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PotassiumMan
Having been on IMDB for many years, I will not speculate as to why some films are revered and others are reviled. All I have is my own vote and my own voice and that is all.
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Kingdom of the Planet of the Apes (2024)
If you've never watched a Planet of the Apes film, it's just fine to start here
This film surpasses all its predecessors with flying colors. As someone who has never had an affinity for this recurring franchise, I went in with a fair amount of skepticism and minimal expectations. Suffice to say, this film surprised me quite a bit. It never feels that silly or cartoonish, which is what sets it apart from all the Planet of Apes installments that came before. This feels like highbrow cinema, which is an incredible feat for a film of this ilk.
The only major criticism would be the film's length. As exciting as it is throughout, you will start to feel its running time at a certain point. Nevertheless, it does finish quite strong.
A more modern take on this franchise somehow feels more intimate and powerful in its storytelling. The dangers and evils of tyranny, the high-minded embrace of tolerance and a strong belief in a free-thinking civilization are themes that are well laid out in the storyline. As a cautionary tale against the abuse of power, it makes its case eloquently. Strongly recommended.
The Ministry of Ungentlemanly Warfare (2024)
Guy Ritchie tackles WWII secret mission/James Bond inspiration
A secret cabal of commandoes enlisted by Prime Minister Winston Churchill trecks down to Africa on a covert operation to knock out a major supply line to the German U-Boats who have dominion over the Atlantic as Great Britain's surrender to Nazi Germany seems inevitable. This group includes a renegade British serviceman (Henry Cavill, a scrappy heap of a man in this film), a Danish solider who is a killing machine (Alan Ritchson, very likeable), a female spy (Eiza Gonzalez, seductive but tricky as any), a master strategist (Alex Pettyfer, back from the dead) an Irish sniper (Hero Fiennes Tiffin, reserved but sharp). Their chief antagonist the chief Nazi commander (Heinrich Luhr, in a committed performance).
Their mission sends them to Fernando Po, a Spanish-controlled island off the coast of Africa where their goal is to sink a major Italian vessel that supplies the U-Boats. While it takes a while to unfold, the action heats up very quickly and it becomes a pretty riveting adventure. It also underscores how the staid British military had no experience in black ops missions at the time World War Two broke out and had to adjust to a learning curve in that regard. This is one of Guy Ritchie's better films. Recommended to those who are intrigued to know the real-life inspiration for Ian Fleming's James Bond novels.
Aggro Dr1ft (2023)
Pure atmosphere, just don't expect anything more
Harmony Korine returns to coastal Florida with his own unique alternative style of filmmaking. His new film is a surreal, intoxicating visual experience that almost demands being seen on the big screen, more so than any of his previous work. Korine can be proud of creating such an ethereal work of colors and moods. The only catch is that's all you should look for in this film.
A professional assassin who takes great pride in his craft prepares to take on a sadistic gangster. The plot, character development and dialogue are not going to be the basis for seeing this film, mostly because the structure of all the above is so minimal to the point of malnourishment.
None of this is meant to imply that Korine cannot be a powerful storyteller. Anyone who remembers his work in "Kids" back in the day will know how edgy and provocative his ideas can be. But again, the understanding is that here you are not looking for anything profound or insightful. This is a kaleidoscopic fever dream that will put a smile on your face if you know what to expect going in. Recommended to those who can throw conventional expectations to the wind, if only for once.
I Saw the TV Glow (2024)
Mesmerizingly weird and oddly provocative
A sullen teenager discovers an entrancing television show that speaks to him in ways he's never envisioned when he meets and develops an eccentric friendship with an older girl in his school. While this film turns out to be something a bit more than an archetypal coming-of-age fare, it's quite comfortable staying in that genre most of the time. It never really scratches the surface of horror, despite suggesting the vibe at times. You might not know what to make of this when all it's said and done and I readily confess that I still do not. In the end you either run with the film's committed strangeness or you don't. If you're expecting a straightforward conclusion, this most likely is not for you.
Philosophically, this film is right up my alley, notwithstanding my reservations about the protagonist, who at times seems pitiable. The theme of holding onto adolescent fixations through the years even as they become antiquated and caricature-like is something that strikes near and dear to me. How well it's conveyed here is a matter of debate. The film's whimsical vibe sometimes queers the pitch of this rich concept that's at work. But in the end, it's a good quirky indie that never tries to be something it's not. For those who understand this notion, this film is happily recommended.
