Authors: Walter Chaw Archives - Page 6 of 145

Telluride ’23: Cassandro

September 3, 20232023, Authors: Walter Chaw, Biopic, Drama, Film Festivals, Mexico, Sports, Telluride

*/****
starring Gael García Bernal, Roberta Colindrez, Perla de la Rosa, Raúl Castillo
written by David Teague & Roger Ross Williams
directed by Roger Ross Williams

by Walter Chaw Playing out as an exhausted vanity piece on the one side and an exhausted sports biopic on the other, Roger Ross Williams’s Cassandro essays the life and early career of flamboyant, El Paso-based luchador Saúl Armendaríz, who, under his nom de guerre “Cassandro,” became the first openly gay exóticos character in Mexican wrestling allowed to actually win matches. Armed with the “Mexico tint” coined by Steven Soderbergh in Traffic, a lot of Dutch angles, and an inexplicable 1.44:1 aspect ratio that makes everything seem like it was shot on an iPhone, Williams nudges the film along from one stale trope to the next like an old frog disinterestedly leaping across lilypads. There are flashbacks to Saúl’s childhood in which his “really into Jesus” dad, Eduardo (Robert Salas), feeds him doughnuts, not knowing his son will one day be an emblem of the love that dare not speak its name; interludes with Saúl’s figure-hugging-animal-print-dress-wearing mama Yocasta (Perla de la Rosa) that show her son to be a good boy; and then montages where Saúl trains with badass Sabrina (Roberta Colindrez) and starts climbing the Lucha Libre ranks. Cassandro, in other words, has nothing to say and doesn’t say it with any particular innovation, either. What a shame.

Telluride ’23: Pyrrhic Victories (An Introduction)

September 2, 20232023, Authors: Walter Chaw, Blog, Film Festivals, Telluride

I imagine I can feel entropy sometimes, like the way you can imagine the sensation of being drained while you’re donating blood. I feel myself piecemeal falling away to nothing, just the shape of what I used to be.

Feed My Frankenstein: FFC Interviews Laura Moss

August 30, 20232023, Authors: Walter Chaw, Horror, Interviews

Walter Chaw interviews Laura Moss, co-writer/director of BIRTH/REBIRTH

Laura Moss’s Birth/Rebirth is the second of three distaff takes on Mary Shelley’s Frankenstein set for release in 2023. As the United States reckons with a series of strikes, the loudest calls for labour reform in recent memory, these new reads of the novel, notable also for seizing on the social progressiveness of the text, seem of a piece with a cultural zeitgeist pointing towards the disruption of our ingrained systems. Grateful for the opportunities the festival success of Birth/Rebirth has afforded them, Moss is as intelligent and energetic in person as their work suggests, and insightful about their creative process. The film itself is fresh, ferocious, and uses David Cronenberg correctly in a sentence, too, so when I was given the opportunity to talk with Moss, I started by asking them about the horror of the flesh:

Roman Holiday (1953) [Centennial Collection] – DVD|[70th Anniversary] – 4K Ultra HD + Blu-ray

August 22, 20231950s, 2023, 4K Ultra HD, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Comedy, DVD, Romance

Note: all framegrabs were sourced from the 4K UHD disc

***½/****
DVD – Image B- Sound B Extras C
4K UHD – Image B Sound A- Extras C+
starring Gregory Peck, Audrey Hepburn, Eddie Albert, Hartley Power
screenplay by Ian McLellan Hunter and John Dighton
directed by William Wyler

