EMILY THE CRIMINAL (2022)

August 11, 2022

Greetings again from the darkness. Aubrey Plaza proved during “Parks and Recreation”, and most every role since, that she is nearly unmatched in her ability to deliver blistering one-liners. However, over the last few years, she has expanded her repertoire and has become a fascinating, multi-talented actress who is exciting to watch. The feature film debut of writer-director John Patton Ford provides the opportunity for Ms. Plaza to push her dramatic chops into the world of crime. She not only doesn’t disappoint, she excels.

Emily (Ms. Plaza) is a struggling gig worker delivering lunch orders to office buildings. She has $70,000 in student loan debt and an assault conviction on her record that blocks her from any “good” jobs. We see how that past haunts her in an interview, and it’s also our first peek at her natural instinct to bow up and fight back in any situation she views as unjust. Emily is a Jersey girl living in L.A. with a bucket list that seems like a distant dream. One day a co-worker hooks her up with an opportunity to make $200 in one hour. Of course, the opportunity turns out to require her to do something illegal, but desperate times call for desperate measures.

The ‘training’ class is run by Youcef (Theo Rossi, “Sons of Anarchy”), a man with a gentle approach that disarms most attendees. Emily gets up to leave, but an exchange with Youcef (and a need for money) convinces her to stay and partake of the ridiculously easy money to be made from credit card fraud. The ‘dummy shopper’ approach can only go so far, and Youcef mentors Emily to take more risk for more reward. Additionally, their relationship escalates causing consternation from Youcef’s brother Khalil (Jonathan Avigdori), who points out that Emily is not the best at following rules, which puts her and the entire operation in jeopardy.

Liz (Megalyn Echikunwoke), Emily’s friend from art school, finagles an interview for her at the big-time marketing firm where she works. Gena Gershon has one scene as the hiring manager, and Emily proves yet again that her interview skills are a bit lacking. Only this time she’s chin deep in running crime with Youcef. One thing that is glossed over here, is that Emily surely has an advantage being an attractive white woman, while most of the others are people of color – automatically causing alert. Ms. Plaza and Mr. Rossi play off each other very well, but this is clearly her time to shine in a crime thriller. Although the story is actually very simple, and I’m not a fan of the ending, it’s certainly fun to watch Aubrey Plaza spread her wings as an actor.

Opening in theaters on August 12, 2022

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Posted by David Ferguson

ROGUE AGENT (2022)

August 11, 2022

Greetings again from the darkness. Co-written with Michael Bronner (THE MAURITANIAN), co-writers and co-directors Declan Lawn and Adam Patterson base their first feature film on a remarkable true story … one whose final chapter may not yet be written. We are surrounded by fraud on a daily basis – emails from a Nigerian Prince and spam calls for an expired car warranty that never existed, to name a couple of mainstream schemes. But the real life saga of Robert Freegard takes fraud and the long con to a whole new level.

We begin in 1993 as Freegard (James Norton, “Happy Valley”) is working as a barkeep in a pub. He bewitches three college kids with the story that he’s an undercover MI5 agent, and that he needs their help to infiltrate an Irish Republican Army (IRA) group working on campus. Known for their bombings at the time, this is a dangerous and important mission, and he convinces the students that they are field spies in training and serving their country … though nothing is more important than their loyalty to him. Of course, Freegard is not MI5.

The film leaps forward nine years, and we find Robert working as a car salesman. He identifies local attorney Alice Archer (Gemma Arterton, TAMARA DREWE, 2010) as his next target. After some initial skepticism, she falls hard for his charms and his stories. Alice also serves as the film’s narrator and explains how Robert will look people in the eyes, holding the gaze just the right amount of time to gain trust. We watch as their relationship plays out, costing Alice so much of her life. But Robert underestimates Alice’s resolve. She doesn’t appreciate being played like a fool. She performs her own investigative work, and enlists the help of a police detective (Shazad Latif, “Penny Dreadful”) in an attempt to track down Robert, as well as Sophie (Marisa Abela), one of the original college students who is still missing.

