Theatrical Archives - Page 5 of 65

A Man Called Otto (2022)

January 5, 20232022, 2023, Authors: Walter Chaw, Comedy, Drama, Sweden, Theatrical

*/****
starring Tom Hanks, Mariana Treviño, Manuel Garcia-Rulfo, Mike Birbiglia
screenplay by David Magee, based on the novel A Man Called Ove by Fredrik Backman and the film A Man Called Ove written by Hannes Holm
directed by Marc Forster

by Walter Chaw “Get out of here while you can,” the old man snarls to the stray cat. “I’m not your friend.” But of course he will befriend the kitty, because you don’t introduce a stray cat at the beginning of a manipulative piece of happy-go-fuckery like A Man Called Otto without it becoming one catalyst of many for the objectionable curmudgeon’s development of a renewed reason for living. You could say that every character in A Man Called Otto is similarly a collection of adorable quirks and bottomless patience designed exclusively for the redemptive salvation of our man Otto. Otto, who is Tom Hanks’s second shot at playing someone on the neurodivergent spectrum, this time landing somewhere just south of the elder Paul Newman, in the neighbourhood of Walter Matthau (at the corner of Richard Russo and Garrison Keillor). On his first date with his dead wife (Rachel Keller), a scene played in flashback by Hanks’s other other son, Truman (who is less like a cross between Hanks and Rita Wilson than between Colin and Chet), Otto’s asked what he’s passionate about and says he’s interested in machines and how things work. Forced into early retirement as the picture opens, he’s a dedicated engineer obsessed with details–yet he doesn’t understand that if he wants to hang himself from a rope looped through a ring hook in his living room, he needs to use a support beam in the ceiling or else what you know is going to happen will happen. Then he blames the hook. I know it’s a Better Off Dead gag, but it’s also inconsistent writing meant to extort a response like Thomas Newman’s emotive/emetic tongue bath of a score. If you turned the concept of “insincere pathos” into a music box, this is the noise it would make. It conjures the images of teddy bears finding a baby next to a river. Look, if Thomas Kinkade paintings came with soundtracks…

M3GAN (2023)

January 5, 20232023, Authors: Walter Chaw, Horror, Sci-Fi, Theatrical, Thriller

***/****
starring Allison Williams, Violet McGraw, Amie Donald, Jenna Davis
screenplay by Akela Cooper
directed by Gerard Johnstone

by Walter Chaw That the Internet works the way it does and evolved as quickly as it did likely had everything to do with it being the finest distributor of pornography the world had ever seen. If a band of apes created something like the Internet, for instance, they would use it primarily to inflict violent dominance over others–and for sex, if possible. No “ifs” about it: we are, and we did. When an artificial intelligence was tasked with machine learning via the Internet, it became a misanthropic, misogynistic racist almost instantly. The Internet is also the single greatest anthropological bellwether ever created, diagnosing who we are when we’re not obsessively adjusting our mask of civility; 100% pure id. I love Alex Garland’s Ex Machina because it understands that if a robot that looked like Alicia Vikander were invented, men would try to fuck it, and no expense would be too great in that pursuit. It doesn’t even have to resemble Alicia Vikander–it can just be a flashlight with a rubber hole in it. Which brings us to the question M3GAN refuses to confront. If you make a little blonde doll that looks like a 12-year-old Fiona Gubelmann, you’re opening an entire hornet’s nest of uncomfortable issues that would be fascinating to address. What happens when unfettered tech capitalism collides with pedophilia? I mean, the Replicants in Blade Runner are soldiers, teachers…and prostitutes. Even Spielberg’s A.I. recognizes that great leaps in technology are historically tied to warfare and rutting.

Babylon (2022)

December 22, 20222022, Authors: Walter Chaw, Comedy, Drama, Esoterica, Theatrical, ZERO STARS