The Fall Guy (2024)
Defiantly carefree action comedy, a tribute to the unsung heroes of filmmaking
Ryan Gosling is at the top of his game in this refreshing, laid-back film about a Hollywood stuntman who literally has a fall from grace that brings his career to an abrupt halt and his romance with one of the filmmakers to a sudden end. Emily Blunt is equally great as the up-and-coming film director whose botched romance with Gosling's stuntman is the only stumbling block in their working relationship. In this goofy adventure, they chance to re-unite in a filmmakling endeavor that is her major project and his shot at a career comeback.
In an era of Hollywood walking a delicate tightrope of adherence to feminist values, this film feels like a nostalgic breath of fresh air. Gosling's protagonist is the perfect everyman who also happens to be nimble and adaptive enough to navigate the ambush of danger once his assignment gets him in the crosshairs of some sketchy criminals. Through all the plot's twist and turns, Gosling takes it all in stride like a veteran stuntman would. Aaron Talyor-Johnson is ideal as a loutish A-list icon who regards filmmaking crew members as nothing more than rented mules.
Very important: Be sure to watch this the whole way through the credits. Don't leave while any credits are still rolling. That way, you'll catch the film's postscript that almost everyone else will miss because they'll already be heading home. Highly recommended to all viewers, bar none.
Challengers (2024)
Competition, friendship and lust intertwined in this superb film
Whether you like tennis or not, you'll find this riveting drama from Luca Guadagnino to be a delight. Two teenage tennis stars compete together, but their close friendship is tested when they come across a fiery and alluring female player whom they both desire. These two friends drift apart and over time become bitter rivals, both in their tennis-playing abilities and for the girl who came between them. Where some films about male rivalries might lean on the escalation into a physical brawl at some point, this film sidesteps that cliché, keeping the long-standing tension genteel and quietly smoldering, fitting for a sport that is civilized but intensely played.
The three leads are exceptional. Zendaya emanates her usual strong screen presence in a role that morphs from flirtatious nymph into strong-willed young wife. It's not a transcendent performance but it definitely allows her to shine as she seduces the two young men right out of their critical faculties. Josh O'Connor plays against type in a narcissistic performance. In most role of his roles, O'Connor is usually low-key and often a background figure but here he brings a sweaty, smirking contempt that's very hard to like. Now we know he has a range that "The Crown" could never show us. Mike Faist, who is the more upright and decent of the two friends, doesn't have the same lively role as his two co-stars because he's the most down-to-earth character, but his performance is just as subtle and fine-tuned.
Without giving too much away, you won't notice the film's running time. In fact, the film never loses sight of its place on the court, never lapses into melodrama and keeps its intensity where it started. Enthusiastically recommended.
La bête (2023)
A dollar store Cloud Atlas, undercut by a stunningly shoddy ending
So much painstaking craft went into this film, including deeply committed performances by Lea Seydoux and George MacKay, that it's unfortunate that this layered and ambitious work goes down as a misfire. It was a close call throughout. As uneven as it is, I kept wanting to see where it was going. Very little would have had to change to give this a passing mark. Extremely hit and miss, it's one of more frustrating films in recent memory.
While it can be quite a slog in the early going, the film constructs a gripping storyline as it jumps from one distant era to the next. The story envisions a young woman in a bleak, soulless future in Paris where society is dominated by A. I. and human economic utility and normal emotions have been marginalized or rendered anachronistic. She is seeking to wipe her psyche clear of past traumas, which require her to return to a couple of past lives which have still left an emotional impact. It is along the way that she keeps crossing paths with the same enigmatic male stranger.
Some plot threads are more compelling than others. A terrible fire in a doll factory is expertly depicted. MacKay's character dramatically devolves in the middle era. A portrayal of an austere early 20th century Europe, a malcontent early 21st century Los Angeles and a bleak future all make the structure of the plot very intriguing. Where the film falls short is its execution. Mementos ranging from pigeons to dolls to surgery all feel like more like cheap, manufactured road posts than compelling metaphors or effective symbolism. Even if one can overlook that, a sloppy and ludicrous ending ultimately sinks the film.
It bears repeating that foreign films, especially French films, often get away with all kinds of poor quality that would normally get a Hollywood film eviscerated every which way. It's not the first time I've seen this. When a film like this comes along, that double standard is all too visible to ignore. Not recommended.