A Private Investigator informs Alice that scammers are either mad, sad, or bad. We readily know which category Robert belongs in. He’s a master of hiding in plain sight and reading people. He believes “everyone has a story they want to hear” and he exposes that vulnerability. It appears his only cause was to line his own pockets with other people’s money. But it’s not that simple. He also seemed to thrive on the perverse power trip in keeping people isolated and under his control – a form of psychological warfare. The film shows us how Robert was caught, but it also details what’s happened since 2009. If there is a lesson here, it’s put the past in the past, once you make peace with it – and don’t believe swindlers who are interested in your money. The film offers some excellent drama, strong performances from Ms. Arterton and Mr. Norton, and a short course in psychology of the sociopath. For more information on Freegard, check out the Netflix docuseries, “The Puppet Master: Hunting the Ultimate Conman”.

Opens August 12, 2022

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Posted by David Ferguson

FALL (2022)

August 11, 2022

Greetings again from the darkness. If you’ve ever wondered what a recurring nightmare would look like if filmed for the big screen, writer-director Scott Mann (HEIST, 2015) and co-writer Jonathan Frank are here to show you. Not much plot exists, and the bulk of the movie consists of two characters stuck in one place. Sounds pretty simple, right? Well I can tell you that my palms were sweaty and the tension was high.

The opening sequence immediately evokes memories of the spectacular documentary FREE SOLO (2018) featuring expert climber Alex Hannold. Becky (Grace Caroline Currey, SHAZAM!, 2019), her husband Dan (Mason Gooding, SCREAM, 2022), and their friend Hunter (Virginia Gardner, HALLOWEEN, 2018) are climbing the face of a mountain when tragedy strikes. We then flash forward 51 weeks and find Becky is a still-grieving recluse drowning her sorrows in booze and contemplating suicide. We aren’t clued in as to how she has paid rent for the past year, but her frustrated dad (Jeffrey Dean Morgan) has had no luck getting her to “move on”, and has called Hunter in to see if she can motivate Becky to rejoin society.

Hunter’s big idea is for the two ladies to climb the 2000-foot tall B67 TV Tower, once billed as the tallest structure in the U.S., but now a long-abandoned relic. Hunter is the risk-taker of the two, and she has developed quite a following on her YouTube channel by filming her own risky stunts. The tower appears to be out in some desert just beyond a sign that warns, “No Trespassing – Danger of Death.” Terrific camera work shows us the loose bolts, shaky tension lines, and rusty ladder once used for tower maintenance. In fact, the terrific camera work and the performances of the two actors are what drive home the terror we feel once they have reached the top and realize there is no way down. If your acrophobia hasn’t shaken you enough, how about being stranded 2000 feet above the ground on a platform barely large enough for two people to sit? Your choices for dying include falling, dehydration, starvation, exposure, or being pecked by the local vultures attracted to the injuries sustained while climbing.

Resourcefulness involves cell phones with no reception, a pair of Chuck Taylors, a flare gun, and a new use for a sports bra … somehow hardly noticeable once it’s gone. The two climbers are trapped for most of the run time, turning this into quite a survival story. Mind games and psychology play a part once exhaustion sets in, and there are couple of twists, neither of which should surprise most viewers. While the tension created is commendable, one recurring irritant became a bit of a joke – the overuse of “Are you okay?” begins in the opening sequence and seems to be repeated every 4-6 minutes. If it were a drinking game, no viewer would remain conscious by the end of the film. Other than that, it’s one of the better cinematic versions of a nightmare you’re likely to find … plus it leaves us with the inspiration: “If you’re scared of dying, don’t be afraid to live.”

