (Chris Messina, whose research seems to have been heavily based on Jeremy Piven in Entourage). 

Staking his entire reputation on a hunch while incurring the wrath of the super agent in the process, Vaccaro packs his car for Wilmington, North Carolina, where he plans to speak directly to the parents, James (Julius Tennon) and Deloris Jordan (an outstanding Viola Davis, acting alongside her real-life husband). As MVP of the movie Davis exudes the appropriate gravitas of Mrs. Jordan, the x-factor. This woman knows how to negotiate. With crystal ball clarity she lays out the future — Michael will be the icon to which the NBA will hitch its wagon, not the other way around. Accordingly, she expects her son to be given his share of the pie. (In its first year of sales, the Air Jordan brought in $126 million, against a projected $3 million in three years.)

Despite the title Air stays grounded in reality. With the exception of the big pitch scene at Nike HQ where again Vaccaro finds himself going off-script, very little about the dialogue feels heightened for a Hollywood-friendly flavor. Tension is derived from real world concerns over reputation and livelihood rather than some fabricated event. To that extent, most of the characterization is restricted to professional ambition. There are hints at complications beyond the office, and Bateman has a good scene where he confides what’s at stake for him, personally, should Vaccaro not pull this stunt off, but the plot mostly keeps the focus on the business at hand.

Air is a highly specialized movie to the point where Jordan himself barely registers as a blip. Instead he hangs around the edges of the frame, unknowable for now and untouchable later. That we don’t much notice he doesn’t have a single line of dialogue speaks to the engrossing nature of these conversations. 

If you build it, they will fly

Moral of the Story: A sports story almost entirely lacking the cliche one expects out of the genre, Air undoubtedly is a movie that requires some knowledge of basketball history and a fandom for the game itself. At the same time, the star power goes a long way in making the esoteric more accessible and interesting. You could consume this crazy true story as an uplifting drama about career ambition and the power of self-confidence. Streaming now on Amazon Prime. 

Rated: PG-13

Running Time: 112 mins.

Quoted: “A shoe is just a shoe.”

“. . .until my son steps into it.”

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 

On the Count of Three

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Release: Wednesday, August 17, 2022 (Hulu)

👀 Hulu

Written by: Ari Katcher; Ryan Welch

Directed by: Jerrod Carmichael

Starring: Jerrod Carmichael; Christopher Abbott; J.B. Smoove; Henry Winkler; Tiffany Haddish 

Distributor: United Artists Releasing

 

 

****/*****

Jerrod Carmichael is a stand-up comedian known for pushing the envelope with his sets. Now he transposes that edginess to the big screen with his stunningly bold directorial debut On the Count of Three, a radical application of the day-in-the-life style narrative wherein two lifelong friends form a suicide pact.

With supreme confidence the 36-year-old not only directs and produces but also plays Val, a mulch factory worker who has lost the will to live. Following a failed attempt to take his own life, one afternoon he up and quits his job, stops talking to his pregnant girlfriend Natasha (an excellent Tiffany Haddish in limited capacity) and goes to free his friend Kevin (Christopher Abbott) from the psychiatric facility where he’s being kept following his own recent suicide attempt.

He then drives them in his Jeep to behind a strip joint during off-hours and, presenting a pair of pistols, explains to Kevin they have a chance to finally put their suffering behind them, once and for all. Before they go through with the act Kevin convinces Val they should at least celebrate their last day together. If nothing else, they can spend their final hours putting right a few wrongs, bringing their own kind of justice to the doorstep of those who they feel most deserve it.

What ensues is the kind of nomadic trundling you get in a Duplass brothers misadventure, except everything here feels dangerous. This is a movie that truly lives in the moment, a dark thrill ride marked by impulsive behavior and underpinned by a ceaseless, queasy tension. While Val has unfinished business with his abusive alcoholic father (an impressively against-type J.B. Smoove) who still owes his son the thousands of dollars he stole from him years ago, all paths lead to a showdown with one Dr. Brenner (a slimy turn from Henry Winkler), the psychiatrist who sexually abused Kevin as a child.

The script by Ari Katcher and Ryan Welch swims in a morass of strong emotions and twisted morals. Even at a brisk 86 minutes it can be challenging to endure, but like Owen Pallett’s score, a moody accompaniment that’s ominous one scene and almost whimsical in another, their story prefers variation over monotony. There is hope and even humor in this desperate last hoorah, one that also involves impromptu dirt bike races, a confrontation at a gas station (with entirely unexpected results) and exhilarating cop chases.

Finding a way to turn a positive out of so many negatives, On the Count of Three is made not just possible but palatable through the compassion the filmmakers demonstrate. That really comes through in the quality of the performances; while everyone takes their role seriously, Carmichael and Abbott, through wildly contrasting emotional registers, carry pain in a way that doesn’t feel performed as much as lived. The commitment results in a powerful testament to the support system of friendship, as well as a scathing indictment of the failure of institutions and of individuals who should know better.