ZERO STARS/****
starring Brad Pitt, Margot Robbie, Diego Calva, Jean Smart
written and directed by Damien Chazelle

by Walter Chaw If it were only vile, only repulsive, it still would have been a disaster lacking insight and honesty, but at least it wouldn’t also be afflicted with bathetic false modesty wet down with spasms of cheap sentiment. Damien Chazelle’s back to his old tricks, in other words, with Babylon, a “love letter” to the end of the silent era in Hollywood presented with a child’s understanding of history, obviously, not to mention human relationships, aspirations, behaviour, everything. It’s a stroke fantasy made by a 13-year-old boy, meaning it’s soaked in excreta without much evidence of anything like experience animating it–the movie made by the antagonist of Monty Python’s “Nudge Nudge” bit, who, at the end of 10 minutes of naughty entendre, wonders rapturously what it might be like to touch a woman’s breast. I loved Chazelle’s last film, First Man: Sober and introspective, it found the soulfulness in an engineer’s deadening grief over the loss of a child. His other three films, this one included, are a trilogy of desperation to be taken seriously as a great auteur, a great historian of jazz and Hollywood, and an artiste of the first calibre. Alas, he doesn’t know the difference between being celebrated for his worst instincts versus fighting for his best ones. At the end of Whiplash, La La Land, and now Babylon, the only thing he’s successfully communicated is that he’s seen Singin’ in the Rain, if not entirely understood it. It should take less than eight hours to accomplish that.

Avatar: The Way of Water (2022)

December 13, 20222022, Action, Adventure, Authors: Walter Chaw, Fantasy, Sci-Fi, Theatrical

½*/****
starring Sam Worthington, Zoe Saldana, Sigourney Weaver, Kate Winslet
screenplay by James Cameron & Rick Jaffa & Amanda Silver
directed by James Cameron

by Walter Chaw The discourse leading up to James Cameron’s Avatar: The Way of Water (hereafter Avatar 2) has been largely about how although the first Avatar is the second-highest-grossing film of all time, it hasn’t left much of a mark on popular culture. It’s a take derided for the evidence of the numbers and the emergence of a theme-park attraction, though I do wonder if its cultural impact isn’t like that Song of the South ride “Splash Mountain,” which is only just now, finally, closing in early 2023. I don’t know that the vile myth of the happy enslaved person made much of a mark on popular culture, either, insomuch as it is, itself, already and essentially popular culture. Maybe Avatar didn’t make much of a “cultural impact” because it didn’t introduce any new ideas into the ecosystem while profiting from a few antiquated ones. In the interim between Avatar‘s release in 2009 and this first of four promised sequels, a lot has changed in terms of cultural tolerances–even if, systemically, things have not only not improved but regressed. Maybe the problem with Avatar is the same one that any stories about first contact with a technologically less sophisticated alien culture share, given how our historical templates for these narratives involve genocide and the pillaging of natural resources. When a white person tells a story of a white man saving an indigenous culture from other white men, however, I start to worry about what kind of fetish is being indulged, and to what purpose/at what cost. What’s not in doubt is that Avatar 2 will make bank, because whatever kink is being indulged in white-saviour narratives has proven a durable and profitable one in a white nationalist state. That’s one way to look at it, anyway.

The Whale (2022)

December 6, 20222022, Authors: Walter Chaw, Directors: Darren Aronofsky, Drama, Theatrical

**/****
starring Brendan Fraser, Sadie Sink, Ty Simpkins, Samantha Morton
screenplay by Samuel D. Hunter, based on his play
directed by Darren Aronofsky

by Walter Chaw The Whale is the first Darren Aronofsky film that lands for me the way his work often lands for others. It feels like much ado about very little, and though there are obvious things to recommend it, its central message, however well-taken, seems poorly served by the substance and execution. Most of the blame goes to screenwriter Samuel D. Hunter, author of the same-named play on which the film is based, for writing a trio of women characters meant to represent the mother, whore, and virgin but who mostly represent a uniform wall of shrill, lacerating rage. The Whale feels like the product of inexperience: a song by The Smiths turned into a movie in all its grandiloquent, hyper-literate (to the point of self-parody) self-pity. It’s about the last five days in the life of online English comp teacher Charlie (Brendan Fraser), a morbidly obese, largely couch-bound shut-in suffering from congestive heart failure brought on by years of unchecked food addiction incited by the suicide of his partner. If that were all (and certainly that’s enough), we’d have ourselves a classic. But it’s not all. There’s an evangelical missionary named Thomas (Ty Simpkins) who comes to the door to sit with him as he’s popping off the first of what appears to be a series of heart attacks; Charlie’s estranged daughter, Ellie (Sadie Sink), who is quite possibly Satan himself because this film is at some level about how anyone can be redeemed and so provides a demonic straw girl to prove it; pissed-off caregiver Liz (Hong Chau), who–it’s weird to say this–has a bit too much backstory; and Charlie’s alcoholic ex-wife Mary (Samantha Morton), who wants to listen to Charlie’s breathing for some reason. The Whale is at once overwritten and underwritten, which is not uncommon. What sinks the ship, as it were, is that it’s never particularly well-written–something it just can’t surmount. I think the real movie is in the five days before the last five days, but what the fuck do I know?