Opens in theaters August 12, 2022

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Posted by David Ferguson

BODIES BODIES BODIES (2022)

August 11, 2022

Greetings again from the darkness. This one works much better as satire than horror-thriller, at least for yours truly. With whodunnit elements drawn from Agatha Christie’s classic “Ten Little Indians”, the play-it-straight approach to riffing on Gen Z draws laughs right along with the expected annoyances courtesy of a bunch of entitled trust fund twenty-somethings. Actor-turned-director Halina Reijn and co-writers Sarah DeLappe and Kristen Roupenian (first feature film for both writers) have based the story on the party game known as ‘Body Body’ or ‘Murder in the Dark’, or perhaps you know it by some other name.

The film opens with a close-up of a passionate kiss between Sophie (Amandla Stenberg, DEAR EVAN HANSEN, 2001) and Bee (Maria Bakalova, BORAT SUBSEQUENT MOVIEFILM, 2020). A picturesque road trip takes the couple to an isolated mansion where they are meeting some of Sophie’s old friends for a hurricane party. They arrive as the storm approaches and the others are taking a last minute dip in the pool. It turns out they are surprised to see Sophie since she has kept her distance from the group (and been unresponsive to the group texts) for quite a while. We do find out her reason, and the group allows them to stay … mostly since the mansion is owned by David’s (Pete Davidson, “Saturday Night Live”) parents, and he and Sophie have been best friends for years. Also attending are Emma (Chase Sui Wonders), David’s wimpy actor-girlfriend who is prone to instant tears; Jordan (Myha’la Herrold), Sophie’s tough-on-the-outside former (and sometimes jealous) lover; Alice (Rachel Sennott, SHIVA BABY, 2020) a podcaster and easily the most entertaining of this crew; and Greg (Lee Pace, THE FALL, 2006), Alice’s much older boyfriend via Tinder match. Missing is Max (Conner O’Malley) who, we are told, left in a huff after an argument the night before.

As you might guess, booze and other mind-altering drugs play a role here, as does the house itself – with multiple staircases and hallways. Once the game begins, the question arises … is it being played for real? A dead body raises the stress level, as does the dreaded tap on the back required by the rules of the game. In addition to the cocaine and liquid spirits, pieces of the puzzle include: glowsticks, pot brownies, zucchini bread, swords, trust funds, insecurities, a dead car battery, a power outage, and the always-present cell phone flashlights. This is a group of narcissistic, social media-influenced, childlike adults who wear their emotions on their sleeves. Back-stabbing and belittling is common, as is (ironically) playing the victim. There is no way we would think this is actual dialogue between humans if we didn’t all know someone in this age group – or have accidentally stumbled on their exchanges via posts.

As much as I enjoy a satirical look aimed squarely at today’s twenty-somethings, these characters are so extremely unlikable that most of us would leave the party in 2 minutes, taking our chances with the hurricane. Every possible buzzword is included as these self-centered richies take aim at each other. Of course, being older, Greg doesn’t really fit in – but then no one really fits in here. Ms. Sennott’s character provides the most fun for viewers, as these long-time acquaintances seem to have no clue what it means to be a friend. They don’t trust those they know, those they don’t know, or even themselves. This could be a contemporary version of SCREAM … well if that wasn’t the Timex of movie franchises. With no cell coverage for most of the movie, these folks are forced to have actual conversations and interact, exposing the lack of social graces which are enhanced given the situation. The ending is not likely to surprise you, but it’s quite fitting. This is certainly not amongst the best A24 offerings, but if you can put up with the lingo and irritating characters, there is some comedy to appreciate.

Opening in theaters on August 12, 2022

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Posted by David Ferguson

THIRTEEN LIVES (2022)

August 4, 2022

Greetings again from the darkness. It is 2018 and a group of boys have just finished soccer practice. After some motivational words from their coach, the boys start joking around with one of their teammates who has a birthday party slated for later that day.  Boys being boys, they decide to bike over the local cave for some pre-party exploring. Their coach tags along to keep an eye on them. All of that sounds innocent enough until we realize this is the Tham Luang cave, and they don’t realize Thailand’s monsoon season is about to arrive early and with full force.

