Theatrical Archives - Page 7 of 65

No Time to Die (2021)

November 16, 2021****/****, 2021, Action, Adventure, Authors: Walter Chaw, Espionage, James Bond, Theatrical, Thriller, UK

****/****
starring Daniel Craig, Rami Malek, Léa Seydoux, Christoph Waltz
screenplay by Neal Purvis & Robert Wade and Cary Joji Fukunaga and Phoebe Waller-Bridge
directed by Cary Joji Fukunaga

by Walter Chaw SPOILER WARNING IN EFFECT. Cary Fukunaga’s No Time to Die, the twenty-fifth canonical James Bond film, is the best one since Peter Hunt’s On Her Majesty’s Secret Service and for many of the same reasons. One could hazard that the similarities, a vulnerable Bond chief among them, comprise the guiding principle behind this picture, with its multiple call-outs to Fleming’s books–On Her Majesty’s Secret Service, in particular, along with its downbeat, mortal sequel You Only Live Twice, the last Bond Fleming completed himself. In the latter, 007’s boss, M, uses the same Jack London quote to eulogize the presumed-dead superspy (“The proper function of a man is to live, not to exist. I shall not waste my days in trying to prolong them. I shall use my time”) that his screen counterpart (Ralph Fiennes) uses to eulogize Bond in No Time to Die. It ends with Bond, initially dumbstruck by grief over the death of his wife in the previous novel (On Her Majesty’s Secret Service), now stricken by amnesia and about to abandon his impregnated wife–the child a development Fleming never got to bring to term, but who finds her fruition in Fukunaga’s film. At a late point in No Time to Die, two combatants reaching the end of their struggles agree that the only reason to live is to leave a legacy. I find it touching that this film brings a small and precious note of Fleming’s to life, so many years after his death.

Eternals (2021)

October 27, 20212021, Action, Adventure, Authors: Walter Chaw, Drama, Fantasy, Sci-Fi, Superhero, Theatrical, UK

*/****
starring Gemma Chan, Richard Madden, Kumail Nanjiani, Angelina Jolie
screenplay by Chloé Zhao and Chloe Zhao & Patrick Burleigh
directed by Chloé Zhao

by Walter Chaw Chloé Zhao’s follow-up to her Oscar-winning Nomadland is one of those movies that is more interesting to talk about than to watch–which, in the final analysis, may be the poet laureate of South Dakota’s most distinctive auteur hallmark. Despite that it’s the twenty-some-odd instalment of the Marvel Cinematic Universe, Eternals is defiantly a Chloé Zhao picture, and the amount of subversion required to make it so highlights both MCU overlord Kevin Feige’s desperation to shake the diversity monkey off his back and his fatal lack of understanding of women creators at the most rudimentary level. In theory that doesn’t matter much if all these folks are asked to do is direct the parts that aren’t generic action scenes, committee-generated in the house style and dropped into the middle of whatever flaccid drama is possible under the narrative conditions like dead paratroopers into a live warzone. What you see in Eternals is a result of what feels less like a partnership with its attendant compromises than like a quiet war waged in the spaces between a boss who thinks he knows what’s happening and a hired gun who’s pretty clever about having her way no matter the amount of oversight. By the third or fourth laborious exposition dump by the least comfortable, least seasoned and natural actor in the loaded cast (that would be 14-year-old Lia McHugh), it’s pretty clear that Zhao’s empathy for unaffected performers rambling in lingering magic-hour landscapes has won the day. Good one, Zhao.

Needle in a Timestack (2021)

October 15, 20212021, Authors: Walter Chaw, Drama, Romance, Sci-Fi, Theatrical, Time Travel, VOD

*/****
starring Leslie Odom, Jr., Freida Pinto, Cynthia Erivo, Orlando Bloom
written for the screen by John Ridley, based on the short story by Robert Silverberg
directed by John Ridley

by Walter Chaw A cautionary tale about writing something whilst in a state of forced, artificial love-drunk, John Ridley’s Needle in a Timestack is this year’s Serenity: a film so intensely invested in its adolescent feelings that it’s headed towards a specific state of camp immortality. Nick (Leslie Odom, Jr.)–because “Nick of time,” get it?–is married to Janine (Cynthia Erivo), and they’re that kind of The Notebook couple who speak to each other as though they were scripted by Nicholas Sparks, who, let’s face it, on the Stephanie Meyer scale of cultural whoopsies, can barely string three words together. “Dance like no one’s watching,” someone moans in a high state of agitation. “Love is a closed circle,” someone else declares; between that and “True Detective”‘s “time is a flat circle,” circles are doing a lot of heavy lifting in the realm of purple overwriting. In this future as imagined by a perfume commercial, time travel is a recreational lark indulged in by the hyper-rich, causing occasional “time waves” that wash over the world like the exact same visualization of the exact same concept in A Sound of Thunder, a film so terrible that your body’s autonomous defense mechanism has already largely expelled it from your memory. That film, like this one, is based on a classic science-fiction story: Ray Bradbury there, Robert Silverberg here. The concept of “based” is doing a lot of heavy lifting in this instance, too.