by Walter Chaw It’s one of those seminal moments that movies provide the culture with now and again, like the swoop up a little rise to an impossibly fresh John Wayne in Stagecoach, or the intervention of a fortuitous steam vent in The Seven Year Itch, this introduction we have to Audrey Hepburn as she’s whirled around in a barber chair in William Wyler’s Roman Holiday to reveal the pixie-cut heard ’round the world. That she’s adorable is a given–the real issue is whether she’s an actress or just a bundle of inexplicable charisma, a ganglion of celluloid starlight that evaporates under the slightest critical scrutiny. I love Roman Holiday, but I vacillate between indifference and actual dislike of the rest of Hepburn’s films. I don’t find her winsome in Breakfast at Tiffany’s, am irritated by her in Charade, think she’s appallingly twee in Love in the Afternoon. She doesn’t hold her own against Sean Connery in Robin and Marian and gets blown off the screen by Albert Finney, Alan Arkin, and Rex Harrison in Two for the Road, Wait Until Dark, and My Fair Lady, respectively. If you ask me, Audrey isn’t an actress so much as someone you would like to have known and maybe had the opportunity to cuddle, which makes her mega-stardom in the Fifties and Sixties all the more testament to her ineffable appeal. Happening right when Method was rendering personalities like Hepburn déclassé, she was making a career of being terminally anachronistic. It’s Ozzie’s Harriet, sashaying while Rome burns. Instant nostalgia; even when she was introduced for the first time, it must have seemed like ages ago.

Fantasia Festival ’23: Birth/Rebirth

August 15, 2023****/****, 2023, Authors: Walter Chaw, Drama, Fantasia Festival, Film Festivals, Horror, Thriller

****/****
starring Judy Reyes, Marin Ireland, AJ Lister, Breeda Wool
written by Laura Moss & Brendan O’Brien
directed by Laura Moss

by Walter Chaw In this year of the distaff Frankenstein riff, sandwiched between Bomani Story’s exceptional The Angry Black Girl and Her Monster and Yorgos Lanthimos’s upcoming Poor Things, find Laura Moss’s fucking awesome Birth/Rebirth, which, like Story’s film, manages to smuggle in a sharp, eloquently deployed payload of social and philosophical issues alongside just enough satisfying gore and a gratifying amount of real terror. I wonder if the key to the success of these films, Story’s and Moss’s, has to do with filmmakers who aren’t white men taking their shot at interpreting what is and always has been an essentially, perhaps the essentially, progressive genre text–one authored by a woman, no less, the daughter of one of the most important figures in the early women’s-rights movement, Mary Wollstonecraft (who published A Vindication of the Rights of Woman), and political philosopher/anarchist William Godwin. First-time readers of Mary Shelley’s Frankenstein might be surprised by its political sensitivities–its critique of a carceral state in which there is no forgiveness, only the presumption of guilt based mainly on appearance and social status. By how the Monster’s fate is predetermined as he’s cast off to educate himself with pilfered books and shelter amongst others whom polite society has labelled “misfit” and “outcast.” Frankenstein is a story of class war. Mary and her husband didn’t even eat sugar because of its role in the Caribbean slave trade. The Monster says, “I heard of the division of property of immense wealth and squalid poverty of ranked dissent and noble blood.” He was woke as fuck, and this was 1818.

The Last Voyage of the Demeter (2023)

August 14, 20232023, Authors: Walter Chaw, Germany, Horror, Italy, Malta, Theatrical, UK, Vampire

**½/****
starring Dracula, Corey Hawkins, Aisling Franciosi, Liam Cunningham
screenplay by Bragi F. Schut and Zak Olkewicz
directed by André Øvredal

by Walter Chaw I like André Øvredal movies. I liked Trollhunter, and I loved Scary Stories to Tell in the Dark, along with most of The Autopsy of Jane Doe. They deliver exactly what they promise and do so with an at times striking sense of how to convey the poetry of the beginning of things. His movies feel like mythology, in a few cases are mythology. And like mythologies, they’re earnest, direct, and deceptively simple in narrative but rich with subtext. He makes sense for a Dracula prequel–not a Vlad the Impaler creation story, but a picture extrapolated from the “Captain’s Log” portion of the Bram Stoker novel that details, in just under 2000 words of the seventh chapter, the fate of the doomed freighter tasked with bringing Dracula’s stuff over from Transylvania to England, whose crew became provisions for the grand fiend en route. Murnau’s Nosferatu covered the voyage in a few swift, expressionistic strokes (coffin play, hilariously), allowing Øvredal’s The Last Voyage of the Demeter to expand on the circumstances while paying homage to that film’s character design. As played by Javier Botet, Øvredal’s Dracula is barely humanoid at all.

