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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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Great actors who need to re-ignite
Reviews
Anora (2024)
Incendiary morality tale set in Brooklyn, Russian style
Sean Baker returns to his wheelhouse of exploring the dingy edges of society. This is a story of tormented love, a fiery look at how a young woman, scraping by as a sex worker in Brooklyn, sees her hopes and dreams become insanely real when she meets her prince charming, the son of a Russian oligarch. Their chemistry is instant and spellbinding. Her life changes dramatically as they get married.
Mikey Madison is miraculous as the young woman whose fairy tale dream comes alive. But unlike Elizabeth Taylor in "Butterfield 8" or Elisabeth Shue in "Leaving Las Vegas", the female protagonist here never becomes the classic hooker-with-a-heart-of-gold. She remains tough as nails, chock full of rage and ready to throw her next punch until the very end. While she never becomes a savory person, her resolve never wanes. She knows how to stick up for herself and rejects with fury those who fail in this regard. It's one of the best performances of the year.
Just when you think you know where this is going, it upends your expectations and proves to be a much more challenging film with a sobering reality at its core. Many have referred to this as partly a comedy. In all honesty, that's a bit of a stretch, notwithstanding a dark sense of humor. Fair warning, this film is pretty taxing on the psyche. You might be exhausted in the end. But it's a memorable film that will leave you in devastated awe. Recommended to the highest degree.
The Outrun (2024)
Recovery, career revival and rediscovering nature
Saiorse Ronan is a biology graduate student whose partying and alcohol addiction has plunged her into career struggles ultimately leading her to take a break from her tumultuous life in London and returning to her roots in the Orkney Island north of Scotland. It is there where she starts to overcome her demons and begin to find her compass.
Ronan carries this slightly meandering story, which although beautiful to watch, takes a while to get to the point. The backstory is deliberately weaved together. We get to see her family circumstances and a glimpse of the schism between her religion mother and alcoholic father. Her early ne'er do well antics tested the patience of her various boyfriends. In flashbacks, we see her unstable and feckless existence in London contrasted with her growing discipline and focus once she has settled into her old surroundings. It's a well-rendered portrait of youth starting to mature and develop of a purpose in life. Solidly recommended.
A Different Man (2024)
Remaining humble in the face of it all
It might take a while to process this film, because of its unapologetic strangeness and staunch refusal to be a predictable, mainstream storyline. Extremely well-acted and somewhat labyrinthine in its concept, this will not be for all tastes. Some might find it quite ridiculous. Others might be enthralled by the eccentric, even at times quixotic premise.
Sebastian Stan is a woefully deformed actor whose career opportunities are few and far between. But cutting edge medical treatment suddenly presents the promise of a new life when his disfigured condition appears treatable. He can suddenly live freely and normally and can pursue an attractive woman who lives in his building and not incidentally showed an affinity for him prior to his transformation. Much to his surprise another actor surfaces, one with the same deformed condition that he successfully eradicated and his life gradually and inexplicably becomes more marginalized. A creepy karaoke scene, the most memorable scene in the whole film captures the protagonist's psychology perfectly. One thing this film understands perfectly is how being a handsome guy can actually be a strike against you with some women.
Perhaps the best lesson to glean from this peculiar storyline is to appreciate those who appreciate you as you are. Any higher concepts this film intended to convey, it failed entirely. You will either find this whole premise thought-provoking or patently ridiculous. An allegory is supposed to stand for something, but it won't be as effective when it is too convincing or odd in itself. Recommended to open-minded viewers.
The Apprentice (2024)
Gaudy and blustery, much like Trump himself, but also very well-acted
Sebastian Stan and Jeremy Strong give committed performances in this cinematic portrayal of Donald Trump's early career, from his stepping out of his father's shadow in taking on the ambitious endeavor of rebuilding and reshaping the Commodore Hotel to his early heydays in the 80s when his business empire started to venture into casinos.