** If you or a loved one is in crisis, please reach out to the National Suicide Prevention Lifeline at 1-800-273-TALK or the Crisis Text Line (Text ‘TALK’ to 741741) to talk to someone who can help. **

Moral of the Story: On the Count of Three is not casual moviegoing fare but it’s also not an exercise in audience abuse, even when the mood remains heavy and dialogue cuts deep. While I do think this is a very important movie to have been made, I struggle to fully recommend such upsetting material to a wide audience. 

Rated: hard R

Running Time: 86 mins.

Quoted: “Thanks for hitting my dad in the head with the tire iron. You’re a good friend Kevin.”

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 

Marcel the Shell with Shoes On

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Release: Friday, June 24, 2022 (limited)

👀 Showtime

Written by: Dean Fleischer Camp; Jenny Slate; Nick Paley

Directed by: Dean Fleischer Camp

Starring: Jenny Slate; Dean Fleischer Camp; Isabella Rossellini; Thomas Mann; Rosa Salazar; Lesley Stahl

Distributor: A24

 

*****/*****

For a movie whose star stands a whopping one-inch tall, Marcel the Shell with Shoes On packs a sizable emotional punch. A runner-up at the 95th Academy Awards in the Best Animated Film category, this gentle reminder of the importance of friendship, community and bravery in the face of uncertainty finds the little guy really coming out of his shell as he tries to reunite with his extended family.

Shot in stop-motion and at basically ankle-height, Marcel the Shell with Shoes On acts as a continuation of a series of YouTube short films featuring the talkative, inquisitive little mollusk but it ups the ante in terms of the challenges he faces and territory he has to cover. At his size he obviously has to deal with the physical obstacle course of navigating ordinary household objects — the laundry room is a particularly treacherous place — but this is also a journey of self-discovery that will require him to face some of his biggest fears, a prospect that may sound cliché but is handled in surprisingly mature and interesting ways.

Once part of a bustling community of shells, Marcel, whose whispery, childlike voice is rendered in a seemingly impossible pitch by SNL alum Jenny Slate, now lives only with his grandmother Connie (Isabella Rossellini) and his pet lint Alan. They reside in an Airbnb whose previous occupants (Thomas Mann and Rosa Salazar) fought so much Marcel and company came up with designated fall-out shelters to retreat from the chaos. Unfortunately that plan backfired during a particularly bad blowup and the group got split up. Since then the two have managed to eke out a quiet if lonely existence, spending their days in the garden and their nights in front of the TV sharing a mutual admiration for 60 Minutes host Lesley Stahl.

Our way into this world is through aspiring filmmaker Dean (Dean Fleischer Camp) who has just rented the place following some turmoil in his own life. Empathetic to his housemate’s situation but also impressed by his resourcefulness and positivity he decides to film Marcel’s daily activities and uploads the footage to the internet, which then goes viral. Complications arise when Marcel reaches out to his rapidly growing fanbase for help in tracking down his family — a development that ends up bringing new levels of stress and danger to their doorstep.

The pitfalls of the internet may not be as topical a theme as it was when Marcel first debuted on YouTube, but the concept opens up the movie in ways that are unexpectedly affecting. As the national media get involved — even the 60 Minutes crew reaches out with a request for an interview — Marcel grows more resistant to the idea of allowing more strangers into his life and possibly destroying what little he has left. Yet Connie, ever a beacon of wisdom, urges her grandson to embrace the opportunity for personal growth and to live a life that’s meaningful.

The collaborative screenplay (by Camp, Slate and Nick Paley) is surely heartwarming but the craftsmanship takes the experience to another level. Scaled down to proportions that are amusing but also practical and lifelike (where else are you going to find tennis balls being repurposed as vehicles, or the muzzles of champagne bottles functioning as upscale furniture?) Marcel’s world is the beautifully ergonomic result of some clearly painstaking effort — one careless bump of an elbow or a knee and the whole scene, the whole world falls apart. The minutiae of stop-motion animation is a labor of love that puts to shame some of the most elaborately detailed CGI showdowns.

The aesthetic makes it tempting to describe Marcel the Shell with Shoes On as a playful thing destined to be limited to a younger audience. But just as there are new things to discover in the nooks and crannies of just about every shot, there is an undercurrent of melancholy, even darkness to the story — to a few of Marcel’s pithy observations about the world around him. The dialogue is as witty as it is incisive, like a precocious child unaware of their own impact. 

While there is some drag to the running time and some of the plot points feel rushed, the filmmakers justify the big-screen treatment by making Marcel’s journey a universal experience, one of human emotion and connection rather than just a series of cutesy questions and observations remarking on his diminutive stature. There’s significant growth for our protagonist, which seems a weird thing to say about a shell, but there you go.

setting up the IMAX screening for the public

Moral of the Story: I was expecting to get along great with the Marcel the Shell movie; I was not expecting to be moved as deeply as I was by it. A beautiful, bittersweet little adventure that has something to offer viewers of all ages. 