Fantasia Festival ’23: Pandemonium

August 10, 20232023, Authors: Walter Chaw, Fantasia Festival, Film Festivals, France, Horror

***/****
starring Hugo Dillon, Arben Bajraktaraj, Manon Maindivide, Ophelia Kolb
written and directed by Quarxx

by Walter Chaw French multidisciplinary artist Quarxx’s sophomore feature Pandemonium is relentless miserablism presented handsomely and with neither of the usual pressure valves of archness or irony. It’s punishing. Although it doesn’t share much in terms of approach or narrative with Park Chan-wook’s Sympathy for Lady Vengeance, they have a similarly slick surface, and it did make me feel uncomfortable in the same way. And, ultimately, almost as unhappy. Films like this–such as most of Lars von Trier’s and Michael Haneke’s respective filmographies–are generally provocations without much more on their mind than to upset expectation and a perceived general apathy, but Pandemonium did get me thinking about how I’m raising my kids, so there’s that at least. I wonder if the function of the film-as-endurance-test isn’t ultimately as a lens with which to focus one’s empathy. That is, to say that for as lousy as your life feels at any given moment, it can and almost certainly will get worse. How consistently I enjoy movies that make me feel awful (and now I’m thinking of Brandon Cronenberg’s Possessor, which made me feel bad for months–and topped my best-of list of that year) says something about our desire for confirmation bias, I suppose. I want to be reassured that my Hobbesian outlook is rational. I’m addicted to that reassurance.

Fantasia Festival ’23: New Life

August 8, 20232023, Authors: Walter Chaw, Disability, Fantasia Festival, Film Festivals, Horror, Thriller

**½/****
starring Tony Amendola, Hayley Erin, Sonya Walger, Nick George
written and directed by John Rosman

by Walter Chaw I respect the directness and simplicity of John Rosman’s New Life, the way it addresses a double-edged problem through two women in separate storylines who represent the point and counterpoint of a debate without an easy answer. How does one balance the individual good versus the interests of the collective? Easy enough to say that any individual must be sacrificed for the sake of society until one humanizes the individual. Plenty of films tackle this question: John Frankenheimer’s The Train measures the value of a man’s life against a priceless work of art; Juan Carlos Fresnadillo’s extraordinary 28 Weeks Later and Breck Eisner’s remake of The Crazies wonder how many people must be sacrificed for the greater good, no matter how heroic the lengths they’ve gone to survive. New Life‘s stakes are similarly big, although its focus is smaller–the “Trolley Problem” where one of the hero’s choices is to kill a person she likes in order to save a planet full of strangers. Complicating it all is that the hero herself, Elsa (Sonya Walger), is afflicted with a progressive neurological disorder, meaning her time is limited regardless of what she chooses. If she does the difficult thing, in other words, she’s not even doing it for herself.

Shortcomings (2023)

August 2, 20232023, Authors: Walter Chaw, Comedy, Drama, Romance, Theatrical

**/****
starring Justin H. Min, Sherry Cola, Ally Maki, Timothy Simons
written by Adrian Tomine, based on his graphic novel
directed by Randall Park