The Banshees of Inisherin (2022)

December 3, 2022****/****, 2022, Authors: Walter Chaw, Comedy, Drama, Ireland, Theatrical, UK

****/****
starring Colin Farrell, Brendan Gleeson, Kelly, Kerry Condon, Barry Keoghan
written and directed by Martin McDonagh

by Walter Chaw I lost a friend this year. Not to death but to no longer having anything of value to offer him, what with time getting short. I understand that. It’s happened before for different reasons, and while it’s tempting to say it’s not my fault, sure, it’s my fault. All you need to love in this world unconditionally are your kids, and, well, the last time my late parents told me they loved me, I was nine years old. I remember that because every few years, I’ve had reason to wonder when it stopped and what exactly I did to deserve it. The myth of family is just that; I think there’s a reason people like me build their own families. The only thing unconditional is the love a dog has for you, and people abuse dogs all the time. I have friends who are enervating to me as well, and I wonder if my loyalty to them has everything to do with knowing the pain of being left by the side of the road by the people I have loved–and not wanting to inflict that on anyone else. The fashion of the moment speaks of this as “ending the cycle” of abuse. I’m drawn to artists like Kendrick Lamar who use poetry and what appears to be an extraordinary vulnerability to lay bare their struggles. Even as I write this, I’m noticing the pain I have in the middle knuckle of the third finger on my left hand. I’ve put down millions of words in the past 20 years, going through multiple keyboards and laptops in that time. I was driven by an obsession not to be forgotten, although I’m losing track of why that matters. The longer I go, the more it seems a blessing to slip beneath the surface, and then it’s done. I have a heaviness in my chest sometimes that feels like a stone, worn smooth and round, sitting right there on my sternum. Time is getting short for me. Some days it feels a lot shorter than others. I wonder how small the iris of my perception will become as the possibility of works I’ll complete dwindles to not one more. That’s it, then someone else closes the cover of your last notebook.

The Fabelmans (2022)

November 27, 20222022, Authors: Walter Chaw, Coming of Age, Drama, Spielberg, Theatrical

*½/****
starring Michelle Williams, Paul Dano, Seth Rogan, Gabriel LaBelle
written by Steven Spielberg & Tony Kushner
directed by Steven Spielberg

by Walter Chaw Sammy (Gabriel LaBelle) loves making movies. He loves it so much there’s a chance he’ll destroy his family because of it–showing things that aren’t for public consumption, mishandling the power of the medium, underestimating the magnitude of his gift. We know this because there’s a scene where Sammy, while editing raw 8mm footage of a family camping trip, notices his mom, Mitzi (Michelle Williams), getting a little too friendly with family friend Benny (Seth Rogen). He cuts all the incriminating clips together into a mini-reel he projects for Mitzi against the wall of his closet as explanation of sorts for why he’s sullen lately, and maybe as punishment for Mitzi, who has just struck him out of frustration. We know this, too, because his obviously insane grand-uncle, ex-lion tamer Boris (Judd Hirsch), has warned him, in a movie-stealing bit of scenery-chewing, that the tension between art and family always ends in tragedy. We know this, too…uh, too, because it’s ventriloquized through the mouths of more than one character, including Sammy’s bully, Chad (Sam Rechner). Word for tortured word. There are more monologues in Steven Spielberg’s The Fabelmans than there are dialogues–more peaks than mountains, as it were. More waves than ocean. I don’t know why everyone in this movie talks like either a greeting card or a diagnosis, though I think it probably has to do with Spielberg wanting to excavate his past and, in the exhumation, to find easy and uplifting bows in which to tie his various strings. We all want that. I feel for him.