Bergman Island (2021)

October 14, 20212021, Authors: Walter Chaw, Belgium, Drama, France, Germany, Mexico, Sweden, Theatrical

**/****
starring Vicky Krieps, Tim Roth, Mia Wasikowska, Anders Danielsen Lie
written and directed by Mia Hansen-Løve

by Walter Chaw Eric Rohmer made some snoozers, too. So it is with Mia Hansen-Løve, the inheritor of Rohmer’s cinema of intimate behavioural observation and obsession, and her Bergman Island, which lands midway between pointlessly clever and fatally self-obsessed. It follows married filmmakers Tony (Tim Roth) and Chris (Vicky Krieps) as they retreat to Ingmar Bergman’s compound on Fårö Island in the Baltic to finish their respective screenplays. Tony’s having a much easier time of it, and it’s revealed they’ve been invited to this unusual writer’s retreat at least in part so Tony can screen and conduct a Q&A for one of his films. From what we see of it, it’s possibly a horror film; whatever it is, it’s clear that Tony’s work is very different from Chris’s. Bergman shot a few of his film and TV productions on Fårö–in fact, Fårö was for him like Yoknapatawpha County was for Faulkner: an entire world unto itself that functioned as the canvas and backdrop for his working-through of major themes. There’s a tour of sites that Tony goes on and Chris does not, since she meets an earnest young graduate student, Hampus (Hampus Nordenson), studying Bergman, of course, and decides to spend the day with him instead. You think this will be a source of conflict in Bergman Island, particularly as Chris comments that the couple will be sleeping in the same bedroom where Scenes from a Marriage was shot, but it’s not.

Halloween Kills (2021)

October 14, 20212021, Authors: Bill Chambers, Crime, Horror, Theatrical, Thriller, UK

**/****
starring Jamie Lee Curtis, Judy Greer, Andi Matichak, Anthony Michael Hall
written by Scott Teems & Danny McBride & David Gordon Green
directed by David Gordon Green

by Bill Chambers Depending on your perspective, Halloween Kills, David Gordon Green’s follow-up to his 2018 Halloween, is the third Halloween II, or the second Halloween III, or the twelfth entry in a long-running serial with a compulsion to press the reset button. Though other horror franchises have splintered into manifold continuities (you’d need Ancestry.com to sort out the various branches stemming from The Texas Chain Saw Massacre), Halloween is unique in that it’s not (just) a cash cow getting milked to death by new content farmers–no, a fairly consistent chain of ownership has made a habit of calling a mulligan whenever the consensus is that they’ve strayed too far from the beaten path. After a failed bid to rebrand as an anthology with the John Carpenter-backed Halloween III: Season of the Witch, whose reputation has since been reclaimed, the series resurrected Michael Myers and his Ahab, Dr. Loomis, only to fly too close to the sun with Halloween: The Curse of Michael Myers. Halloween H20 followed, and in bringing back Jamie Lee Curtis as Laurie Strode, Michael’s sister, it wallpapered over the events of Halloweens III through VI. Then Halloween: Resurrection undid all of that movie’s goodwill, so Rob Zombie wrote and directed a remake of the first film. Zombie returned for a sequel that was roundly rejected despite being the ne plus ultra of Halloween movies for the misfit fans like myself, and the unlikely team of Green and Danny McBride took the reins, making the somewhat unconventional decision to do a legacy sequel to Carpenter’s 1978 original alone, again with Curtis but without the early retcon that Laurie and Michael are related.