by Walter Chaw I feel about Randall Park’s Shortcomings the same way I feel about Stephen Frears’s High Fidelity (2000), in that they’re both films I (would have) liked in my mid-twenties that I don’t like in my early-fifties, now that the ardour of my sexual jealousy has waned in proportion to my increased confidence in myself and my marriage. Similarly, I see the angst of its essentially unlikeable hero as distasteful rather than relatable and not meaningfully salved by trenchant cultural observations or incisive insights or wit, what little there is of it. It’s…a bit of a wallow in the company of a meanspirited, self-hating narcissist so self-destructive it’s easy to lose empathy for the three women in his life he takes for granted, abuses, and otherwise exploits. He’s a charisma vampire, sucking the energy out of every environment. He’s a black hole–and like most black holes, his primary function is to suck. I’m aware that Woody Allen made an entire career out of ethnically sucking, but I’d offer that at least Woody, in his prime, was funny. A creep, maybe, but a funny creep.

Fantasia Festival ’23: Raging Grace

July 29, 20232023, Authors: Walter Chaw, Drama, Fantasia Festival, Film Festivals, Horror, Mystery, Thriller, UK

***½/****
starring Leanne Best, Jaeden Paige Boadilla, Max Eigenmann, David Hayman
written and directed by Paris Zarcilla

by Walter Chaw What sets something like Paris Zarcilla’s Raging Grace apart from similar servant/master, immigrant/colonizer stuff like Lorcan Finnegan’s Nocebo is how it offers glimpses of joy amid the suffering. We see a community at play and worship, united in song, celebrating one another, exultant and safe–at odds with how their oppression is generally centred in otherwise sympathetic texts. Jubilation, it turns out, is a useful tool to ratchet up the tension in a film about isolation and domestic enslavement. When you grasp what can be lost, the stakes become unbearably high. Raging Grace isn’t a happy film, but there’s happiness in it, starting with the hopefulness of its hero’s name, Joy (Maxene Eigenmann). Joy’s a homeless Filipino house cleaner on an expired visa to the UK struggling to care for her impetuous daughter, Grace (Jaeden Paige Boadilla), on very little money and under the constant threat of discovery and deportation. The two survive by squatting in clients’ homes while they’re away, and Zarcilla has a lovely touch with the stolen days where mother and daughter pretend to have a place of their own. The rest of Joy’s life is a hustle: to get more work, to hold onto existing work, to keep her kid entertained and hidden, and to try to leave the panic out of her voice when she talks to family she’s left behind in the Philippines. Before Raging Grace becomes a horror film, it’s already a horror film.

Fantasia Festival ’23: Aporia

July 28, 20232023, Authors: Walter Chaw, Comedy, Drama, Fantasia Festival, Film Festivals, Sci-Fi, Time Travel

**½/****
starring Judy Greer, Edi Gathegi, Payman Maadi, Faithe Herman
written and directed by Jared Moshé

by Walter Chaw Titled after a word meaning “irresolvable internal contradiction,” Aporia is a tragicomedy of errors à la The Butterfly Effect in which three well-meaning suburbanites figure out a way to change the past but can’t quite figure out how to avoid causing unexpected temporal fuckups in addition to the ones they’re trying to cause. For what it’s worth, their always remembering their former timelines isn’t addressed in any meaningful way–nor, I guess, does it need to be, given that this is soft sci-fi and not Primer, but I did think about it. I also thought about how the title is probably fair warning against trying to Neil deGrasse Tyson the thing, and so: fair enough. What happens is that grieving widow Sophie (Judy Greer), seven months out from losing husband Malcolm (Edi Gathegi) to a drunk driver, does her best to manage the trauma she and her daughter Riley (Gaithe Herman) are going through, but it’s a losing battle. She confides in her friend Jabir (Payman Maadi) that things are spiralling, and Jabir tells Sophie that he and Malcolm had been working on a time-travel device that could fire a burst of energy to a specific time and place in the past. If they were to kill the drunk driver, they figure, maybe all would be well again in their world. So they do it, and at first it seems like this Monkey’s Paw is one of the rare benevolent Monkey’s Paws. But then Sophie starts feeling guilty over the financial plight the drunk driver’s wife, Kara (Whitney Morgan Cox), suffers in the absence of her lout of a husband.