Rated: PG

Running Time: 80 mins. 

Quoted: “My cousin fell asleep in a pocket and that’s why I don’t like the saying, ‘everything comes out in the wash,’ because sometimes it doesn’t. Or sometimes it does and they’re just like a completely different person.”

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

The Elephant Whisperers

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Release: Thursday, December 8, 2022 (Netflix)

👀 Netflix

Directed by: Kartiki Gonsalves

Starring: Bomman; Bellie; Raghu; Ammu

Distributor: Netflix

 

*****/*****

The Elephant Whisperers made history at the 95th Academy Awards by becoming the first Indian production to win the award for Best Documentary Short Film. It is the first time since 1979 that the nation, the second most populous on earth, even got a seat at the table in this category. The recognition may be a long time coming but this enlightening and heartwarming exploration of man’s relationship with nature is a real winner.

Directed by Kartiki Gonsalves, who spent years getting to know her subjects, The Elephant Whisperers takes us inside the Theppakadu Elephant Camp, an expansive stretch of forest in the southern Indian state of Tamil Nadu originally purposed in the early 1900s for timber logging but has since become government-protected land dedicated to rehabilitating and nurturing orphaned and injured elephants. Situated inside the larger territory of the Mudumulai National Park, the camp also serves as a popular tourist destination where visitors can feed and ride the majestic animals.

Lucky for us, The Elephant Whisperers provides much more than a casual meet-and-greet and doesn’t require advanced bookings to get in. We are introduced to caretakers Bomman and Bellie, distinguished for their efforts in successfully raising not one but two elephant calves — the coconut-loving Raghu and his younger sister Ammu. The film charts the course of how the two (human) stars met and how their own relationship has been strengthened over the months and years, while also touching on the heartache and loss that permeate their pasts.

What makes The Elephant Whisperers special is the profound sense of connectedness Gonsalves manages to capture, on scales both large and small. The film is full of tender moments that prove the stunning cache of trust the kindhearted mahouts have built up through time and dedication. Some scenes are quite powerful, whether it’s the presence of animals as Bomman and Bellie tie the knot, or the way Ammu expresses emotion with her trunk — a particularly moving gesture in the context of a heartbreaking development.

That connectedness extends to cultural and ecological aspects. As members of the Kattunayakan community, a foraging tribe native to the southern regions of the country, Bomman and Bellie are committed to the same tradition and labor as their ancestors and contemporaries. Through generations the Kattunayakans have maintained a symbiotic relationship with their environment, subsisting on the bounties of the forest while also protecting it and its inhabitants. Invariably there’s a dark side to this uplifting story, as we see how the ravages of climate change threaten not just Bomman and Bellie’s way of life, but the delicate, harmonious balance that exists amongst the flora and fauna of the reserve and well beyond.

In only 40 minutes The Elephant Whisperers provides a wealth of eye-opening information. Bomman and Bellie’s parental responsibilities are sometimes dangerous, always demanding and seem never-ending. What becomes clear quickly is this untraditional child-rearing is far from a thankless task, and seems therapeutic for a couple who, now in middle-age, have suffered their share of loss and heartache.

Raghu enjoys a bath

Moral of the Story: Deeply moving and featuring some gorgeous imagery, The Elephant Whisperers takes a positive and uplifting approach to a subject that could easily be told another way. Kartiki Gonsalves touches upon some of the issues facing people like Bomman and Bellie, but prefers to keep the emphasis on celebrating their unique dedication to these wonderful, incredibly intelligent animals. A highly recommended watch.  

Rated: PG

Running Time: 41 mins.

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

Photo credits: http://www.imdb.com 

Knock at the Cabin

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Release: Friday, February 3, 2023

👀 Theater

Written by: M. Night Shyamalan; Steve Desmond; Michael Sherman

Directed by: M. Night Shyamalan

Starring: Dave Bautista; Ben Aldridge; Jonathan Groff; Nikki Amuka-Bird; Abby Quinn; Rupert Grint; Kristen Cui

Distributor: Universal Pictures

 

***/*****

A compelling moral dilemma takes center stage in M. Night Shyamalan‘s new film Knock at the Cabin, a home invasion thriller set in remote Pennsylvania and at the edge of the apocalypse. Adapting the 2018 novel The Cabin at the End of the World by Paul Tremblay, Shyamalan may not be working from scratch, and by all accounts the book and the movie are different beasts, but for at least the first half this is one of his stronger efforts in some time. 

Knock at the Cabin finds the 52-year-old director working in rare R-rated territory, following only 2008’s The Happening. Spoiler alert, this experiment is a little more convincing, even if it fizzles out in the end. Thirty-something dads Andrew (Ben Aldridge) and Eric (Jonathan Groff) have taken their seven-year-old daughter Wen (Kristen Cui) to a quaint cabin in the Pennsylvania wilderness for some R&R. As Wen scouts the surroundings for grasshoppers to collect in her terrarium she is approached by a mountain of a man, Leonard (an outstanding Dave Bautista), who does everything he can to reassure the little girl he isn’t here to harm anyone.