Civil War (2024)
Alex Garland, our nation turns its angry eyes to you
In the near future, America is no longer merely divided. It has split into factions that are waging an armed conflict among each other. We are suddenly in the middle of a statement by the President in an era of another Civil War. Nothing is known about the reasoning, nor what the fronts stand for. We get to know the press related team around Lee (Kirsten Dunst), a known war photographer and accompany them on their road trip from New York City to Washington DC in the hopes of getting an interview with the President, which in this conflict is no longer an easy feat.
Dunst is on point as the grimly-focused war photographer. Wagner Moura is intense but also humorous as her close colleague. Cailee Spaeny is the novice journalist who idolizes Dunst's protagonist and hitches a ride to get in on the action. Stephen McKinley Henderson is the aging veteran who at one point was Dunst's mentor and who is now a voice of wisdom. Jesse Plemons makes a brief but menacing appearance.
Press teams in the middle of conflicts are not only witnesses. They easily get into the middle of the action and this is what the movie captures in shocking details. Just when you think the film is getting into a lull, it jolts you with another sequence of fierce combat. There is a mix of scenes of tension, brooding uncertainty and dry humor always coming back to a sense of smoldering unease. Garland once again contrasts idyllic calmness with ferocious carnage. While you might not agree how this film ends, it's still a well-made and workmanlike depiction of a frightening scenario. Highly recommended as relevant and sobering filmmaking.
Love Lies Bleeding (2024)
Freaky crime thriller with squalid surroundings and a celestial soundtrack
In the southwest in the late 1980s, a young female bodybuilder finds a new home in a small town. She comes across a young female employee at a gym whom she quickly connects with, but who turns out to be at odds with her family, a hive of degenerates. Their romance ends up being intertwined in a web of crime.
Kristen Stewart is quite good in this as the black sheep of the family and a determined rebel. Katy O'Brian turns out to be the unexpected life blood of this film. Her performance is so multidimensional that the film just wouldn't be as good without her. She conveys curiosity, fear, rage and ultimately ecstasy in the arms of her newfound muse. Her discovery of steroids adds a nice bonus, but it's possible this plot thread merely unleashed a fierce beast that was always there and never had a escape valve. Dave Franco is well-deployed in a brief but seething role as a scummy hooligan. Ed Harris is effectively cold-hearted as the local kingpin who seemingly owns everything in the town and has local law enforcement in his back pocket to cover up his dirty tracks.
Although profoundly gripping and impossible to tune out, this is definitely not for squeamish viewers. The violence here is quite ferocious. The tension is at times a turbo-charged level. It's been a while since a film filled me with some of that old school dread as it drew toward its climax. The soundtrack often lean on soothing New Wave beats, as if to provide some relief from the devilish storyline. At times disturbing, other times intensely atmospheric, this film offers an escape from mainstream fare. Through it all, the ending feels hard-earned and cathartic. Highly recommended to those like edgy filmmaking.
Dune: Part Two (2024)
Immersive and entrancing sequel, one for the ages
This sprawling, potent sequel is a high water mark in science fiction filmmaking. Paul Atreides (Chalamet) has joined forces with the Fremen whose advance continues over disintegrating armies. Paul is viewed by some Fremen as a foreigner but by others as a savior. He himself regards their faith as mere folklore even as his mother Lady Jessica (Ferguson) ascends to the position of Reverend Mother. But eventually Paul watches his own moral code and ethics erode as he rises to the position of ruler. This part of the film accentuates the weakening of principles as power accumulates.
The cinematography in this film is overpowering. From one grand spectacle to the next, Villeneuve meets and surpasses expectations. Austin Butler makes an impression as the elite gladiaor-villain, Feyd-Rautha. Chalamet shines in this film but even he is ultimately overtaken by Zendaya as Chani, who is her own force of energy in this film and a righteous voice that does not bend with the masses. Hans Zimmer's electric score amplifies the tension, dread and wonder that dots this chapter. From breathtaking combat scenes to more intimate moments, the film is multi-faceted and riveting. Few sequels outshine the original. This one does and cements the trilogy as having made its mark. Highly recommended to all viewers, without exception.