Nocebo (2022)

November 6, 20222022, Authors: Walter Chaw, Ireland, Philippines, Theatrical, Thriller, UK

**½/****
starring Eva Green, Mark Strong, Chai Fonacier, Billie Gadsdon
written by Garret Shanley
directed by Lorcan Finnegan

by Walter Chaw Lorcan Finnegan’s Nocebo would fill an interesting double-bill with Jaume Collet-Serra’s Black Adam, both violently rejecting the interventionist and exploitative tenets of colonialism (traditional and neo-). The reasons these films at opposite ends of the production spectrum might manifest within days of each other in 2022 are cynically self-evident, perhaps, but it doesn’t lessen the fascination of their parallel genesis. The world is being destroyed by unfettered, voracious capitalism in ways so obvious that even widgets extruded from the intellectual-property mill are compelled now to occupy the same sociopolitical spaces as an independent film. I don’t know that it’s possible to qualify this development in that while it seems like progress, history has a way of reducing revolutions almost instantly to T-shirts and freshman dorm-room poster-ganda. Capitalism is undefeated. I loved Vivarium, Finnegan’s previous film, a great deal, mainly because it played out manifold variations on its philosophical theme: to what extent does biology determine behaviour? Nocebo is similar in that it, too, asks a question about guilt and vengeance, then works over through multiple approaches to the answer before landing on the same conclusion that notions of good and evil are arbitrary distinctions imposed on innate compulsions. A mother will be compelled to avenge her child because a creature is obliged to reproduce itself. Anything else is merely obfuscating chantilly on an intrinsic cake.

Armageddon Time (2022)

November 5, 20222022, Authors: Angelo Muredda, Brazil, Drama, Theatrical

***/****
starring Anne Hathaway, Jeremy Strong, Banks Repeta, Anthony Hopkins
written and directed by James Gray

by Angelo Muredda “All the great artists sign their work,” Anthony Hopkins’s benevolent grandfather Aaron tells his aimless but creatively-inclined grandson Paul (Banks Repeta) early in Armageddon Time, James Gray’s autobiographical profile of growing up in Flushing, Queens as part of a tight-knit Russian-Jewish family. That advice seems to weigh heavily on Gray, who places it at the top of a ladder above less helpful artistic feedback like one teacher’s admonition not to copy when Paul reproduces a Kandinsky he saw at the Guggenheim from memory, and another’s gentler but no less prescriptive prompt, after Paul’s creative work doesn’t follow the brief, that he do the assignment. Signing the work for Gray, who has long been fascinated by the tension between the weight of Old World family ties and the seductive levity of contemporary life, means carefully tracking his fictional surrogate family’s cross-generational assimilation into Ronald Reagan’s America, which he proposes happened not just in the shadow of ghouls like Fred and Maryanne Trump (played here by Jessica Chastain)–donors at Gray’s and Paul’s private school–but, more insidiously, through American Jews’ growing proximity to whiteness. Suffused with Gray’s typical tragic grandeur and rich thematic preoccupation with the uniquely American compulsion to recreate oneself as a blank slate despite one’s inescapable background, that signature is nevertheless a bit fainter than usual here, owing to the off-the-rack genre elements of the artist’s coming-of-age narrative and a still-developing protagonist who, by film’s end, remains too opaque to leave his mark as either an artist or an authorial surrogate.

Halloween Ends (2022)

October 14, 20222022, Authors: Walter Chaw, Horror, Streaming, Theatrical, Thriller, UK

***½/****
starring Jamie Lee Curtis, Andi Matichak, Rohan Campbell, Will Patton
written by Paul Brad Logan & Chris Bernier & Danny McBride & David Gordon Green
directed by David Gordon Green

by Walter Chaw I think the point, if not the pleasure principle, of franchise entertainments is the illusion of ownership over them, the obsessive knob-polishing of arcane knowledge not so very different, in many cases, from the pursuit of doctorate degrees in the liberal arts. You dedicate your life to learning so much about an exceptionally narrow field of study that you eventually come to a place where you know a lot about a little and not much about the rest. This monocultural–and, in most cases, monotextual–training tutors one in identifying deviations from the mean, so that what was joy in discovery becomes jealous taxonomy in defense of the tiny corner you’ve painted yourself into. The point of it all, ultimately, is to complain. When a totem such as John Carpenter’s Halloween arrives, it carries with it the inspiration for epistemological/maniacal cults: entire fields of worship in which the limited revelations provided by a singular text serve as the foundation for religion. Hungry for more tablets, new installments are met with jeweller’s glasses and tests of fidelity to the one true Word. The complaining, in other words, starts immediately. Is this new version of the Golden Calf walking the right way? Is it behaving as it should? Slow, not fast, or fast, never slow? Is it savage enough? Is the hero worthy? Is the lamb worthy of the blade? Each new film in any long-running series that earns enough each time out to warrant a continuation receives the scrutiny attending the unearthing of a new book of the Bible. Sources are vetted, false prophets are suspected, bloody debates are had in the town square, and finally, it’s either the grudging acceptance into a growing canon or a casting off into the wilderness. The complaining is the point. It solidifies a community like the negging built into Evangelical outreach missions, and it’s instant. The only thing verboten is if the franchise threatens the fragile identities of the high priests of its insular cult of personality.