The former wrestler embraces the opportunity to play a more nuanced, emotionally conflicted role and excels in it. A contradiction of menacing size and gentle demeanor, Bautista is the movie’s MVP by far. Leonard says he has urgent news to deliver and feels terrible about what it’s going to do to a nice family. Attempts to break the ice fail when three other individuals appear behind him, each carrying some kind of homemade weapon, causing Wen to flee inside to alert her parents. Leonard insists on diplomatic methods and repeatedly states a desire to avoid violence. But the best laid plans still end up with someone more fuzzy-headed than they should be, and a child bearing witness to more bloodshed than was ever intended.

The foursome — Leonard, a schoolteacher; Sabrina (Nikki Amuka-Bird), a nurse; Adriane (Abby Quinn), a restaurant cook; and Redmond (Rupert Grint), the loose cannon fresh off a stint in jail — claim to have been guided to this particular cabin after having experienced a shared vision of the end of days. They say they don’t know each other. With deep exhales they also state that the inhabitants are the only ones who can help prevent catastrophe, but in order to do so the family will have to sacrifice one of their own or else humanity will slip into an unending darkness. As if that’s not enough, the act has to be voluntary and suicide doesn’t count.

With his latest stress test Shyamalan proves to be more a master technician behind the scenes than a powerful messenger behind the pulpit. For what essentially amounts to a chamber piece, Cabin is a surprisingly dynamic viewing experience, chockablock with unconventional camera angles pulling us in further when we want to lean back. Other choices are commendably economic — once again a TV becomes an important narrative device to connect us to the outside world, although the service it provides is nowhere near as chilling as it was in Signs. And the way he integrates flashbacks is not as interruptive as it could be; in fact in some ways the unpleasantries dealt with here only add to the stress of the present.

Regrettably, it’s when the film goes big that it also gets weaker. In guiding us away from what might be to what actually is, Shyamalan struggles to make what’s preordained feel organic, to convince us that the choices being made are not the whims of a writer but rather the results of selflessness and excruciating introspection. Even worse, in choosing his own sentimental ending he invites mockery and criticism rather than profundity — not of his actors and the family they create, but of the logic that dictates who gets to live and who doesn’t. 

It’s not that Shyamalan is out of his depth thematically here; elements of faith and denialism have found their way into much of his work, whether it’s a priest having a personal crisis amidst an alien invasion or a kid coming to terms with the fact his dad is an actual superhero. (And in the aforementioned, other-R-rated offering, you just had to hold on to the hope he hadn’t lost his touch.) With Cabin, he gives us another provocative situation and draws out some great acting from his small cast. In the end, it may be a case where some things are just better left unexplained. 

Knock knock . . .

Moral of the Story: One of Shyamalan’s better efforts, despite its flaws. The performances (beyond Bautista) are all solid, as is the hook. A really strong first half gives way to a less satisfying third act where the direction becomes more forceful and in that way less natural. 

Rated: R

Running Time: 100 mins. 

Quoted: “Maybe the truth is that the end was happening long before we got to this cabin. And what we’re seeing now isn’t the fireworks. It’s just the final flickering sparks.”

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 

Cocaine Bear

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Release: Friday, February 24, 2023

👀 Theater

Written by: Jimmy Warden

Directed by: Elizabeth Banks

Starring: Keri Russell; O’Shea Jackson Jr.; Alden Ehrenreich; Isiah Whitlock Jr.; Margo Martindale; Ray Liotta; Brooklynn Prince; Christian Convery

Distributor: Universal Pictures

 

**/*****

Touting a game cast, an interesting director in Elizabeth Banks and just enough gore to please Quentin Tarantino, Cocaine Bear has the ingredients to be a rollicking good time. Adding to the novelty is the opportunity to see Ray Liotta in one of his final roles. Frustratingly several less interesting elements compete for your attention in an already paper-thin narrative loosely based on a real event.

In September 1985 a small airplane trafficking cocaine from Colombia went down in southern Appalachia. The body of the pilot, whose parachute failed to open, was found in a Tennessee neighborhood and the goods scattered across the TN/GA state line in the wilderness. A curious black bear, some 300 pounds lighter than the impressive CGI behemoth we see here, happened upon the packages and was found dead soon thereafter, its stomach stuffed full of powder.

Notably no one was hurt or killed, which of course doesn’t make for a particularly eventful movie, so embellishment is needed. What if instead of dying the bear went on a rampage in search of its next fix? That’s the long and short of this willfully silly story. It doesn’t need to be complicated. It does, however, need to be entertaining but the sweet release that comes with watching an ursine coke fiend go apeshit is hard to come by, particularly in the first half. In fairness, Banks attempts to craft some level of humanity, but it also seems like she’s over-engineering a simple adrenaline rush.