Stan does an impressive job of conveying the character arc of Trump where he goes from a confident but self-entitled daddy's boy in the 1970s into a more narcissistic and arrogant tycoon by the end. The film has a glum feel in the 70s that shifts into a sleeker but more demonic aura in the 80s. It's Jeremy Strong who steals the film with a stunningly complex turn as Roy Cohn, the ruthless but psychologically tortured prominent attorney, who takes Trump under his wing in the beginning.
It's a decent overview of Trump's beginnings in adult life and by the end, his words and mannerisms sound a lot more familiar. The later stages of the film offer a glimpse into the grandiose persona who would come to view any kind of power as his due. Recommended to anyone who keeps an open mind.
The Wild Robot (2024)
Technology meets heart
A futuristic robot, fresh from the factory, gets lost in transit and finds itself marooned on an island full of wild life and must learn to live and interact with many different species of the animal kingdom. This wonder robot learns quickly but does not anticipate its most challenging task- raising a gosling that has hatched after being born in the robot's care.
The robot turns out to be the gosling's truly versatile guardian in helping the young animal grow up and learn how to fly in time for the winter migration. The robot is also seemingly indestructible in dealing with predators and/or bullies in the wild and set its new child on a good path, all the while learning to step outside its program's rigid guidelines.
Touching and endearing, this animation film is a pure joy to watch. It's a truly positive story of unconventional bonding that overcome the boundaries of tribes and species. It's a tale that espouses common ground and collaboration in the name of community and self-preservation. A visually lush and conceptually rich film, this is not to be missed. Highly recommended.
The Substance (2024)
Fatally unpleasant film; I wanted this to be over
Try as I might, I simply couldn't stomach this disgusting ordeal in the end. Actually at one point or another, I desired those in the audience to talk in order to distract me- that is quite unusual. Many horror aficionados will applaud how audacious and unapologetically explicit the film's style is. But I have my limits and draw a demarcation line between that which is thought-provoking and filmmaking that turns into simple torture. This would be the latter, regrettably.
It starts out intriguing and pulpy enough before nose-diving into nightmarish savagery. Demi Moore is a Hollywood superstar whose glamor and heyday has long faded into the past. She discovers a mysterious underground drug that enables her to return to her former beauty and relive the peak of her career. Dennis Quaid is quite good as the grotesque TV producer of her workout program that she does in the twilight of her career. Margaret Qualley is the younger version of Moore's starlet. Solid performances and flamboyant visuals draw us in before the film gives new meaning to heavy-handed depravity.
The best that I can say for this film is that it will be tough to forget. Whether you're mesmerized or repulsed, this film will leave its footprint on your psyche. It's too extreme to recede from one's consciousness. You'll either be in awe or need a shower when you get home. But for the record, not recommended. Not at all.
Kneecap (2024)
Hard-hitting lyrics and beats give the Irish language a powerful voice
A couple of young Belfast hoodlums, whose fugitive father is revered by the Irish Republicans find themselves an unlikely ally in a volunteer translator for law enforcement who's also a music teacher. As they get to know each other, they find a common cause in using rap music as an eloquent means to fight for the preservation of their Irish language, which has been marginalized by British rule in Northern Ireland.
Profane and psychedelic, this film freely shifts between English and Gaelic. In both languages, the film is chock full of fierce national pride, unabashedly vulgar humor and commentary on the free-wheeling but devastatingly vocal nature of rap music. Michael Fassbender has a small but stirring role as the father whose influence and presence is always with the two young men even if he himself lives in the shadows. It might be the most incisive portrayal of life of Northern Ireland since the ceasefire. Gerry Adams feels more like an historical figure here than a mover and shaker of contemporary Northern Ireland. The generation that followed the troubles expresses its rage in more subtle but no less effective means. Grandly recommended.
Blink Twice (2024)
Glossy thriller becomes a bit overwrought, even heavy-handed but remains dynamic and impactful
Naomi Ackie is a cocktail waitress, living paycheck to paycheck who chances to meet a world-renowned Elon Musk-type business mogul (Channing Tatum, with menacing swagger to spare) when she sneaks into one of his private events. As fate would have it, they have instant chemistry and he invites her to his exclusive island oasis, where he and his inner circle live the life of Riley- or so it seems at first.