The film is directed by Oscar winner Ron Howard, who is adept at mainstream storytelling as evidenced by APOLLO 13 (1994), A BEAUTIFUL MIND (2001), and CINDERELLA MAN (2005). The script was penned by William Nicholson (GLADIATOR, 2000) and Don MacPherson (THE AVENGERS, 1998), and tells the all-too-true story of the daring rescue mission that most of recall following on news reports. When the boys were no-shows for the birthday party, parents and friends rushed to the cave to find the bicycles, but not the 12 boys and their coach. Immediately, rescue efforts began with Thai Navy SEALS rushing to the sight. Cave diving is a unique skill practiced by only a few, and is much different than the open water diving in which the SEALS excel.

British cave divers John Volanthen (Colin Farrell) and Rick Stanton (Viggo Mortensen) are called in. Volanthen is the father of a son, and can’t help but empathize with what the parents must be going through, while Stanton is crusty old geezer who admits to not liking kids, while also understanding he’s one of the few on earth capable of making the necessary dive. Once the two men reach the stranded boys and coach, it becomes apparent that, as difficult and challenging it was to find the group, getting them out of the cave seems all but impossible. Death hung heavy over the operation of last resort, which included calling in Dr. Harry Harris (Joel Edgerton), a cave diving hobbyist, and more importantly, an anesthetist.

The diving scenes are expertly filmed by DP Sayombhu Mukdeeprom and underwater camera operator Tyrone Canning. The ever-present claustrophobia and risk of disaster underscores how courageous these men were. Director Howard offers up multiple perspectives: the government, the military, the divers, and the parents. We get very little from those trapped, but that adds to the tension. We get a feel for the entire operation as water is being pumped out of the cave, a water expert and volunteers frantically divert new rainwater into the rice fields, and political maneuvering occurs as the outgoing Governor (Sahajak Boonthankakit) is being set up as fall guy in case the efforts fail.

So many elements could have caused failure – low oxygen levels in the cave, a brisk current of water making diving more difficult, and obviously too much rainwater entering the cave would endanger the boys and the divers. The rescue mission lasted more than two weeks. It’s a disaster movie based on a real event, and follows up the excellent 2021 documentary, THE RESCUE. Evidently the dramatization is for those who don’t watch or have access to documentaries, and as strong as Howard’s movie is, there is simply no way for it to eclipse the documentary or what occurred in real time. At its best, the film offers tension and a reminder of what can be accomplished with collaboration.

Available on PRIME VIDEO beginning August 5, 2022

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Posted by David Ferguson

BULLET TRAIN (2022)

August 3, 2022

Greetings again from the darkness. If you are one that still needs proof that movie stars matter, this latest from director David Leitch (a former stuntman who also directed ATOMIC BLONDE, 2017) and screenwriter Zak Olkewicz (adapted from Kotaro Isaka’s 2010 novel, “Maria Beetle”) may be submitted as evidence. Replace Brad Pitt with almost any other actor, and this one becomes borderline unwatchable. However, with the Oscar winner, there is sufficient charm, humor, and entertainment to keep us around for the more than two hour run time.

Mr. Pitt stars as Ladybug, a floppy bucket hat wearing last minute fill-in for an assassin who called in sick. His handler (voiced by Oscar winner Sandra Bullock) walks him through what is supposed to be a simple snatch and grab job involving a briefcase. Of course, it turns out to be anything but simple as the train is filled with what seems to be an endless stream of contract killers intent on securing the same briefcase. Among those are Tangerine (Aaron Taylor-Johnson) and Lemon (Brian Tyree Henry). Mr. Taylor-Johnson continues his tradition of over-acting and lacking the charm he believes he has, while Mr. Henry’s obsession with Thomas the Tank Engine at least gives his character a reason for us to be annoyed. The two are referred to as British brothers or even ‘twins’, which gives you some idea of what the film wants you to buy as humor.