Frank & Zed (2021) + Mad God (2021)

October 9, 2021****/****, 2021, Animation, Authors: Walter Chaw, Horror, Theatrical

FRANK & ZED
***/****
written and directed by Jesse Blanchard

MAD GOD
****/****
starring Alex Cox
written and directed by Phil Tippett

by Walter Chaw William Blake etched the plates he used to press his poems with acid. His first books were hand-made by him in this way. He called it the “infernal method,” and the idea driving it is that every work of art is enlivened by the hand of its creator. Literally. He believed that touching a thing imbued it with animated qualities in the “soul-giving” sense of the word. I think about that whenever I watch any sort of puppetry or, as it relates to film more commonly, stop-motion animation. Maybe I’m imagining it, but I think Blake had a point. I feel like there’s a specific quality of life in graven idols that have been directly manipulated by the human hand. Traditional cel animation? The same: the little imperfections, the stutters and hesitations that keep it just the other side of the Uncanny Valley. It’s hard to put a finger on what it is, but it’s stimulating in the same way a film projected on 35mm is ineffably different from the same film streamed digitally. Shadows on the wall and all that; maybe Plato and John Lennon had something there. William Blake was, of course, a prophet.

Dear Evan Hansen (2021)

September 22, 20212021, Authors: Walter Chaw, Comedy, Drama, Musical, Teen, Theatrical, ZERO STARS

ZERO STARS/****
starring Ben Platt, Julianne Moore, Kaitlyn Dever, Amy Adams
screenplay by Steven Levenson, based on his stage play with songs by Benj Pasek and Justin Paul
directed by Stephen Chbosky

by Walter Chaw Dear Evan Hansen is the Canadian-girlfriend grift, emerging from insecurity and good intentions–that mythological girl from a place far enough away for high-school kids that it might as well be Narnia or Middle-Earth, whose phantom existence affirms you are not as pathetic and alone as you really are. And when your Canadian girlfriend dies by house-fire or moose misadventure, perhaps there’s a vein of pathos to be mined there for whatever profit grief allows. It’s the illusion of depth for an immature, troubled, frightened kid, common enough that the “Canadian girlfriend” has entered the pantheon of urban fairytales. How ’bout if Dear Evan Hansen had been about the social pressures that harangue Evan Hansen (Ben Platt) into exploiting the death of a deeply unbalanced and complete stranger instead of how Evan Hansen’s own terminal thoughts and attempted suicide forgive his sociopathic manipulation of a grieving family and school community? Aye, there’s a movie for you–the one where Evan Hansen is a victim and not the hero, and the bad guy is not the truth of his unforgivable deception being discovered, but the overwhelming stricture to conform that weighs especially heavy on adolescents. The sneakiest thing about Dear Even Hansen is that at the end of it all, it’s not actually okay that Evan is an outcast. The premise itself is the bully.

Lady of the Manor (2021) + Copshop (2021)

September 17, 20212021, Action, Authors: Walter Chaw, Crime, Theatrical, Thriller

LADY OF THE MANOR
½*/****
starring Melanie Lynskey, Judy Greer, Justin Long, Ryan Philippe
written and directed by Justin Long & Christian Long

COPSHOP
**/****
starring Gerard Butler, Frank Grillo, Alexis Louder, Toby Huss
screenplay by Kurt McLeod and Joe Carnahan
directed by Joe Carnahan

by Walter Chaw The first perky, jaunty violin strokes in the oppressive score announce exactly the kind of garbage Justin and Christian Long’s Lady of the Manor is going to be: self-satisfied, high-concept comedy that apes Neil Jordan’s High Spirits and Jared and Jerusha Hess’s Austenland while entirely wasting Melanie Lynskey and Judy Greer. I would watch Lynskey and Greer in anything–and Lady of the Manor tested me sorely, immediately, repeatedly. Its execution is ’80s VHS Screwballs quickie tossed together with cheap gags, an overreliance on fart and dick jokes, exaggerated in-camera effects, and skits that fall flat and don’t stop falling for at least ten or twenty beats after they’ve died. They were dead before they got there. There are montages that are just expository scenes strung together and there’s a running gag where Greer is asked to shake her head disapprovingly while Lynskey sucks on a bar of soap and shrugs. There’s another where Greer makes “silly” faces in a mirror for a long, long time to demonstrate how she misses her friend and also how maybe she’s loosening up, and it’s unbelievably painful to watch someone so brilliant and naturally hilarious shoehorned into a square hole as stolid and unforgiving as this. Admittedly, it takes actual talent to make something this terrible. I mean, you can’t do it accidentally.

Malignant (2021)

September 13, 20212021, Action, Authors: Walter Chaw, China, Crime, Horror, Mystery, Streaming, Theatrical, Thriller

***½/****
starring Annabelle Wallis, Maddie Hasson, George Young, Michole Briana White
screenplay by Akela Cooper
directed by James Wan

by Walter Chaw James Wan’s Malignant is spectacularly, unabashedly fucking nuts. Not nuts in a random way, nuts in the way Oliver Stone’s The Hand is–or, more to the point, Brian De Palma’s Sisters. It’s what the Dario Argento The Phantom of the Opera should have been: not entirely giallo, not without elements of high opera; a classic “madwoman” picture as well as a possession movie. Also, that voice on the phone from Black Christmas, and also a loving homage to Stuart Gordon, and also… Malignant is a joyful mishmash that plays like a NOW That’s What I Call Music compilation for horror fans. It’s the North by Northwest of delirious genre fare: Bava if you want it, the most gothic Hammer if it pleases you, complete with a Universal Monsters monster I kind of can’t believe someone hasn’t done before. I’m not giving anything away by saying the cosplay is going to be lit.