Provocative, bristling performances dot this film throughout. Ackie displays star-making credentials as the heroine. Tatum gives his meatiest performance in years. Christian Slater comes out of the woodwork as one of Tatum's braggart friends. Haley Joel Osment (amiable and creepy) is the less abrasive reprobate of the group. Adria Arjona is alternately free-wheeling and skittish as the wild card among the female guests. She views any new woman on the island as competition, but her instincts are developed and she's no fool.
First-time director Zoe Kravitz has an eye for detail and a penchant for frenetic pacing. This contemporary suspense mystery is likely to be polarizing, fanatically admired and reviled. It offers its share of social commentary on toxic masculinity, but with a devilish sense of humor (the song "Jungle Fever" is a witty and festive part of the soundtrack) and recurrent themes of class and exclusive clubs bubble up throughout. To describe more would be to reveal too much. It's a twisty adventure, that occasionally goes off the rails, but even if the film goes berserk at times, it doesn't dull its achievement. Highly recommended.
Sing Sing (2023)
Prison story that taps into the creative side
This modest, affecting film portrays the work of a convict in Sing Sing prison in creating a theater program in which the prisoners take the stage and take on roles ranging from Shakespeare to modern drama or comedy. It's based on true events and many of the actual prisoners who participated in this endeavor play themselves.
Colman Domingo is his usual exemplary, soulful presence as the convict who makes the theater program a possibility and helps introduce many of his fellow inmates to the world of acting. Clarence Maclin matches Domingo with an absolutely granite performance as one such inmate who goes from menacing prison bully to empathetic confidant in the film's storyline. The actual "Divine G" whose story the film is based on, makes a brief appearance as well.
Prison films are known for usually being a lot grittier and less nuanced than this. But this story is not without some of the same heartbreak and endurance that comes with a prison story. In the end, it's quite an inspiring tale and cause for optimism amid bleak surroundings. Highly recommended for those who enjoy excellent acting and an unconventional but uplifting slice of life.
Trap (2024)
Hartnett carries this nutty thriller with some help from Saleka
Some reviews have said this film loses its compass and concludes poorly. They're looking at it backward. This film finishes quite strong and its gripping turn of events in the second half rescues it from oblivion. It's the early part that's tough getting through and it looks as though the creative premise might be squandered. But some inventive plot points get the film back on track.
A working class dad takes his teenage daughter to the mega event of her dreams, a flamboyant concert by a Lady Gaga-esque pop star. As it turns out, he is a sadistic serial killer who is hunted by law enforcement, who've been tipped off that he'll be in attendance. Josh Hartnett gives a committed performance that elevates the sloppy screenplay and occasionally cartoonish dialogue (seems to be a pattern for Shyamalan). Hartnett is unsettling as a psychopath who shifts from goofball dad to the Incredible Hulk with appalling swiftness. The real wild card is Saleka Shyamalan who steals in the film in a vixenish, captivating performance as the starlet who turns out to play a more vital role than one would expect. Hayley Mills from "The Parent Trap" is cleverly cast here as an FBI profiler who's hot on the trail of her target.
Implausibilities bubble up in the storyline but the pacing and tension picks up so much toward the end, that I felt inclined to forgive the occasional lapses in credibility. In terms of overall achievement, this film goes from potential Hitchcockian thriller to settling more for B-movie status, but with character and gritty effort. Recommended to those who can check their brains at the door and enjoy some wild-eyed craziness.
A Quiet Place: Day One (2024)
Gritty horror prequel that delivers
A young poet in diminished health and a British law student cross paths and become allies in a desperate attempt to escape New York in the wake of a devastating attack by savage aliens with super hearing ability and unstoppable speed. This film, which has the most unsettling opening in recent memory, tells the harrowing story of how the horrible devastation wrought by these creatures first started.