Fantasia Festival ’23: Vincent Must Die + Blackout

July 25, 20232023, Authors: Walter Chaw, Belgium, Comedy, Drama, Fantasia Festival, Film Festivals, France, Horror, Werewolf

Vincent doit mourir
***½/****
starring Karim Leklou, Vimala Pons, François Chattot, Karoline Rose Sun
written by Mathieu Naert
directed by Stéphan Castang

BLACKOUT
***½/****
starring Alex Hurt, Addison Timlin, Motell Gyn Foster, Barbara Crampton
written and directed by Larry Fessenden

by Walter Chaw I’ve been angrier lately, angrier than I ever remember feeling in my life–and I was a teenage boy once. I am either more keenly aware of how broken the world always was, or the world is more broken than it’s ever been. Likely a little of both is true. I am frustration unrelieved. I am catharsis in eternal, trembling abeyance. The bad win and escape consequences; the good lose and lack the commitment to fight. The Earth is on fire, and only a handful of Scandinavian teens gluing themselves to paintings seem to have the will to do anything about it. I feel like I’m going to crack at every provocation, however minor or unintended. I wonder if I’ve lost my mind. It’s the old man’s fate to lament the growing incivility of every generation, but I didn’t expect to have so much rage going into my sixth decade. I didn’t expect to be the source of the incivility. I think the fallout from the cascading traumas of the last several years will continue to expose fault lines in our society for decades to come. Fallout is inevitable after an apocalypse, after all, and fault lines cause earthquakes. There’s nothing special about us.

Barbie (2023)

July 22, 20232023, Adventure, Authors: Walter Chaw, Comedy, Fantasy, Romance, Satire, Theatrical, UK

*/****
starring Margot Robbie, Ryan Gosling, America Ferrera, Will Ferrell
written by Greta Gerwig & Noah Baumbach
directed by Greta Gerwig

by Walter Chaw Margot Robbie is so good in good movies–and she’s also in Greta Gerwig’s smug, self-congratulatory, painfully obvious, subtext-free screed Barbie, playing Mattel’s signature doll-for-girls, which, despite occasional attempts at empowerment, are still primarily thought of as regressive artifacts of a reductionist patriarchy. Does this review immediately sound like a didactic thesis more appropriate for a freshman-level gender-studies course? One that condescends to presume neither prior knowledge nor scholarship but rather hopes to build consensus through the most basic of shared sociological experiences, catchphrases, and facile platitudes? Well, fight fire with fire, I guess. It’s tough to sit through populist groaners like Barbie because it’s right about the wrongs it’s angry about, but in the act of being right, it validates the criticisms of the worst people in the world–a strident preach to the choir that embitters the villains while actually showing those same incels, rapists, corporate stooges, and other clinically-twisted narcissists an uncomfortable amount of grace and mercy. I’m sympathetic, don’t get me wrong. But while I think it’s a long and rocky road to make something thorned and substantive out of a corporate icon under the supervision and financial control of said corporation, I’m of the mind that you might have been better off asking, say, Andrea Arnold to give it a go instead of Gerwig. Someone good, I mean. That is, if you were ever really serious about meaningful subversion as opposed to the stealth launch of your plastic-based cinematic universe using a name with a perplexing niche pedigree as the frictionless, candy-coated disguise for your rapacious intentions.