The Green Knight (2021) + Pig (2021)

August 30, 2021****/****, 2021, Adventure, Authors: Walter Chaw, Canada, Drama, Fantasy, Ireland, Nicolas Cage, Theatrical, Thriller, UK, VOD

THE GREEN KNIGHT
****/****
starring Dev Patel, Alicia Vikander, Joel Edgerton, Ralph Nelson
written for the screen and directed by David Lowery

PIG
****/****
starring Nicolas Cage, Alex Wolff, Adam Arkin
written and directed by Michael Sarnoski

by Walter Chaw A thing has no value if there is no risk of losing it. A treasure is only that if there are hobbits. If you’re a parent and you’ve done everything right, and everything goes exactly as it should, your children will know the exquisite pain of your death. The story for us all ideally has the tang of misadventure to it and a sad ending full of irony. It is a great fable without a moral, wrought with temptations–though hopefully, when the curtain falls, free of too much regret. The key to navigating the labyrinth of the Rose Poet’s medieval romance “Sir Gawain and the Green Knight” is perhaps in its prologue, where it presents the history of the founding of England from the Fall of Troy through to Aeneas’s further stories: his conquests and foundings, sure, but also the inevitable decline of his line. A popular version of this history around the time that “Sir Gawain and the Green Knight” would have been written holds that Brutus of Troy is the grandson of Aeneas, exiled from Italy because, in fulfillment of a prophecy similar to the one that doomed Oedipus, he accidentally killed his father with an errant arrow. In the course of his wanderings, this Brute, the product of a cursed line beset with hubris and tragic folly, becomes the first king of what would be called England.

Candyman (2021)

August 25, 20212021, Authors: Walter Chaw, Canada, Horror, Theatrical, Thriller

½*/****
starring Yahya Abdul-Mateen II, Teyonah Parris, Nathan Stewart-Jarrett, Colman Domingo
screenplay by Jordan Peele & Win Rosenfeld and Nia DaCosta
directed by Nia DaCosta

by Walter Chaw An old urban legend, it goes like this: an amorous pair of youths spirit themselves away to a remote Lovers Lane when, lo, the girl hears something lurking about. With thoughts of the recently-escaped murderer on her mind, she convinces her boyfriend to leave and, frustrated, he takes her home. Recovering himself on the ride back, he thinks to come around to open the door for his beloved, and there he blanches, for dangling from the door’s handle is a razor-sharp hook, the bloodied stump to which it’s fused still attached. I have to think Clive Barker had heard some version of this tale before conceiving of his short story “The Forbidden.” It’s collected in the fifth volume of his “Books of Blood” series–the one that, with Stephen King’s shining endorsement (“I have seen the future of horror, and its name is Clive Barker”), propelled Barker into the upper strata of horror authors in the mid-Eighties. When I was 13, I devoured every word of Barker’s six-volume anthology with a white, hot fury. Thirty-five years on, I still remember them all vividly.

Demonic (2021)

August 24, 20212021, Authors: Walter Chaw, Canada, Horror, Theatrical, VOD, ZERO STARS

ZERO STARS/****
starring Carly Pope, Chris William Martin, Michael J. Rogers, Terry Chen
written and directed by Neill Blomkamp