A slew of other characters include Joey King as Prince, the “Shibumi” reading type who pushes a kid off a roof, and then uses her skill of crying-on-demand to escape most danger; Andrew Koji as Kimura, that kid’s distraught father; Hiroyuki Sanada as Kimura’s father; Zazie Beetz as The Hornet; rapper Bad Bunny as Wolf; Logan Lerman as the son of a Russian gangster, and Lerman spends much of the movie auditioning for the title character in “Weekend at Bernie’s”; and Michael Shannon as said Russian gangster, White Death. Beyond all of these highly recognizable folks, we also get two very high-profile cameos, both used for comic effect.

In between the one-minute stops on the trip from Tokyo to Kyoto, there is an abundance of fighting – comical, rapidly-paced, and violent – using such available props as the features on a smart toilet, knives, guns, swords, poison, bombs, and a venomous (incorrectly labeled as poisonous in the movie) Boomslang snake. Since most of the action takes place on the train, we get action in passenger cars, the galley, the lounge, the control booth, and even on top of the speeding train.

It’s Pitt’s character who keeps us interested, and the movie drags when he is off screen. Ladybug is a skilled improvisational fighter, although his recent personal growth through therapy has him eschewing guns, dwelling on his inherent bad luck, and reciting affirmations and wisdoms, when he can remember them. Mostly, by golly, he just wants to be a nicer person (quite a short trip for a contract killer). This chaos and spontaneous convention of bad players were all part of White Death’s plan, which is revealed late in the film.

It appears director Leitch (a former renowned stuntman) worked diligently to create a new form of zany by blending Guy Ritchie’s best work with Tarantino’s “Kill Bill” films, and then adding a dash of ‘who-done-what-to-whom?” Instead, with the near slapstick action and goofy dialogue, it plays more like a modern day CANNONBALL RUN, which was also directed by a former stuntman (the legendary Hal Needham). As a bonus, we also get the Japanese version of “Stayin’ Alive”, replete with Brad Pitt strutting through Tokyo in tennis shoes.

Opens in theaters on August 5, 2022

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Posted by David Ferguson

RESURRECTION (2022)

July 28, 2022

Greetings again from the darkness. You never want to be the ex-partner who causes a panic attack for another person … especially after 22 years apart. Writer-director Andrew Semans puts a face to whatever you call the opposite of a dream partner or role model by casting Tim Roth as David Moore. However, before we first glimpse Roth’s David, we meet Margaret (Rebecca Hall), a woman who seems to have seized control over every part of her life. Her apartment is immaculate. Her business attire classy. Her glass-paned manager’s office efficient. Her married-co-worker-with-benefits at her beck and call. Her speedy runs through town keep her focused and fit. Her about-to-turn 18-year-old daughter is prepped for college. Yep, every aspect of Margaret’s life is under control.

Most of us know what happens when we are arrogant enough to believe we are in control – life usually slaps us with a dose of reality. For Margaret, the hints are there. A tooth found in her daughter’s wallet. A bike ride gone wrong. A glimpse across the room at a seminar. Another at the shopping mall. And finally, a confrontation in the park. This is how, after 22 years, David drops back into her life – a stalker creating turmoil, doubt, and anxiety. By this point, we’ve seen Margaret doling out advice to young intern Gwyn (Angela Wong Carbone) on how to handle a manipulative boyfriend – one she deems sadistic. Margaret appears strong and is counseling Gwyn on how to be strong and find someone worthy of her love. It’s this conversation, along with how Margaret hovers over her daughter Abbie (Grace Kaufman), that tells us Margaret has a past that’s not as perfect as her present.

Margaret’s backstory is told via a single-shot extended monologue where she recounts her relationship with David. It’s a stunning bit of acting by Ms. Hall, and filmmaking that not only explains the emotional baggage weighing down Margaret, but also makes her relatable. The moment is so taut with emotion that it ends with a kinda-sorta punchline from Gwyn. The first two acts build tension and hint at the bizarre nature of the long-ago David/Margaret relationship, and the “kindnesses” (twisted shows of loyalty and devotion) involved, but we simply can’t prepare ourselves for the ‘off-the-rails’ occurrences in the final act.