Lupita Nyong'o is quite good as the protagonist, who watches New York get reduced to a deadly war zone in which the slightest noise means imminent, life-threatening danger. Joseph Quinn is her last hope as the unlikely hero who helps her navigate the ravaged city back to Harlem where she's originally from. Alex Wolff has a brief role as the very calm and patient social worker. And yes, Nyong'o has a cat in this film who is the closest thing to a protector you're going to find aside from a human amid the crawling, galloping beasts.
This prequel doesn't try to be brilliant or groundbreaking but it has so much tension, humanity and in the end, swagger, that I feel pity for those who've chosen to pan it. You want good, old school filmmaking, that is here. Highly recommended to film buffs and horror fans alike.
Twisters (2024)
Science meets nature
This remake takes the premise of the 1996 film, which came out when social media did not yet exist and when the Internet was still barely a presence in people's lives and updates it like gangbusters. We have dueling ambitions between two contrasting personalities who closely watch and chase tornadoes. She has studied meteorology and is putting her best effort to catch and contain storms before they wreck their worst damage on the lives of thousands, including many people she knew growing up in Oklahoma. He's a free-spirited social media celebrity who's also tech savvy and knows how to follow and get the closest he can to the scariest tornadoes. Daisy Edgar-Jones and Glen Powell play well off each other, both giving off charisma and likeability.
Some scenes pay homage to the original. Moviegoers will once again be reminded about the impact of a tornado on a cinema. A tornado has no regard or fear of eating up an oil refinery the same way it did an oil tanker back in the day. The supporting cast is as joyful and fearless as their predecessors. Back in the day, I loved and admired the achievement of the original, but this contemporary version has a more technology-driven spin and delves into the science behind tornadoes with more detail. The result is a film that's exciting and informative at the same. Enthusiastically recommended to those who love an action-packed blockbuster with heart and soul.
Kinds of Kindness (2024)
Lanthimos doubles down on cruelty and descends this time into brutality
If you know Yorgos Lanthimos' uniquely clinical and off-kilter style of filmmaking, then here you will find him not only adhering to, but fortifying his trademark strangeness in producing three different stories of tortured and eccentric depravity. Emma Stone, Jesse Plemons, Willem Dafoe, Margaret Qualley and Hong Chau all flourish playing dissimilar characters in each tale, alternating between victim and perpetrator, between innocent bystander and co-conspirator, between normal person and degenerate.
Watching this rich acting lineup shift between these contrasting personas is quite the experience, even if the film's length makes some chapter stand out more than others. Some symbolism lingers on. A broken tennis racquet fits right in with the prevailingly derelict milieu. Overall, it's surprisingly fast-paced, but the first tale is the least memorable, perhaps because it's overshadowed by two meatier, more vicious tales that follow. It was almost as if Lanthimos was just getting warmed up for his true descent into his archetypal cynicism and bitterness, in jet black form.
While his past films were merely cold and brusque in their mindset, this time Lanthimos delves at times into cold-bloodedness. This time, squeamish viewers really do have to be warned to proceed with caution. What follows is a challenging and markedly less fancy blend of tragedy and comedy that we've seen from this director, but one that takes his harshness just one step further into the abyss. Recommended to devoted fans, but with everyone else, highly touch and go.
Inside Out 2 (2024)
A joyride with the emotions developing and juggling on the way to puberty
In 2015, we met Riley and her developing emotions Joy, Sadness, Anger, Fear and Disgust the first time and it was a ride. Now a teenager approaching puberty is bringing in some new emotions to the headquarters.