Oppenheimer (2023)

July 19, 20232023, Authors: Walter Chaw, Best Picture (Academy Awards), Biopic, Directors: Christopher Nolan, Drama, UK

**½/****
starring Cillian Murphy, Emily Blunt, Matt Damon, Florence Pugh
written and directed by Christopher Nolan

by Walter Chaw Stolid, classical in form, stately in a way some would say is boring yet so precisely parcelled out in perfectly measured, oppressively scored, bite-sized mic-drop morsels that it holds one’s interest whether one is interested or not, Christopher Nolan’s Oppenheimer is indisputably well-made and certainly well-intended. If it’s not entirely unlike an amalgam of A Beautiful Mind and The Imitation Game, well, there you have it. As Oppenheimer ploughs no new furrows in the biopic game, what’s left to ponder is whether the story of the father of the atomic bomb is told with enough nuance and ambiguity to justify its declarative urgency, its…what is it? Self-satisfaction? Or, failing that, whether it has enough ticking-timebomb doomsday urgency to cut through the curtain of unjustifiably-pleased-with-itself-and-let-me-explain-to-you-why-with-an-unreasonable-amount-of-exposition that suffocates so much of Nolan’s recent work. I mean, it’s good, don’t get me wrong, but it’s neither novel nor mind-breaking–neither Mishima nor JFK. In the end, I’m not entirely convinced it’s much more than strong yeoman’s work bolstered by predictably fine performances from a prestigious cast hired to do what they always do.

After Hours (1985) [The Criterion Collection] – 4K Ultra HD + Blu-ray Combo

July 18, 2023****/****, 1980s, 2023, 4K Ultra HD, Authors: Walter Chaw, Blu-ray Disc, Comedy, Crime, Directors: Martin Scorsese, Drama, Esoterica, FFC Must-Own, The Criterion Collection, Thriller

Note: all framegrabs were sourced from the 4K UHD disc

****/**** Image A+ Sound A+ Extras A+
starring Griffin Dunne, Rosanna Arquette, Verna Bloom, Thomas Chong
written by Joseph Minion
directed by Martin Scorsese

by Walter Chaw Paul Hackett (Griffin Dunne) is an asshole. Let’s get that out of the way. He’s doing a shitty, half-assed job of training the new guy, Lloyd (Bronson Pinchot), in his daytime cubicle hell when Lloyd confesses that his dream isn’t mastering the antiquated data-entry system at their non-descript job, but to start a publication where struggling writers might find an outlet for their work. Paul doesn’t bother hiding his…not disdain, but complete disinterest in what Lloyd’s saying, finding himself distracted by the romance of sheaves of financial documents being moved from one desk to another before standing up and walking away. Paul is detestable. He is The Company rep Carter Burke (Paul Reiser) from the next year’s Aliens, the prototypical yuppie who shows up for a late-night booty call with a stranger in Soho wearing dress pants and a button-down shirt and tie. He is the American Psycho. Paul could give a shit about the voice of the oppressed looking for a creative outlet to contribute to the collective pool of art. He’s all about numbers. He is the reincarnation of North by Northwest‘s unctuous, mercurial ad-man Roger O. Thornhill, whose monogram is “ROT.” (The “O” stands for “nothing.”) After Hours, much like North by Northwest, becomes a nightmare of commodification in which numbers are the source of dehumanization and disassociation. The only reason we really like Paul at all is that we can empathize with his desire to go to bed with 1985 Rosanna Arquette.

Fantasia Festival ’23: Introduction

July 14, 20232023, Authors: Walter Chaw, Blog, Fantasia Festival, Film Festivals

by Walter Chaw I love Fantasia Festival. More than love it, I think it's an important showcase that has provided at least a couple of titles that end up on my Best of the Year list every time I've covered it. Its programming is consistently on point, its courage to wade into deep and hostile waters laudable. This year, I'm most excited to catch Oh Dae-hwan and Jang Dong-yoon in Kim Jae-hoon's Face/Off-inspired debut, Devils, and Jimmy Laporal-Trésor's rise-of-fascism period piece, Rascals. Quarxx has a new flick inspired by Milton and Dante called Pandemonium, and there's a new '80s Satanic Panic documentary called Satan Wants You that dates me, I'll admit. A small part of me still believes I'll start speaking in Aramaic and crawling up the wall every time I spin an Iron Maiden vinyl. I feel a similar mix of nostalgia and dread about A Disturbance in the Force, which dives deep into what exactly was going through everyone's heads while making the "Star Wars Holiday Special".