Wyatt Garfield’s cinematography and the muted colors of every scene and set, enhance the feeling of suspense and pending trauma. The film provides an excellent example of the long-reaching impact of mind-control, gaslighting, and sadistic manipulation as one person tries to control another. Since Margaret refuses to come clean with her daughter, Abbie is convinced her heading off to college is causing her mother’s breakdown. Instead, the psycho-thriller goes much deeper in showing just how Margaret’s vulnerability at a young age has stuck with her more than two decades later, and no amount of Helen Reddy’s “I am Woman” can break the spell … it requires action to stifle a diabolical jerk like David.

Ms. Hall is outstanding and believable in the role, and without her performance, the story would seem like a parody of the genre. She has quite a career of playing the victim, which seems to come naturally to her, as she’s proved in such films as CHRISTINE (2016). Mr. Roth is a multi-talented actor and doesn’t shy away from becoming a despicable face of evil. Both are ‘all-in’ for these characters, as is Grace Kaufman, who has worked consistently as an actor since the age of nine, mostly in TV roles. While I’m not a huge fan of the third act or the ending, there is plenty here to admire.

Opens in theaters on July 29, 2022

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Posted by David Ferguson

NOPE (2022)

July 20, 2022

Greetings again from the darkness. With his first two films, GET OUT (2017) and US (2019), writer-director-producer Jordan Peele already has an Oscar and has firmly established himself as one of the most innovative and visionary filmmakers working today. He has entered the revered class of directors whose new films are automatically ‘must see’. This is in spite of our knowing full well that he doesn’t strive for mass accessibility, and typically seems less focused on character development and more focused on what’s happening to those characters and how they react. Mr. Peele’s latest is a unique blend of Science Fiction, Horror, and Comedy, with a dose of horses, UFOs, and box store employees. At its core, the film is about chasing the spectacle of a spectacle, so that one might also become a spectacle.

A cold opening is a bit of ‘found footage’ from a horrific event on the set of a TV show featuring a chimp named Gordy. We have no idea how this fits in to what we are about to watch, but it’s shocking and disturbing. We then shift to find Otis Haywood Sr (Keith David) working the horses on a ranch with his son, OJ Jr (Oscar winner Daniel Kaluuya, JUDAS AND THE BLACK MESSIAH, 2021). Dad founded the Haywood Hollywood Ranch to train and handle horses for the entertainment industry – movies, TV shows, advertisements. A mysterious death means OJ Jr and his sister Emerald (Keke Palmer, AKEELAH AND THE BEE, 2006) must take over running the ranch; however, a hilarious scene on set highlights the differences between big brother and little sister. OJ understands horses, but is laconic and reserved. Emerald is hungry for personal fame and is bursting with energy and dreams. She has little use for the ranch, while OJ is devoted to carrying on dad’s work – knowing he needs Emerald’s personality.

The suspense is turned up to 11 when strange things begin happening on the ranch and in the sky. OJ (his name is a running gag) and Emerald recognize this is their opportunity to cash in by securing photographic evidence of UFO (or UAP) and alien activity. Joining in on the mission is Angel (a terrific Brandon Perea), a tech nerd from Fry’s Electronics. The trio is joined later by renowned cinematographer Antlers Holst (Michael Wincott using a Tom Waits voice), who understands the importance of capturing what OJ and Emerald call “the Oprah shot”. Obviously, this is Peele’s commentary on how folks today long for their chance to shine in the spotlight – and capitalize monetarily on the moment. Also recognizing this shot at fame is Ricky “Jupe” Park (Steven Yeun), the owner of a local western-themed amusement park. Jupe is a former child actor whose career included “Kid Sheriff” and a role in the sitcom featured in the opening sequence with Gordy the chimp. He has tapped into the skyward activities, but longs for more.