Drive-Away Dolls (2024)
Goofy crime caper, with just enough style to get passing grade
Margaret Qualley and Geraldine Viswanathan are two lesbian friends in the late 90s' who unwittingly cross paths with a menacing but bumbling group of criminals serving powerful interests. A heartfelt and slowly blossoming romance becomes apparent between these two starkly divergent heroines. Their breezy road trip is dotted with all kinds of frolics and detours, all the while with their shady pursuers dogging their footsteps. Colman Domingo is enjoyably sinister as the crime boss whose henchmen can't get out of their own way. Matt Damon has a small but amusing role as an upright politician with skeletons in the closet.
This film actually could have done more with its conclusion, but it still provides diverting, flighty entertainment that revels in its silliness and never tries to be anything that it isn't. The storyline is frequently bookmarked by colorful dream images. Qualley is good as a laid back, carefree southern girl, but Viswanathan steals the film with a sardonically deadpan performance that should put her on the map. Matt Damon, although under-utilized has what fun he can. Recommended as absurdist fun for those in mood.
Maestro (2023)
Fascinating, if undisciplined Leonard Bernstein biopic, carried by Cooper and Mulligan
Bradley Cooper gives an utterly committed performance as the famed composer and conductor Leonard Bernstein in this uneven but intense biopic. Cooper disappears into the role as Bernstein, with a sepulchral accent. The narrative threatens to take the film down in the early going because it takes so long to find its rhythm. Bernstein's early career is shown in black-and-white, giving this part of his life a nostalgic, albeit superficial depiction. After the color is turned on in the second half, the film becomes more defined and emotionally resonant.
Classical music buffs might be disappointed because this film is less about Bernstein's work and much more about his double life and his lasting but tumultuous marriage. Carey Mulligan is powerfully sympathetic as Felicia Montealegre, the woman whom Bernstein marries and whose modest acting career cannot hold a candle to Bernstein's celebrity. The musical score offers a nice introduction to the composer's music, but for beginners, can't offer a clue as to his most influential pieces. His work on West Side Story is relegated to an afterthought. The cinematography is polished and pristine, with exceptional period detail. Some of the scenes feel oddly stagebound for a feature film, especially one scene where Bernstein and Montealegre have a tempestuous argument.
Despite the film's meandering start and self-indulgent running time, it finishes strong enough and Cooper and Mulligan play off each other with conviction to make it all worthwhile. Recommended.
Origin (2023)
Stunningly ambitious and provocative to no end and ultimately insightful
Ava DuVernay, whose work as a director I've never taken to up until now finds her voice in this powerhouse, conceptually rich drama about an author who, in coping with the untimely death of her husband, turns her focus to an all-encompassing thesis on the recurring and entrenched nature of social inequality and oppression over the course of history and in different parts of the world. The project she undertakes and her conclusions are the focus of this challenging film. Her painstaking work is often juxtaposed against her ongoing state of grief.
Aunjanue L. Ellis-Taylor is exceptional as the protagonist who brings her own experience as a black woman to the academic work that she is committed to. Jon Bernthal is sympathetic and effective as her white husband. The film is not afraid to tackle different points of view on social injustice and the occasional rift that they generate. The author's research entails America during and after slavery up to the present day with the murder of Trayvon Martin, the Jews' experience in Nazi Germany and India in the present day. The scope of the author's work is so wide-ranging that it's hard to describe the film's tone or point of view as divisive, strident or anything other than even-handed.
It's hard to understate the sheer scope of this kind of academic endeavor and the research and effort that went into it. DuVernay conveys this in a sweeping, broad-based approach that elevates this film beyond being a mere biopic. It surely feels more than that. By contrast, I always felt that her earlier film "Selma" had only flashes of filmmaking brilliance. In this instance, it feels more like a profound thesis on society, human history and basic empathy. It doesn't always ring a chord, but its voice is granite and sincere. We get a perspicacious look into the long-standing obstacles to equality in the world and come away enlightened. Strongly recommended to those who are open-minded and long for cinema of substance.
American Fiction (2023)
Enjoyably cynical take on the literary world's view toward black culture
A high-minded but disillusioned writer and academic writes a book intended as derisive and mocking toward literary critics' notion of black culture. Much to his surprise, the book is taken seriously by publishers and becomes a massive commercial success. Although he finds his ideals being thrown to the wind, his financial situation brightens considerably as his aging mother needs to be taken care of and his family as a whole remains fractious.