The new emotions that take over Riley's psyche include Anxiety and Envy, who turn out to be the new movers and shakers of Riley's mindset. Embarrassment, Ennui and Nostalgia are more in the background, but they all play an indispensable role in one way or another. I cannot praise Pixar enough in coming up with this high-concept distinction between basic emotions and sophisticated emotions. Anxiety and Envy are a frenetic and unwieldy tandem who are initially ahead of the curve in gauging Riley's social and athletic challenges. At their first, they work brilliantly together in steering Riley's decision-making process, vaulting her into contention for a spot on an elite hockey team with the only coolest kids. That's when the film's insight on controlling these kinds of emotions starts to gel. Teenage angst, indeed anxiety in general, is a double-edged sword which can be a valuable asset in foreseeing what is to come but the film ultimately has a lot more to say than just that.
It is a fun ride to see the struggle we adults went through some time ago from a funny and relatable and still different perspective. Amy Poehler gives Joy again a vibrant and wonderfully fitting voice. Anxiety gets her voice from Maya Hawke and nails it.
Great fit are all the voices for the emotions, one of my favorites stays Liza Lapira as Disgust along with Adele Exarchopoulos as Ennui. Director Kelsey Mann makes Disney and Pixar's "Inside Out 2" a joyride for all ages with lots of fun, jokes and nostalgia. Highly recommended to everyone!
Note: Be sure to watch the film through the credits because Pixar, true to form, has a postscript that most people will miss.
Furiosa: A Mad Max Saga (2024)
Mad Max prequel rivals Fury Road, but doesn't surpass it
The origin story of Furiosa, the road warrior who becomes Max's indispensable ally in Fury Road, defies expectations in being a rich, challenging chapter to this franchise which stands eminently strong on its own terms. What makes this film not only competitive with Fury Road, but also a threat to overtake it, is undeniably powerful storytelling. Perhaps George Miller wanted to make a film that was layered and thought-provoking this time, not just an epic thrill ride.
Because it's a prequel, Furiosa is more reluctant to get by on the strength of its breakneck-paced action sequences. It relies so much more on character development and subtle tension. When we first meet our protagonist she is already a courageous defender of her home against rogue intruders. Her evolution from brave child to forceful road warrior is masterfully executed by Miller. Anya Taylor-Joy is a revelation as the grown Furiosa. Chris Hemsworth is a grand presence as the inhumane but somewhat frivolous warmonger whom Furiosa swears vengeance on. Immortan Joe, who was the personification of evil in Fury Road, has a more subtle and nuanced role in this chapter. Chalk that up as one more surprise that this film will spring on you.
Although it gives the 2015 film a very strong challenge, the one aspect where Furiosa simply cannot compete with Fury Road is in its conclusion. Where Fury Road gave us an ending as emphatic and uplifting as any, the ending here felt ever so slightly more conventional, but still gripping and hard-earned. If this film is your first foray into the world of Mad Max cinema, it's a great way to start. Grandly recommended as a prequel that makes it mark.
Back to Black (2024)
An homage to a beloved star we lost too soon
This biopic of Amy Winehouse explores her challenging private life as her career as a jazz singer and music star took off. We get to see how Amy drew inspiration from early 1960s music that her grandmother loved dearly. We also see how moody and uncompromising she was even in the early days with her record label and her promoters. Those of us who remember Amy Winehouse won't be surprised by much of this film.
The tragedy of how Amy slipped more and more into her alcohol and drug addiction over time as well as her failing to overcome her demons is captured quite well by this film. We know what's coming and yet we cannot look away. The illuminating aspect of this part of the story was how those closest to her completely failed to help guide her to a safer and better path.
The selection and timing of Amy's songs along the story line are adding to the depth of this tragic story of a beloved musician who seemed so strong at times and then incredibly fragile at others.
While Marisa Abela is quite good in portraying Amy in all her unwieldiness, it's the supporting cast that occasionally comes out just as strong. Eddie Marsan is well-deployed as Amy's long-suffering and over-indulgent father. Jack O'Connell, who has not had a compelling or memorable role since "Money Monster", comes back from the dead to give an animated and charismatic performance as Amy's only-ever husband. Superb performances elevate this biopic to a truly poignant portrayal of a promising life that will never be forgotten.
An insight and angle of Amy Winehouse's life, recommended to everyone who likes to get a glimpse of this artist's struggled life.
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.