See How They Run (2022)

September 15, 20222022, Authors: Walter Chaw, Comedy, Mystery, Theatrical

**/****
starring Sam Rockwell, Saoirse Ronan, Adrien Brody, David Oyelowo
written by Mark Chappell
directed by Tom George

by Walter Chaw TV director Tom George’s feature debut See How They Run is a Wes Anderson shrine decorated with screenwriter Mark Chappell’s theatre-brat deep cuts, which ultimately just leads one to ask what of it is its own. Set around a murder that takes place at the time of the 100^th performance of Agatha Christie’s The Mousetrap, complete with original cast members Richard Attenborough (Harris Dickinson) and Deila Sim (Pearl Chanda), the whole thing is a twee exercise in medium shots, split screens, and not much else. George and his production designers are gifted at creating clean, period-cozy environments, but all those acres of slick really do is demonstrate how money can buy a talented team of costumers and craftspeople in the pursuit of a recognizable veneer of prestige and quality. What it doesn’t do, at least in this case, is provide the courage and the vision–perhaps it’s experience and wisdom–to tell a story that isn’t all surface pleasures. The real problem is that See How They Run has nothing to say about the world, about people, or, frankly, about Agatha Christie or murder mysteries. It doesn’t even have all that much to say about itself. It’s more the elderly Catskills chic of “Only Murders in the Building” than the genuine social revisionism of Knives Out. It has its opportunities; it mostly ignores them. It’s a choice, and your mileage may vary.

Three Thousand Years of Longing (2022)

August 26, 20222022, Australia, Authors: Walter Chaw, Drama, Fantasy, Romance, Theatrical

***/****
starring Idris Elba, Tilda Swinton, Pia Thunderbolt, Berk Ozturk
screenplay by George Miller & Augusta Gore, based upon the short story “The Djinn in the Nightingale” by A.S. Byatt
directed by George Miller

by Walter Chaw George Miller’s Three Thousand Years of Longing raises impossibly tangled issues around representation in its tale of a “narratologist” who releases a Djinn from his bottle and wishes he would love her as she, instantly, loves him. Based on a short story by A.S. Byatt, part of a five-part cycle that seeks to navigate the rocky wasteland between colonist and colonized, the victor and the appropriated, Miller’s picture is a story about a specific point of view that can never be entirely separated from itself. Whatever the best intentions invested in bridging cultural gaps, the process of absorption and reinterpretation tends to result in diminishment. The things that are most precious in our stories are ephemeral and shy. They’re like exotic zoo specimens: they don’t travel well and, once imprisoned, wither and die. But like anything judged to be rare and, through its rareness, authentic, stories belonging to others continue to be collected, no matter the damage collection does to them. Mulan, Aladdin… The popular conversation around them has swung so completely into their Disneyfication that Niki Caro, the not-Asian director of the live-action Mulan, based on one of China’s most-revered folk heroes, said there “is another culture at play here, the culture of Disney.” Unlike Mulan, however, Three Thousand Years of Longing is based on a work by a white, Yorkshire-born British woman (a Dame, no less), and I think it’s not so much an attempt to colonize 1001 Arabian Nights as it is an ethical adaptation of a piece primarily interested in how the West has sought meaning for itself through the Orientalization of the cultures it’s exploited for centuries.