Jeffrey Wright is at his best here as a weary voice of reason who finds himself overwhelmed by sudden and unexpected success. He's in good company of strong supporting work. Issa Rae is another prominent writer whose books about black culture are hailed by critics, but whose work Wright's protagonist views as condescending and vacuous. Sterling Brown is likeable and funny as the writer's rebellious brother who has never felt at home in the family. Erika Alexander is the writer's new love interest. Adam Brody is the glib white movie director who sees the new book as a moviemaking opportunity. John Ortiz is a literary agent who makes one of the film's most sharp-witted arguments when he compares books to different brands of scotch.
An ear for social commentary as well as a sympathetic take on family relationships and a decidedly negative view of Hollywood makes this a strong contemporary film. A fun to watch movie which finds a great balance between the seriousness of the central topic of black recognition in society on the one side and a witty fun display of the struggle of life and relationships. Most fun to watch is a surprising twist which makes the movie even more likeable. Strongly recommended.
Ferrari (2023)
Portrait of a businessman's triumphs and challenges
Michael Mann presents an authoritative biopic of the Italian auto czar Enzo Ferrari and the extreme risks he took in setting up the team of drivers and their fitting vehicles to compete in the 1957 Mille Miglia, a long-distance race across Italy. An austere mood is conveyed early on, including a gripping scene where we see the automakers checking their stop-watches on performance even during mass.
Adam Driver is compelling and persuasive as Ferrari but Penelope Cruz almost steals the film with an electric performance as his estranged, spurned wife. Shailene Woodley is only adequate as Ferrari's younger, secret lover with whom he has a child while his older son died tragically. And it's nice to see Jack O'Connell re-emerge and take on a supporting role as one of Ferrari's dedicated racers. Another well-fitting addition to the set of Ferrari's driver team is dedicated race car driver, Patrick Dempsey.
In this film, Mann returns to his trademark theme of a male protagonist navigating the labyrinth of his own tormented psyche as well as his own professional demands. An exceptional depiction of creative genius coping with personal turmoil. It's also a solid portrayal of the risk-taking ventures of a major company. Highly recommended.
Kimitachi wa dô ikiru ka (2023)
Highly overrated, to be honest, with a plot that is aloof at best
This Japanese animation film presents the tale of a boy, coping with the loss of his mother in a disastrous fire, who finds an unexpected ally in an enigmatic gray heron who accompanies him in reaching another world inhabited by both the living and the dead. The two do not have the best chemistry but their alliance proves to be resilient in the face of what they encounter. After that, this film loses its ability to convey anything of substance.
Unfortunately, this story feels distant too often because the narrative is sluggish to the point of being self-indulgent. There are certain plot threads that feel like distractions and at times threaten the film's overall coherency. I actually contemplated walking out of this film, which by now is very unusual. That's how frustrating it was in the early going. It improves somewhat as it progresses with a colorful palette. But the lively imagery cannot do it all. At the core, something is missing. It doesn't connect emotionally, not for me anyway. It's all very nice to look at and there is a soundtrack, which although pretty spare, is quite good. However, the underlying substance is not there and therefore it's difficult to get invested in this story.
Critical praise for this film is universal. But here, I dare say the emperor has no clothes. Don't believe the hype. A film that looks great also has to touch something deeper. It left me cold and had me looking at my watch more than once. Not recommended.
Gojira -1.0 (2023)
Strong recreation of Godzilla overcomes sloppy storytelling and B-movie tendencies
This recent Godzilla reboot is so dynamic and has so much heart and soul, that you will be jumping back and forth on which side you are rooting for. On the one hand, the Japanese in the immediate post-WWII era have their honor, their pride but most of all their country and citizens to protect and fight for. On the other hand, this version of Godzilla is the eighth wonder of the world, an epic beast with untold strength that can destroy anything at will.
At the center, is the Japanese protagonist, a young Kamikaze pilot who in the late summer of 1945, finds it in himself not to give his life for a war that is all but over. He returns to his base only to witness his comrades get slaughtered by the unforeseeable and seemingly unstoppable monster that looks like a dinosaur and can withstand almost any man-made firepower. With this chastening memory burning inside him, he resolves to win the part of the war he takes personally and defeat Godzilla. He takes a post-war job with other ex-military men in disabling sea mines. It doesn't take long for Godzilla to re-emerge, this time as a threat to the Japanese home islands. But with the Cold War now underway and the Japanese government not wanting to step on any big toes, the Japanese civilians are on their own in defending themselves. This is where the ex-pilot and his crew rise to the challenge.