The Truman Show (1998) [25th Anniversary] – 4K Ultra HD + Blu-ray

July 12, 2023****/****, 1990s, 2023, 4K Ultra HD, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Comedy, Drama, Esoterica, FFC Must-Own, Satire

Note: all framegrabs were sourced from the 4K UHD disc

****/**** Image A Sound A Extras B+
starring Jim Carrey, Laura Linney, Noah Emmerich, Ed Harris
written by Andrew Niccol
directed by Peter Weir

by Walter Chaw The Truman Show appeared during a period when we were taking a hard look at how quickly and thoroughly we had given our lives over to technology, bracing for the Y2K bug to drop airplanes out of the sky and launch nuclear arsenals. The cruel irony of successfully averting disaster is that the morning after, having learned nothing, we redoubled our efforts to sell ourselves to our things. Introspection is like a nightmare upon waking: If it doesn’t disappear on its own, you do your best to wave it away. Orwell’s 1984 didn’t predict how we pay subscriptions for the right to be surveilled constantly, every detail of our lives documented surreptitiously for corporate information harvesters and publicly through social media, where we manufacture the best versions of ourselves to entertain, and shame, others. We line up around city blocks for the right to plant the world’s most sophisticated tracking devices on ourselves; there is a fundamental, exploitable flaw in our programming. We overestimated the extent to which we desired anonymity, underestimated our longing to matter and our vulnerability to flattery. Our will to power through influence, evolutionarily favoured, is the suicide pill encoded into our hardware. In our pursuit of a self to proliferate, technology allowed us to redraft our image and curate our environments. The films at the end of the millennium–Pleasantville, Dark City, The Matrix, and The Thirteenth Floor, to name a few–are warnings about what happens when we project our subjectivity upon the world. Perhaps none cautioned more definitively than Spike Jonze and Charlie Kaufman’s Being John Malkovich, which has the balls to literalize the horror of living among undifferentiated versions of the self in a simulation of the outside that is merely an interpretation of an eternity of insides.

Mission: Impossible – Dead Reckoning Part One (2023)

July 7, 2023****/****, 2023, Action, Adventure, Authors: Walter Chaw, Espionage, Theatrical, Thriller, Tom Cruise

****/****
starring Tom Cruise, Hayley Atwell, Ving Rhames, Henry Czerny
written by Christopher McQuarrie & Erik Jendresen
directed by Christopher McQuarrie

by Walter Chaw I’ve liked every film in this series to some extent, the last few very much. Yet, pressed, I couldn’t tell you what any of them are about. If you ask me to recount the plot of this latest entry, Mission: Impossible – Dead Reckoning Part One (hereafter Dead Reckoning), I would have a tough time only a few minutes out of the screening. This isn’t an inherently bad thing. If you were to ask most people who’ve seen North by Northwest, they wouldn’t know it’s about microfilm being smuggled in South American figurines, just as they will not question whether a crop duster is the best way to kill someone waiting for a bus in the middle of nowhere. They wouldn’t remember that Notorious is about radioactive ore hidden in wine bottles, or that Psycho is about a petty embezzlement scheme. That’s because it doesn’t matter. You’d probably even get pushback about how that’s not really what those films are about anyway, which is correct. Hitchcock called those things that matter a lot to everyone in the film–and almost nothing to anyone watching it–the “MacGuffin.” The Mission: Impossible films are the quintessential modern example of an old concept: if you do everything well enough, if you understand how to keep things snappy and populate the story with characters who feel like real, live people (thus imbuing all the noise with stakes), well, it doesn’t matter what the picture’s about, because what it’s actually about is so instantly relatable. Will they survive? Will they fall in love? Archetype and craft. There’s nothing simpler and nothing more complex.