Bullet Train (2022)

August 5, 20222022, Action, Authors: Walter Chaw, Comedy, Japan, Martial Arts, Theatrical, Thriller

*/****
starring Brad Pitt, Joey King, Aaron Taylor-Johnson, Sandra Bullock
screenplay by Zak Olkewicz, based on the book by Kôtarô Isaka
directed by David Leitch

by Walter Chaw I have so many thoughts about David Leitch’s Bullet Train, and I don’t think a single one of them coheres with any of the other ones. This is most likely a product of general exhaustion, or a lifetime misspent on excess consumption of media colliding now in middle-age with my becoming somehow the go-to for Amer-Asian-splaining of representational issues in American cinema. Like the whole “whitewashing” thing going on around Bullet Train, which is based on a popular Japanese novel by Kôtarô Isaka, who is pleased people like Brad Pitt and Brian Tyree Henry are in this big-budget Hollywood adaptation because it raises his profile internationally. Sony Pictures, whose parent company is Japanese, has already come out saying the same stupid shit about how much they wanted to honour the Japanese source material by hiring the best actors for the project–who happen to be Not Japanese–while Asian-Americans are rightfully outraged about the same stupid shit because of how much damage this ingrained corporate “wisdom” continues to wreak on the Asian-American community. If we continue to pull on this thread, we find Isaka has stolen the entire premise and execution of his book from Guy Ritchie and Quentin Tarantino, who, as we know, have stolen their things from British New Wave gangster flicks on the one hand, Asian cinema on the other–Asian cinema that has its roots in, what, Kurosawa? Whose favourite filmmaker was John Ford? And who was ripped off by Italian guy Sergio Leone, who was ripped off by Sam Peckinpah, who was ripped off by Hong Kong legend John Woo, who was ripped off by everybody for a while there. There’s a scene in Bullet Train where Brad Pitt and Brian Tyree Henry, both playing hitmen, fight each other in tight quarters that is awfully reminiscent of Jackie Chan. Another scene recalls Louis Leterrier, who probably learned it from Jet Li–and neither Chan nor Li is Japanese, of course.

Nope (2022)

July 21, 20222022, Authors: Walter Chaw, Horror, Mystery, Sci-Fi, Theatrical, Thriller

**/****
starring Daniel Kaluuya, Keke Palmer, Steven Yeun, Michael Wincott
written and directed by Jordan Peele

by Walter Chaw I don’t think you ever see the heroes getting hurt, but they limp around a lot, and I couldn’t stop wondering why. Just because it’s more dramatic to be out of breath and limpy? There’s a rule about not looking something in the eye, but I don’t know how the horses can obey it, or if horses look up and behind them when they run. I’ve never seen them do that, in any case. If there’s a rule about eyes, is the plan, in the end, to put eyes on the hood of that hoodie, and if it isn’t, why did he? I understand there’s a point being made here about how Hollywood doesn’t care about the people who work in it–especially minorities and child actors–once their usefulness has been used up, yet I worry if by equating their trauma with a television chimp who goes insane and starts eating faces that the analogy, assuming there is one, has gotten as out of control as the chimp. There’s a reveal that’s less a reveal of an important plot point than a reveal that the reveal of an important plot point was left out somewhere. There’s a powerful opening scene where something happens involving a nickel that is very effective up until the moment it’s explained, at which point it no longer makes sense; why did it do what it did and not what it does for the rest of the film? Is it attracted to movement? Noise? It seems like both–but if so, how are folks constantly escaping it by moving around and making noise? That picture she takes? It looks ridiculous and will be convincing to no one. Wouldn’t the camera and the film the famous cinematographer is shooting still be in one piece, like a black box, when the thing happens with the balloon? How is that the first balloon it’s ever seen or eaten? If I ate a balloon (and could, for instance, withstand multiple gravities of speed and possibly interstellar travel), would I explode?

Elvis (2022)

June 20, 20222022, Australia, Authors: Walter Chaw, Biopic, Drama, Music, Theatrical

***½/****
starring Austin Butler, Tom Hanks, Luke Bracey, Olivia DeJonge
screenplay by Baz Luhrmann & Sam Bromwell and Baz Luhrmann & Craig Pearce
directed by Baz Luhrmann