The film's trump card is a superior depiction of Godzilla as a menacing, overpowering beast but also a spectacle to behold. The monster is enough to carry the film. A thrilling climax puts the film over the finish line. It's proof that uplifting sci-fi disaster films can still deliver. It's old-time filmmaking but done quite well and therefore enthusiastically recommended to fans of this genre.
Poor Things (2023)
Lanthimos's take on the scientific method and female empowerment
Anyone who is familiar with Yorgos Lanthimos's style of filmmaking knows better than to expect something low-key or non-descript from him. Win, lose or draw, he always goes out with the weirdest bang a director can come up with. This might be his most extreme film to date, but still not for all tastes. For those who love his work, be prepared to be giddy.
A young woman whose brain has been replaced by that of her child finds herself in the stately house of a renowned brain surgeon whom she regards as a father figure. But as her mind rapidly develops and catches up with her age, she starts to realize what she's been missing. She chances to meet a reprobate older man who handles the doctor's legal affairs. But as she grows, her bond with the doctor never truly dies even if he initially kept her cloistered. Lanthimos evidently views the scientific community as giving women a route to overcoming entrenched patriarchy.
Emma Stone gives another electric performance as the female version of Frankenstein's monster whose burgeoning development overcomes the shackles she lives with under her caring but ancient father figure. Mark Ruffalo and Willem Dafeo are also a joy to watch. Although the film's length becomes noticeable at one or two points, it's still a superb job by Lanthimos. Highly recommended to anyone who enjoys audacious and layered storytelling.
The Zone of Interest (2023)
Life near Auschwitz, told in hushed tones
This incandescent film portrays the idyllic life that the family of Nazi commandant Rudolf Hoss enjoyed in a sumptuous house right next to the concentration camp in Auschwitz right in the middle of the Holocaust. There is very little soundtrack and it all unfolds at a deliberate pace that is in keeping with Jonathan Glazer's slow-burn, disquieting style. A rigorous sense of order and calm is prevalent throughout.
We never actually see any of the Holocaust taking place even though it's right next door. The barbarism and butchery are only apparent from the screams in the distance or from fires at night or smoke during the daytime. The pristine, lush surroundings of this family bely the mass extermination that is taking place in the immediate vicinity. It's a masterful work in which conveys horrible events by leaving them to the imagination.
A repeat viewing might be helpful as subtitles in this film are sometimes rapid-fire. But overall, this is an extraordinary and memorable film from start to finish. Recommended to everyone, without exception.
Dream Scenario (2023)
Quirky horror comedy on the world of dreams with Cage in superb form
Nicolas Cage gives one of his most multi-dimensional performances ever that only rarely lurches into his trademark torrents. In this film, he's a mundane, middle-aged professor teaching abstruse subjects, who through some inexplicable happenstance starts appearing in the dreams of most people. He becomes an instant celebrity and a budding pop culture icon... that is, until people's dreams about him take on a certain character.
The film's tone ranges from whimsical to dark humor to mournful and there are a lot of ideas at work here, not just the central concepts of social commentary on the harshness of cancel culture and the unruly state of the subconscious. The gnawing struggle against mediocrity, the fickle nature of coolness, the fear of eternal loserdom and the impact of frayed nerves are all touched upon at various points through Cage's polite but chagrined eyes. Although this film clearly has a lot on its mind, it doesn't become overly philosophical and seemingly cashes in its chips as it heads into its final chapter. On the positive side, it's an eloquent depiction of the psychological toll that sudden fame takes on those unprepared and unfamiliar with it.
Although this film is far from flawless, it's still a workmanlike mix of oddball hilarity and weird escapism. For viewers willing to let go and run with the foibles of offbeat storytelling and wild swings in narrative tone, this is strongly recommended.
Killers of the Flower Moon (2023)
Sprawling epic on a reign of terror, almost sunk by interminable length
Martin Scorsese's startling and ominous epic about a corrupt Oklahoma family whose patriarch undertakes the murders of various Osage tribal women for monetary gain starts out in haunting fashion and becomes more and more gripping but then somehow in the late phases, suddenly starts to feel like Heaven's Gate because of its running time.