You Hurt My Feelings (2023) + No Hard Feelings (2023)

June 30, 20232023, Authors: Walter Chaw, Comedy, Drama, Romance, Theatrical

YOU HURT MY FEELINGS
**½/****
starring Julia Louis-Dreyfus, Tobias Menzies, Michaela Watkins, Jeannie Berlin
written and directed by Nicole Holofcener

NO HARD FEELINGS
***½/****
starring Jennifer Lawrence, Andrew Barth Feldman, Laura Benanti, Matthew Broderick
written by Gene Stupnitsky & John Phillips
directed by Gene Stupnitsky

by Walter Chaw Nicole Holofcener’s You Hurt My Feelings belongs, alongside stuff like Tamara Jenkins’s Private Life and Lynn Shelton’s Sword of Trust, to a very specific sub-genre of comedy. They’re talky, WASP-y, verging on the cusp of self-awareness at all times without ever quite slopping over from solipsistic, and clearly courting an educated, middle-to-upper-middle-class (white) audience. I like them, for the most part, with their hangdog protagonists, weary of idiots and drowning in debt to therapists and assorted medical specialists–none of whom seem capable of solving their own existential blues, much less their clients’. I know that emotional quagmire. I’ve made maps of it. This is the playland to which Zach Braff and Alison Brie bring their gnarled cinematic projects as well, slumming them up in quotidian drag so that their appeals to melancholy ring hollow, manipulative, and self-serving. They lack authenticity; their troubles aren’t lived-in but instead theoretical put-ons–the fake stories successful people tell at champagne brunches to appear afflicted by the same disappointments as you or me. You Hurt My Feelings doesn’t feel natural, either, I have to say, although that’s more to do with saturation than disingenuousness. I feel like I just saw Julia Louis-Dreyfus doing this in You People; I feel like indie comedies on indie budgets are all doing variations of the “talking in different found sets” thing. I feel like this is the third or fourth time this year I’ve been caught in a dense conversation with the same people complaining about the same problems in the same tone. It’s that phenomenon where you try to give your baby a novel name, and when they reach school-age, it turns out everyone in their class is named the same thing.

Indiana Jones and the Dial of Destiny (2023)

June 27, 20232023, Action, Adventure, Authors: Walter Chaw, Spielberg, Theatrical

*/****
starring Harrison Ford, Phoebe Waller-Bridge, Antonio Banderas, Mads Mikkelsen
written by Jez Butterworth & John-Henry Butterworth and David Koepp and James Mangold
directed by James Mangold

by Walter Chaw Indiana Jones and the Dial of Destiny (hereafter Indy 5) is sad and tired. Some of that is on purpose, essaying a lonesome old man who has lost everything he cared about, is terrible at his day job, and is retiring in any case; and some of that is decidedly not on purpose, as the action sequences are simultaneously bloated and flaccid–pale imitations of past glories in a revered franchise whose first two installments are so extraordinary, it hardly matters it hasn’t done anything great for three films now across almost 35 years. Indy 5 tries to infuse some life into itself with the addition of Phoebe Waller-Bridge, whose Helena Shaw introduces herself as a young woman Indiana Jones (Harrison Ford) knew at some indeterminate point in the past. Given that Indy’s reunion with Marion (Karen Allen) in Raiders of the Lost Ark drops the nugget that she was likely a victim of statutory rape (“I was a child. I was in love. It was wrong and you knew it”), I spent a few minutes wondering if Indy had molested a child Helena. But while Helena–the daughter of new character Basil Shaw (Toby Jones), the obvious replacement for Marcus Brody (the late Denholm Elliott)–remains blissfully clear of one of the darker intimations of the Indiana Jones character, she does function as a hollow doppelgänger for Marion, just as Basil is a hollow shade of Marcus. Meaning that for as bad as the de-aging effects are in this picture, its sparkless attempts to recapture some of the chemistry of the original films are somehow worse.