by Walter Chaw Baz Luhrmann’s Elvis is part Perfume, part Immortal Beloved–which is to say, it’s horny as fuck and formulates music as mass delusion and mind control. Safe to say, the sordid story of the King of Rock-and-Roll is the perfect match for a maximalist director I have found to be excessive to the point of obnoxious, even on those rare occasions where I’ve liked the movie anyway (see: Moulin Rouge!). Before Elvis, there wasn’t an establishing shot Baz didn’t torpedo with gratuitous angles and “whooshing” sound effects; before Elvis, his films were not just childish but relentlessly, punishingly childish. The first half of Elvis is more frenetic than the last, though neither sports any affectations that don’t augment the story in positive ways. Dissolves, triple-split screens, restless camera movements–they all underscore the breathless headlong rush of Elvis’s rise from broke Tupelo hillbilly living in the “Black” part of town to the biggest-selling solo recording artist in history. When it comes time for his inevitable fall, Luhrmann places it in a sociopolitical context, toning down his trademark freneticism in favour of a, most shockingly of all perhaps, thoughtful analysis of several factors that may have played into Elvis’s decline into paranoia, drug abuse, isolation, and despair. A story this familiar in a genre as permanently scuttled by Walk Hard requires a certain wisdom to know what to recap versus what to excavate. Elvis walks that line more than it doesn’t.

Jurassic World Dominion (2022)

June 9, 20222022, Action, Adventure, Authors: Walter Chaw, Malta, Sci-Fi, Theatrical, Thriller

½*/****
starring Chris Pratt, Bryce Dallas Howard, Sam Neill, Jeff Goldblum
screenplay by Emily Carmichael & Colin Trevorrow
directed by Colin Trevorrow

by Walter Chaw About an hour into Jurassic World Dominion, a nondescript villain–really, the bad guys are all nondescript here, no matter their gender or race–with the admittedly ridiculous name Rainn Delacourt (Scott Haze) is pinned on his back by two dinosaurs eating his arms. Our Dollar Store action figure of a hero, Chad–er, Brad, er…Owen? Our Dollar Store action figure of a hero, Owen (Chris Pratt), screams at Rainn to give up vital information about the location of the emotionless British cyborg clone from the last film, Maisie (Isabella Sermon), who (that?) Owen and his girlfriend/wife/whatever, Claire Dearing (Bryce Dallas Howard), have since adopted. Rainn, before getting his head torn off tastefully offscreen, spills the beans. Here's my problem: why? Why the fuck would he bother to say anything at all? When this scenario plays out in other films, it's because the person being asked the question hopes they'll be freed once they do. But Owen doesn't control these dinosaurs with his magic dinosaur-controlling hand, and it's not framed as Rainn having a change of heart. It's just a blatant misunderstanding of scenes like this, either on purpose or out of cynical desperation, rigged to move a stalled plot along, damning the characters and all sense along the way. What troubles me the most about it is the presumption that no one will notice or that no one will care once they've noticed. J. A. Bayona loaded his Jurassic World: Fallen Kingdom with a shocking amount of social subtext, appropriate outrage, fairytale scale and wonder, even doom. The only thing Colin Trevorrow manages to create with Jurassic World Dominion (hereafter Dominion) is an endurance test of unusual cruelty that, despite its conspicuous bloat, still leans heavily on an extended voiceover prologue and epilogue to try to inject an illusion of plot into aimless, sometimes-vicious, ugly-looking garbage.

Top Gun: Maverick (2022)

May 27, 20222022, Action, Authors: Walter Chaw, China, Drama, Theatrical, Tom Cruise

***½/****
starring Tom Cruise, Miles Teller, Jennifer Connelly, Val Kilmer
screenplay by Ehren Kruger and Eric Warren Singer and Christopher McQuarrie
directed by Joseph Kosinski

by Walter Chaw Joseph Kosinski’s Top Gun: Maverick (hereafter Maverick) does everything the Tony Scott original did well a little bit better and doesn’t bother with the rest. What drives this legacy sequel is the sobriety with which it addresses the passage of time–the existential horror of being the oldest person at the bar, of all those pictures that look like what you think you still look like, of the toll of watching your children outgrow you while every anchor you have to this world withers and dies. It is, in other words, a spectacular action film and a mature character drama whose closest analogue might be Danny Boyle’s T2 Trainspotting–a film that, likewise, took its cue from a showy and popular first film and forged from it a work of real substance and surprising pathos. What’s most impressive is how balanced Maverick feels. Its action component is plotted out like an elaborate, aerial heist flick with the stakes obvious and the steps delineated cleanly and simply, so that when it finally comes time to set the dominos in motion and things inevitably go wrong, it’s clear how they went wrong. The picture’s dramatic component is as carefully metered: the love interest and her expectations; the lost father/orphaned son dynamic and how to salvage it; the old rivals-turned-friends and what they owe each other at the end. Maverick is a clockwork, a model of efficiency and effective storytelling; there are multiple avenues to appreciating this movie. I was afraid a sequel to a macho, homoerotic recruitment video bankrolled by the United States military would have no sense of its silliness. I’m happy to be wrong.