The film regains its momentum with a powerful conclusion worthy of the yeomen effort that went into this. Nevertheless, it is incomprehensible that Scorsese would allow such a powerful film of his (arguably his best in a long time) to almost get derailed by his lack of discipline and apparent unwillingness to be economical. His longtime editor Thelma Schoonmaker once again proves to be a minimal factor.
In terms of performances, DiCaprio and De Niro are commanding but it is Lily Gladstone who steals the film with a vividly anguished portrayal of the Osage wife whose loyalty and trust in her husband comes at an appalling cost. The supporting cast is also strong. Jesse Plemons is well-deployed as the dogged FBI agent who creeps up on things. Brendan Fraser makes a delightful turn as the family's oily, menacing defense attorney. There are homages to Scorsese's past work in certain scenes. But this film overall does not earn its running time and therefore its rating takes a slight knock. Still, recommend to history buffs and cinema buffs.
Wish (2023)
Diverting Disney flick, uplifting fun
The importance of wishes in the world is a good thing and this Disney film reminds us just how great the world is when we have wishes that give us hope. It's a film that's good fun and put a smile on my face when it was over. But the bad guy in this flick was a little too obvious and kind of funny. Perhaps Disney needs to take a step back and put more effort into showing us something we haven't seen before. That's a wish but has no expiration date. The star is the MVP of the film. The heroine, on the other hand, could have had more moments to shine. Her voice and persona are fitting to this story and we need more plucky protagonists like her. Recommended if your need some light Disney fun.
The Holdovers (2023)
Classic holiday story about growing up
An academically adroit but emotionally troubled student is thrust into sharing company with a tyrannical and reviled history teacher at a New England prep school in the early 1970s during the holiday break. Their lack of chemistry at first makes for an ordeal but as the days pass and they get better acquainted, they recognize how much they have in common. They discover they share the fierce drive for academic excellence but also privately yearn the respect of their peers.
Paul Giamatti is a commanding presence in this role, as he draws on facets of his past roles to put together a performance that is wondrously complex and which in the hands of a lesser actor, might have been a one-note portrayal. He's the perfect combination of Chuck Rhoades' bullying and Miles Raymond's intellectual righteousness. Newcomer Dominic Sessa matches him with an equally compelling performance as the promising student from a family in ruins.
This is the kind of holiday tale that was never new and never gets old. In the end, everyone in the story has learned something. It's a joy to watch this kind of old school storytelling flourish the hands of director Alexander Payne and the performances he draws. Highly recommended if you like good Christmas entertainment.
Anatomie d'une chute (2023)
Wrenching, but brilliantly acted legal drama
Two strong-willed intellectuals, both of them passionate writers find their marriage in a state of turmoil. When the husband dies suddenly, the wife (Sandra Huller in a powerful performance) is accused of murder, forcing their blind child to testify as the only witness. Just when this film looks like it might regress into formulaic conclusion, it takes a step back and offers something more haunting, more thought-provoking and unique than what we've come to expect from this genre.
The backstory of a crumbling marriage is particularly eloquent and incisive. The scenes between the two spouses with dueling grievances will break your heart. The courtroom scenes are equally riveting and spiked with fireworks between the prosecution and defense. Huller gives one of her best performances ever, but she has plenty of strong support, including Milo Machado-Graner, as her anguished son. Samuel Theis is a strong presence as the deeply moody husband.
The film never loses its strong narrative thrust. It shifts seamlessly from one absorbing sequence after another. Tough going at times, perhaps even a little exhausting, but this will stay with you and is definitely worth seeing. Highly recommended.
Story Ave (2023)
A small, modest film but with quite a bit of wisdom
A high school kid in the Bronx, chastened by the accidental death of his brother and alienated by his emotionally-drained mother, turns to a criminal gang as a way of channeling his artistic gift with spray paint. What first seems like a safe haven soon becomes a sure path to ruin. However, his first attempt at mugging someone takes an unexpected turn where he finds a confidant and mentor whose unsentimental but sympathetic advice offers a glimmer of hope and motivation to make something of himself.
Luis Guzman, whom I've never seen in any demanding or significant role, is superbly genuine in this film. From the moment he comes into the film, his unassuming, but worldly-wise demeanor serves as a strong counterweight to the young man's clueless fumbling at his attempted life in the streets. This film offers a sobering message of hope for those who recognize their own promise. This is a work of granite integrity. Strongly recommended.