The cast of Hollywood actors feels a little distracting for a movie taking place essentially on a hiking trail (we’re mostly hanging out at Blood Mountain, a popular hiking spot in northern Georgia) but the tradeoff is professional actors can make believers out of you, no matter how silly the situation. Stand-outs include Alden Ehrenreich moping around as a drug dealer with a broken heart, Margo Martindale juggling her romantic life with her duties as a Chattahoochee park ranger and Ray Liotta sweating hard from the heat he’s feeling from his concerned Colombian bosses.

Keri Russell gets an “emotional” arc as a single parent in pursuit of her runaway daughter (Brooklynn Prince), who skips school with her friend (Christian Convery) to have adventures in the woods, only to become the first (humans) to encounter one of the packages strewn throughout the foliage. Far less interesting is Isiah Whitlock Jr. as an overzealous detective in desperate need of a doggie sitter as he jumps jurisdictions to track down these dopey dealers.

At BEARly 90 minutes in length it is a surprisingly tedious wait for things to get good. You need some reason to care about developments but maybe a short film would have suited this material better. Cocaine Bear delivers what is expected in random bursts. However, the campiness Banks is clearly going for is reduced rather than enhanced by banal observations about relationships and the evils of drugs. At least the human-animal interactions make that of The Revenant look like a date with Winnie the Pooh. 

The bearable weight of massive talent

Moral of the Story: Just say ‘No’ to this crazy-but-not-nearly-as-crazy-as-it-could-have-been comedy-thriller. Cocaine Bear is a film at odds with itself — not quite camp enough to feel like a legitimate B-movie and too limited from a script standpoint to be considered anything other than a gimmick. The so-named Pablo Escobear looks good enough for a close-up though. Spectacular CGI work from the guys over at Wētā FX. 

Rated: R

Running Time: 95 mins. 

Quoted: “I trusted you! The state of Tennessee trusted you! The United States of America, it trusted you!”

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

Photo credits: http://www.imdb.com 

GoldenEra

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Release: Thursday, August 25, 2022 

👀 YouTube 

Directed by: Drew Roller

Starring: David Doak; Grant Kirkhope; Brett Jones; Karl Hilton; Graeme Norgate

Distributor: Cinedigm 

 

 

***/*****

For people of a certain age, few gaming titles sound the gong of nostalgia in the way GoldenEye 007 does. GoldenEra is a documentary that is clearly born out of that sentimental froth but it also reminds us why it’s more than just happy memories that make the companion game to the 1995 James Bond movie so significant. 

As might be inferred from the title, GoldenEra embraces an impressive scope with a timeline spanning years and which goes well beyond the August 25, 1997 release of the landmark Nintendo 64 game. Director Drew Roller delivers what feels like a pretty comprehensive point of view, and secures interviews from a wide range of sources, including key members of the GoldenEye 007 design team, to reflect on the astounding influence the early FPS ended up having from a technological and cultural standpoint. 

A lively mix of archive footage, talking heads and playful graphics, the early parts of the documentary are some of the most fascinating, the most endearing, whether taking us into the clandestine lairs of British game developer Rare — a literal barn in rural England in which stables had been converted into low-overhead offices — or introducing the renegade batch of first-time coders (and in one case, recent college graduate) who had no roadmap for what they were doing. They had, in fact, never developed a game before and learning how the perfect confluence of factors enabled them to do their thing unencumbered is some kind of revelation.

Their brief time in the spotlight may be excused in view of everything Roller is endeavoring to take on here, looking as much to the past as he does the “future” with nods toward the early 3D games it followed (Doom; Wolfenstein), as well as modern titans such as Call of Duty and Halo that owe much to GoldenEye 007‘s endearingly low-res concepts. On the other hand, the time he chooses to spend on other aspects seems like unnecessary filler, particularly a section on speed-running the levels and the various fan-made media that have been spun out of a love for the original.

There’s a lot of talking, and the fervent expulsion of enthusiasm can be hard to match if you don’t call yourself an avid gamer. That doesn’t mean a lot of the information isn’t interesting. Highlights include horrendously missed deadlines and the tension associated with selling family-friendly Nintendo on hosting this more violent, realistic game on their shiny new console. The fool’s errand of trying to replicate the success of the original leads to some interesting speculation, and a reminder of what made Perfect Dark a cool if still imperfect spiritual successor.

Released upon the 25th anniversary of the game’s release, GoldenEra is a documentary that goes to a lot of different places but always pivots around the basic tenet of having fun. Roller’s unabashed enthusiasm makes this nostalgia-driven trip back in time surprisingly dynamic. Despite a tendency to occasionally veer off mission GoldenEra offers up a slice of pixelated heaven for fans of the game and the movie. 