Purposefully vague is my approach in writing about this, as director Peele and cinematographer extraordinaire, Hoyte Van Hoytema (frequent collaborator with Christopher Nolan) serve up some incredible visuals and high-suspense sequences, and it’s best if you know as little as possible going in. It’s easy to spot influences of CLOSE ENCOUNTERS OF THE THIRD KIND (1977), “The Twilight Zone”, and other Sci-Fi classics, as well as directors Steven Spielberg and Alfred Hitchcock. In a tip of the cap to film history, Peele ties in the early moving picture work of Eadweard Muybridge and his 1878 clip, “The Horse in Motion.” It’s a brilliant touch that cinephiles will appreciate.

Supporting work comes from Donna Mills, Oz Perkins, Eddie Jemison, and Terry Notary as Gordy the Chimp, but it’s the chemistry between Kaluuya and Palmer that make a relatively thin story succeed as commentary on society. Peele even gets in a few pot shots at the media (TMZ) and the oversaturation of celebrity. The desolate setting of the hills and valleys outside of Los Angeles make for a perfect setting, as does the contrasting use of daytime and nighttime for certain shots. Peele proves yet again that he has a real feel for serving up commentary disguised as tension, or is it tension doused with commentary? Either way, I’m lining up now for his next film, whatever that may be.

Opening in theaters July 22, 2022

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Posted by David Ferguson

THE GRAY MAN (2022)

July 15, 2022

Greetings again from the darkness. You’ve likely heard, and maybe used, the old adage, “everything but the kitchen sink.” It’s typically meant to emphasize the inclusion of many unrelated and often unnecessary elements into a conversation or event. It also provides a description of the strategy filmmaking brothers Anthony Russo and Joe Russo have taken with the action sequences in the highest budget Netflix original movie to date. Of course the Russo brothers have directed numerous Marvel movies, including AVENGERS: ENDGAME (2019), so subtlety is never anticipated in their films. If you are curious to know what kind of kitchen sink you get for $200 million, Anthony and Joe show us: lots of guns, a global trek to various countries, more big guns, plenty of characters – some relevant, some not, even larger guns and weapons, lots of rayon, and the destruction of a town square in Prague.

Fans of turbo-charged action films such as the John Wick and Jason Bourne films will likely be quite satisfied with the set pieces, stunts, and manic gun fights and fist fights that are packed into a two-hour run time. There is so much bouncing around the globe that it’s kind of difficult to keep up – especially since there doesn’t seem to be any particular reason for all of the globetrotting (well, other than it’s pretty unusual). I couldn’t keep track of every locale, but we definitely visited Bangkok, Austria, Croatia, and Czechoslovakia. And that’s beyond Washington, D.C., and Langley, where we spend time in dark offices.

Co-director Joe Russo co-wrote the screenplay with frequent Russo Brothers collaborators Christopher Markus and Stephen McFeely, and it was adapted from Mark Greany’s novel (the first in a series). Ryan Gosling stars as Court Gentry, codename Sierra Six, a CIA black ops hit man recruited directly from prison by veteran CIA agent Donald Fitzroy (Oscar winner Billy Bob Thornton). This is Gosling’s first movie in 4 years (FIRST MAN, 2018) and it’s nice to have him back in a role that will recertify his ‘man card’ before next year’s BARBIE movie. As you might expect, Gosling’s Six is cool as a cucumber, popping off quips, and stoic in the face of adversity. In fact, much is made of his character’s ‘street cred’, despite most every scene involving colossal mistakes, should-be death encounters, and enough mayhem to make Allstate jealous. Six is so cool that he has less reaction to being shot or stabbed than I have when I stub my toe on the leg of the bed.