The Northman (2022)

April 12, 20222022, Action, Adventure, Authors: Walter Chaw, Drama, Fantasy, Theatrical, Thriller

**½/****
starring Alexander Skarsgård, Nicole Kidman, Claes Bang, Willem Dafoe
written by Sjón & Robert Eggers
directed by Robert Eggers

by Walter Chaw That Robert Eggers’s latest film proves visually stunning is more expectation than revelation at this point. That it beggars traditional narrative tropes is also no longer a surprise, making The Northman a victim of, of all things, familiarity. There’s even a moment about midway through where the natural beauty, the grandeur of the film’s settings, works against it: being force-marched through the frankly-ravishing landscape, one slave essentially remarks to another that this place is a shithole. Imagine the claustrophobic vileness of the version of this film Andrea Arnold might have made. Aside from trodding the same frozen ground as the obviously superior Valhalla Rising, The Northman is merely extremely good-looking and very straightforward, for all its mythological underpinnings and ambition to be epic-feeling in terms of its royal melodrama. (No wonder: the ancient Norse folktale it seeks to tell is the basis for Shakespeare’s Hamlet.) Sequences like an early coming-of-age ritual in a subterranean mud cathedral promise a picture as surreal and lawless as a Ben Wheatley joint (A Field of England. for instance), but rather than follow that path into Wonderland, The Northman barely reaches for the trippy heights of Eggers’s previous film, The Lighthouse, and it’s the first of his movies that doesn’t require an active viewership. Indeed, the most surprising thing about it is how few surprises it holds.

The Contractor (2022)

April 3, 20222022, Action, Authors: Walter Chaw, Theatrical, Thriller

***/****
starring Chris Pine, Ben Foster, Gillian Jacobs, Kiefer Sutherland
written by J.P. Davis
directed by Tarik Saleh

by Walter Chaw Tarik Saleh’s The Contractor reminds me a lot of Michael B. Jordan’s recent attempt at a franchise-starter Without Remorse in that both are the sort of workmanlike action pictures that once kept multiplexes afloat but now occupy a mid-budget niche relegated to streaming services. Its closest analogue might be Amazon’s “Reacher” series in terms of its clean action, straight-line plotting, and lantern-jawed “all-American” hero trained to kill and prone to angst over his lethal ways. The Contractor adds some wrinkles in using the plight of veterans returning from service with neither financial nor emotional support while also reserving some criticism for the private, for-profit contractors who send mercenaries into conflict zones for the purposes of ratfucking and wetworks. Mostly, though, it’s an able showcase for Chris Pine as a sturdy action hero who is also a non-threatening avatar for the Average Joe demographic: handsome but cool, clever not brainy, self-sufficient but loyal to an old buddy, a good dad and good Christian good at tamping down “girl” emotions and, moreover, good at boom-boom stab-stab.

Everything Everywhere All at Once (2022)

March 31, 2022****/****, 2022, Action, Adventure, Authors: Walter Chaw, Best Picture (Academy Awards), Comedy, Esoterica, Fantasy, Sci-Fi, Theatrical

****/****
starring Michelle Yeoh, Stephanie Hsu, Ke Huy Quan, Jamie Lee Curtis
written and directed by Daniel Kwan & Daniel Scheinert

by Walter Chaw When I tell my parents’ story to myself, I never tell it as a love story. It’s an immigrant story–a typical one, I’ve come to learn through reading, yes, but mainly through the films of Edward Yang. And it’s a story about a broken family, where coldness and mulishness led to lost childhoods, resentments, and, for me, estrangement from my parents to varying degrees throughout my adult life. I became a writer because it was where mental illness and neurodivergence directed me. I needed therapy, and my family didn’t approve of that for me. Not even after my suicide attempt. I know my choice of major disappointed my parents, and I think I chose it in part to disappoint them–they who liked to brag about me while doing their best to “break” my sense of self-worth and strip away any pride I had in my accomplishments. I still don’t know how to rewire myself to take good news as good rather than as the preamble to a lecture on my stupidity and arrogance. I’m broken. I’m working on fixing it.