The man, the myth, the guy you probably shot every time you played the Facility level

Moral of the Story: With so many perspectives and angles considered, it’s hard not to look at GoldenEra as the definitive take on one of the most influential video games ever created. I personally enjoyed the more behind-the-scenes stuff up front but there’s a lot to take away from this love letter to video games, no matter what your experience level is. 

Rated: NR

Running Time: 100 mins. 

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

Photo credits: http://www.imdb.com; Drew Roller 

Vengeance

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Release: Friday, July 29, 2022

👀 Amazon Prime

Written by: B.J. Novak

Directed by: B.J. Novak

Starring: B.J. Novak; Boyd Holbrook; Issa Rae; J. Smith-Cameron; Dove Cameron; Ashton Kutcher 

Distributor: Focus Features

 

 

***/*****

The Office alum B.J. Novak is no stranger to awkward situations, whether writing them or being the source of them. So it’s not that surprising he’d break into feature filmmaking with a culture clash comedy full of hilariously uncomfortable moments. Vengeance is more than a one-trick pony though; it’s an impressively assured début built around an intriguing mystery from which some sharp observations about modern society are spun off. Some developments are questionable but they mostly work in service of creating this very specific and authentic American experience.

Novak not only writes and directs but stars as Ben Manalowitz, a New York-based journalist and podcaster who lives in the high-rent district and enjoys a hedonistic lifestyle of casual hookups. As the movie begins the camera pulls in on a rooftop party where he debates the pros and cons of his noncommittal attitude with his equally unscrupulous friend John (John Mayer). Ben has had success already in his career but he doesn’t seem entirely satisfied and confides in his highflier producer-friend Eloise (Issa Rae) that he aspires to create a story that will resonate with everyone.

Eloise thinks he just lacks a human focus, arguing that people rather than ideas are what make stories interesting. That is until Ben receives a random phone call in the middle of the night from a man named Ty Shaw (a really good Boyd Holbrook) claiming that his younger sister Abilene (Lio Tipton), one of Ben’s recent one-night stands, has been found dead and he wants Ben to attend the funeral in West Texas, thinking he was a serious boyfriend. In one of the more unbelievable twists of the script he agrees to fly out and meet the family — mother Sharon (J. Smith-Cameron), younger daughters Paris (Isabella Amara) and Kansas City (Dove Cameron), sons Ty and Mason (Eli Abrams Bickel) and grandma Carole (Louanne Stephens). Somehow he makes a good impression despite delivering one of the worst eulogies you’ll ever hear.

No sooner has Ben committed his first faux pas is he being roped into a possible conspiracy surrounding the nature of Abilene’s passing. Although the death was ruled an overdose by authorities, Ty is adamant his sister never did drugs and suspects murder. He wants his city slicker pal to help him bring justice, extrajudicially of course. Ben, ever the opportunist, smells a story brewing, even if emerging themes of drug-related death and denialism feed right into his prejudiced assumptions about what goes on in backcountry Texas. Is Abilene merely another statistic or is there validity to Ty’s theories?

As Ben digs in deeper the more complicated the truth appears and the bigger the story seems to grow. Yet he can’t help but also question his own motives as he gets a better understanding of what Abilene meant to her family. As the investigation heats up Novak takes us into increasingly seedy territory and introduces a parade of capital-C characters, such as Ty’s wild-eyed friend Crawl (Clint Obenchain) who speaks ominously about “The Afterparty,” a plot of land near some oil fields where partygoers are often found dead. A low-level member of the cartel (Zach Villa) drops the act behind closed doors. There’s also the mysterious Quentin Sellers (Ashton Kutcher), an eloquently spoken record producer who has come to adopt Texas as his home. He proves to be quite the sound bite and one of the more interesting characters Kutcher has played in some time.

Vengeance begins its life as a simple misunderstanding that spirals into a broader moral conundrum that you’ve seen in a number of movies before. Novak doesn’t shy away from using tropes to carry out his central mystery and while many of them are effective (an extended scene at a rodeo is classic cringe, truly worthy of The Office) some are actually kind of problematic — the resolution in particular seems, at best, ironic and unrealistic. At worst, it’s a little self-serving and naive. Really this is no more offensive than the gentle slap on the wrist he gives the media about the role they play in shaping individual narratives and perceptions about other people.

Funny, poignant and hellaciously awkward at times, Vengeance is a black comedy that marks a confident and natural début for Novak, even accounting for the occasional lack of grace and less believable turns of fate. His film feels researched well enough to not come across as some amateurish ranting on what is ailing America. He captures the zeitgeist with something that is both entertaining and enlightening.

Gut-check time

Moral of the Story: As a commentary on the rural/urban divide, it’s nowhere near the lecture you might think it could be, but there is some on-the-nose dialogue here and there. However Vengeance is made with earnestness and though the story is not 100% convincing, the setting as a lived-in reality absolutely is. On another, maybe lesser note, it’s a good example of what Ashton Kutcher can do with solid material. 