When Six’s mission goes awry due to his human compassion, three things happen. First, Agent Dani Miranda (Ana de Armas) bails him out (the first of a few). Second, his target gives him advice and the always mysterious thumb drive with incriminating evidence; and third, his corrupt station chief, Denny Carmichael (Rege-Jean Page, “Bridgerton”) throws a tantrum and hires a psychopath to track down Six and eliminate him. The psychopath is Lloyd Hansen played by Chris Evans, sporting an evil mustache and resort casual attire. It seems Mr. Evans is having fun with the villainous role that he hopes will put distance between his career and the Captain America role he has embodied for more than a decade. The argument could be made that he overplays his hand here, but he does get to spout the already infamous line, “If you want to make an omelet, you gotta kill some people”.

Other players here include the always terrific Alfre Woodard as a former station chief, Jessica Henwick (Bugs from THE MATRIX RESURRECTIONS), Dhanush as yet another hired assassin, Shea Whigham in flashbacks, and Julia Butters as the ‘damsel in distress’. You might recall Ms. Butters’ scene-stealing turn as the precocious child actor in Tarantino’s ONCE UPON A TIME … IN HOLLYWOOD. This film’s title is derived from the term for a CIA operative who effectively moves around without being noticed or remembered (the opposite of a Kardashian). The ironic thing is that Gosling’s Six is almost never undetected. He is frequently in fights, shootouts, car chases, and either causing or escaping explosions. Even the Russo’s “gray” lacks subtlety! It makes perfect sense that the film’s cinematographer, Stephen F Windon, is best known for his work on multiple entries in “The Fast and the Furious” franchise. Here he employs some supersonic drone shots in order to add further hyper-activity to the proceedings. Again, this one is for extreme action fans, not those looking for a brainy spy-thriller.

Opens in theaters on July 15, 2022 and on Netflix beginning July 22, 2022

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Posted by David Ferguson

SHE WILL (2022)

July 14, 2022

Greetings again from the darkness. Coming from the IFC Midnight stable, this first feature film from writer-director Charlotte Colbert and co-writer Kitty Percy, may be judged as a thriller or horror, depending on one’s perspective. By creating an ominous atmosphere, the movie highlights how certain events can grab hold and remain with us, often buried deeply, for our entire life. We don’t always know how these memories will manifest or how or when we deal with them, but if the scars remain, a reckoning likely follows.

Alice Krige is perfectly cast as Veronica, an aging movie star. She’s coming off a double mastectomy and is expressing more than a touch of grumpiness towards her much younger nurse Desi, played well by relative newcomer Kota Eberhardt. Veronica has booked an extended stay for rehabilitation at an isolated countryside manor, and though she and Desi have a private cabin on the grounds, Veronica is quite miffed that there are other guests in the main house … with odd therapy sessions led by Tirador (played by an almost unrecognizable Rupert Everett).

Almost immediately, strange things begin to occur and much of it is related to the earth and ground. The mud seems to have supernatural effects on Veronica’s visions and dreams. This is explained as healing power due to the heavy presence of ashes from witches burned at the stake many years prior. The memories of a traumatic event return to Veronica. She was a child actor in a film by the legendary Hathbourne (the always great Malcolm McDowell), and now he is re-casting for a remake of that film. So as Veronica faces her perceived loss of femininity at the edge of scalpel, she’s also dealing with fears of aging as the same filmmaker recreates a project she is now too old for.

Symbolism is entrenched in the film, and the approach to Veronica’s revenge on Hathbourne is handled through mysticism that can’t easily be explained … though it’s a welcome new approach to the #metoo movement. One of my favorite aspects of the film is how the initial gulf between Veronica and Desi gradually changes as the two generations of women bond over their strength. Italian ‘Master of Horror’ Dario Argento is a producer on the film, and though we don’t know what input he had, it’s quite a compliment to Ms. Colbert to state her debut film deserves to be mentioned alongside his.

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1 Comment | Horror, Thriller | Tagged: , , , , , , | Permalink
Posted by David Ferguson

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