Rated: R

Running Time: 107 mins.

Quoted: “I’d probably say that nobody writes anything. All we do is translate. So if you ever get stuck and you don’t know what to say . . . just listen. Even to the silences. Listen as hard as you can to the world around you and repeat back what you hear. That translation, that’s your voice.”

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 

The Banshees of Inisherin

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Release: Friday, October 21, 2022 (limited)

👀 Theater

Written by: Martin McDonagh

Directed by: Martin McDonagh

Starring: Colin Farrell; Brendan Gleeson; Kerry Condon; Barry Keoghan; Sheila Flitton; Gary Lydon

Distributor: Searchlight Pictures

 

****/*****

With The Banshees of Inisherin Martin McDonagh has discovered a new offshoot of the buddy comedy genre, the “You Are Dead to Me Buddy” comedy. Far from a feel-good experience, McDonagh’s fourth effort is a darkly amusing folly about male egotism, connection and loneliness that rests in the hands of tremendous performances and whose grimness is often obscured by some truly gorgeous production design.

The baffling story, in which the disintegration of a longstanding friendship leads to harsh consequences for all involved, takes place in 1923 on the fictional Irish isle of Inisherin. Two men find themselves at an impasse when Colm (Brendan Gleeson), an aspiring Important Musician, decides out of the blue to stop associating with his lifelong friend Pádraic (Colin Farrell), a nice but apparently “dull” farmer. On the mainland the waning days of the Irish Civil War are signified by periodic gunfire echoing off the limestone coastlines, as larger reverberations of what’s unfolding on this disenfranchised stone. They’re hardly subtle, but still effective as part of a grand orchestration of comically depressive factors that render Inisherin as more purgatorial than anything accessible.

In medias res McDonagh throws us into farce as Pádraic, who’s been operating under the assumption he’s no more boring today than he was yesterday, goes to make his rounds at his friend’s like he always does but instead gets the cold shoulder. To Pádraic, the daily pilgrimage to the pub for a cold brew and some idle chitchat is hardly the worst thing a fella can do with his time. But Colm, a fiddle player whom we watch gladly taking on the company of fellow musicians while routinely snubbing his mate, disagrees. “I have a tremendous sense of time slipping away,” he bemoans at one point — as if delusions of grandeur could qualify as a terminal illness. 

When Pádraic refuses to accept the silent treatment, Colm sees no other option but to offer a grim ultimatum: Each time he is bothered by Pádraic he will cut off one of his own fingers. An absurd suggestion, not least because this will make it more challenging to complete the song he’s putting together, but sadly not a bitter old man’s bluff. As tensions worsen, we see the various ways other lives are affected. Chief among them is Pádraic’s kindhearted but exasperated sister Siobhán (Kerry Condon), who yearns for something more out of life than the misery Inisherin seems to inspire. Meanwhile Barry Keoghan may well play the film’s most tragic character, Dominic, the dimwitted son of the local Garda (Gary Lydon) who copes with his father’s horrible abuse by confiding in Pádraic, one of the few “nice” guys.

The story is slight but not inconsequential, a series of farcical vignettes building to an unsurprising but still somehow shocking crescendo of childish behavior. Whatever Banshees lacks in complicated plot it makes up for in strong craftsmanship and the performances are top of the list. What starts as passive-aggressive avoidance becomes more like a heavyweight boxing match where it isn’t clear which performer leaves the more bruising impact. Farrell has the showier role and uses his thick eyebrows and slumped shoulders to etch a devastating portrait of dejection, while Gleeson is intriguing in his own icy, enigmatic way and more than a little infuriating for the same reason.

As good as they are, and for how good the work is across the board — Condon in particular is outstanding as the island’s resident Sane Person — the rich production design and brilliant location scouting elevates the whole thing. Neither peninsula nor panhandle would seem to cut it for the depths of despair McDonagh is reaching for here, and his vision is supported by DP Ben Davis’ camerawork which oscillates between intimate, lonely interiors and sweeping atmospheric shots that powerfully evoke mood. Purpose-built sets are quaint inside and even the various animals taking advantage of the production’s open-door policy have important roles to play.

Banshees reunites Farrell and Gleeson with their In Bruges director after 15 years. The results have been met with critical adoration, most notably nine Oscar nominations, including for Best Picture. Because of the simplistic nature of the story a win seems like a long shot, but the film is powerfully transportive and certainly has the emotional gravity of a winner without ever feeling like it’s fawning for all that attention. It’s just such a natural movie despite, well, its unnatural actions. It is a pathetic state of affairs to be sure, but then that is kind of the point.

A feckin’ reckonin’

Moral of the Story: Melancholic and maddening, Martin McDonagh’s elegiac take on friendship, a cautionary tale about unchecked hubris, might not fit the bill for those looking for easy laughs but it’s a strong recommendation for those who are familiar with the director’s work and those who like offbeat stories. Not to mention an impressive follow-up to his previous effort, a movie that famously saw Frances McDormand drill her own dentist through the fingernail. 

Rated: R

Running Time: 114 mins. 

Quoted: “Some things there’s no moving on from. And I think that’s a good thing.”

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 

White Noise

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Release: Friday, November 25, 2022 (limited)

👀 Netflix

Written by: Noah Baumbach

Directed by: Noah Baumbach

Starring: Adam Driver; Greta Gerwig; Don Cheadle

Distributor: Netflix

 

 

***/*****

White Noise is a movie with a lot going on. Just when you think the story is about to end it finds new batteries and keeps going. Shifting through multiple themes, genres and tones, this sprawling exploration of social and existential anxiety features a lot of the elements that have made Noah Baumbach a uniquely observant filmmaker, but it also finds him stretched as he tries to cover so much ground in a reasonable amount of time.

Baumbach’s third film for Netflix (following his Oscar-winning Marriage Story and the ensemble family drama The Meyerowitz Stories) is an adaptation of a 1985 Don DeLillo novel the cognoscenti have deemed “un-filmable.” With its potpourri of themes and an assortment of characters frazzled by their own fears, quirks and suspicions, White Noise is absurdist, complicated comedy that requires a fine directorial touch. Baumbach needs to be more of a sound engineer as he searches for the right mix, moving all sorts of dials as he balances big set pieces, tricky dialogue and nuanced characters — all while perpetuating this frenzied climate of angst that feels maybe too real.

Split into three distinct acts and rolling the clock back to the 1980s, the film follows an upper-middle-class family in suburban Ohio as they try to deal with life in upheaval following a local disaster. The first forty-ish minutes lay out the pieces of a family dynamic that is both hectic and strangely stable (for a Baumbach movie). Patriarch Jack Gladney (Adam Driver) is a college professor with a dubiously specific area of focus who spends much of his day basking in the company of his fellow intellectuals, particularly amused by the poetic and quite possibly psychotic diatribes of Murray Siskind (a scene-stealing Don Cheadle), a so-called expert on American culture who just may spin off the planet one day with his crackpot theories.

Jack descends from this high throne each day and happily embraces the chaos at home with his wife Babette (Greta Gerwig), a postural therapist, and their four children. They’ve both been married multiple times before and run their marriage with a blunt honesty that manifests most memorably in their morbid pillow talk. Heinrich (Sam Nivola) and Steffie (May Nivola) are Jack’s, while Denise (Raffey Cassidy) is Babette’s and their youngest son, Wilder, they conceived together. The blended family dynamic means there’s never a dull moment and questions about the world around them abound — especially when Heinrich, who’s always on top of current events, begins hearing radio reports of a toxic chemical spill that could affect the entire area.

A major but well-handled transition leads into what feels like a different movie altogether, not to mention a total departure from anything resembling the chatterbox pictures the writer/director has built his career on. Fortunately Baumbach has his two most reliable commodities in Driver and Gerwig to help steer the way. The seasoned actors never seem fazed by the challenge, even when their characters are beginning to lose it. The so-named “airborne toxic event” prompts an evacuation and the Griswolds Gladneys load up in the family station wagon, soon swept up in the confusion and herded through a series of disorienting events that include makeshift quarantine sites, car chases through the woods (one of the best and funniest scenes by far) and strange encounters with a creepy, balding man whose face the camera can’t quite find.

White Noise is a long and meandering film — a low-key odyssey that, despite its chameleonic genre shifts, always stays anxious, always stays weird. Yet what has been for the most part entertainingly bizarre becomes more laborious down the final stretch as the story again reshapes into something more intimate and its core themes become crystallized. Everyone has been allowed to return home but life has not exactly returned to normal. The air may have cleared but the lingering effects of a traumatic event have infiltrated the house. Suddenly we’re stalking out seedy motel rooms and being treated by atheist nuns in a paranoia-fueled thriller that grows like a tumor off the main narrative. It’s the least convincing stretch of story by a muddy-river mile. 

On the whole, Baumbach succeeds in adapting someone else’s work without sacrificing his own idiosyncratic style. Ironically it’s in a passage where things are falling apart where he too seems to lose his grip. But he merges together so many concepts and pulls together three-dimensional characters such that these moments feel more like hiccups than major hang-ups. White Noise is messy, but it’s a colorful mess.

You won’t see this everyday . . .

Moral of the Story: Those who are already acclimated to the filmmaker’s unique style (specifically the way he writes dialogue and characters) will probably have an easier time navigating through White Noise‘s many and complicated movements. It’s an audacious movie that can be just as interesting in its blockbuster-y moments as it is when roaming the grocery store aisles. A uniquely whacky experience. 

Rated: R

Running Time: 136 mins. 

Quoted: “There are two kinds of people in this world, killers and diers. Most of us are diers.” 

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