by Walter Chaw Carly’s mom, Angela (Nathalie Boltt), killed a lot of people once and then fell into a coma, not that Carly (Carly Pope) would know, because Carly stopped talking to Angela years ago–long about the time Angela killed a lot of people. I mean, even if she had tried to talk to Angela, she wouldn’t have been able to. Because coma. Technically, she could talk to her, I suppose, and the jury’s out as to whether Angela could hear her, but being in a coma, Angela wouldn’t be able to respond. Comas are a bitch that way. Anyway, a sketchy beard-o in a suit (not Sharlto Copley, which is this film’s first and last surprise) from some tech company called Therapole reaches out to Carly and says, “Hey, what if you could talk to your mother?” And Carly says, “I don’t want to talk to my mother.” And he says, “She’s in a coma.” And she says, “Why is she in a coma?” Then she goes to the Therapole headquarters (erected on some kind of haunted burial ground, as her friend Martin (Chris William Martin) discovers while Googling stuff for her), since the news that Angela’s in a coma has made Carly want to reach out to her. This is what we call in the business “a really good plot” and “solid writing.” Seems Dr. Creepy (Michael J. Rogers, playing Sharlto Copley) has invented a virtual-reality technology that allows people to Dreamscape/Brainstorm themselves onto a holodeck of someone’s memories using advanced Bakshi-era rotoscoping technology. It bears mentioning that Martin believes Therapole–not to be confused with Theranos–wants to find a demon to exorcise, the drawing of which resembles one of Giger’s aliens. That’s because the writer and director of this mess, Neill Blomkamp, didn’t get to make an Alien movie like he wanted. It’s the world’s saddest Easter Egg–which says something, given that there’s a Marvel Cinematic Universe.

The Suicide Squad (2021)

August 8, 20212021, Action, Adventure, Authors: Walter Chaw, Comedy, Sci-Fi, Stallone, Streaming, Superhero, Theatrical

***½/****
starring Margot Robbie, Idris Elba, John Cena, Viola Davis
written and directed by James Gunn

by Walter Chaw James Gunn’s The Suicide Squad is weird. It’s explosively, hilariously gory, profane, ridiculous, and, best of all, lawless. As much as I love Christopher Nolan’s Dark Knight trilogy, the darkness–the grittiness–he brought to the DC Universe has proven difficult to shake due to its commercial success. In contrast, The Suicide Squad looks and acts a lot like the Adam West “Batman” TV series, a piece fully embracing the elasticity of both its mediums and, though it seems silly to say, one bracingly unafraid of literal colour. I also felt this way about Gunn’s still-dour-but-colorful-by-MCU-standards Guardians of the Galaxy—but this film feels very much like something, from character and production design down to the choice of members for the titular squad, allowed to be whatever it was going to be, damn the torpedoes. Have I mentioned that it’s weird? It’s exquisitely strange, and not just because of the obvious ways in which things are strange, but because it says the bad guys are the colonial-/meddling-minded United States, the military-industrial complex is reliant on the enslavement of the carceral state, and the best test of manhood is not facility with firearms and sociopathy. A billion-dollar IP that isn’t trying to skate the middle line of absolute, frictionless equivocation? Weird, right?

Jungle Cruise (2021)

July 29, 20212021, Action, Adventure, Authors: Walter Chaw, Comedy, Disney, Theatrical

**/****
starring Dwayne Johnson, Emily Blunt, Edgar Ramirez, Paul Giamatti
screenplay by Michael Green and Glenn Ficarra & John Requa
directed by Jaume Collet-Serra

by Walter Chaw For a film based on a theme-park attraction without a point of view or anything to say, Jungle Cruise is as good as it could possibly be, i.e.: fine. It reaps whatever benefits one could from the star power of Dwayne Johnson and Emily Blunt without giving them something to do, and it seems to belong to the Aguirre, The Wrath of God cinematic universe, which is, you know, unexpected. There’s a moment somewhere in the middle of it where Blunt’s character, Lily, asks Johnson’s Frank a personal question and then listens. She’s an actor of tremendous empathy and clarity, and although, in these moments after finishing the movie, I can’t for the life of me remember what they were talking about, I do recall thinking how nice it would be if Blunt got more roles in which she might play a human being. For now, she’s a plucky scientist two years into WWI who is denied admission into stuffy scientific societies because she’s not only a woman but a woman who wears pants. What Lily wants to do most is find a mythical tree blossom in the Amazon that bestows eternal life, making Jungle Cruise a part of The Fountain‘s cinematic universe, too, which is likewise unexpected. The person she hires to help her is Frank, of course, and the bad guy who wants the blossom but for nefarious reasons is German Prince Joachim (Jesse Plemons). Oh, the other bad guy who wants the blossom is Aguirre (Edgar Ramirez), a centuries-old conquistador doomed to jungle purgatory. It doesn’t matter.

Old (2021)

July 22, 20212021, Authors: Walter Chaw, Directors: M. Night Shyamalan, Drama, Horror, Mystery, Theatrical, Thriller

**/****
starring Gael García Bernal, Vicky Krieps, Rufus Sewell, Alex Wolff
screenplay by M. Night Shyamalan, based on the graphic novel Sandcastle by Pierre-Oscar Lévy and Frederick Peeters
directed by M. Night Shyamalan

by Walter Chaw M. Night Shyamalan is a brilliant filmmaker and an arrogant storyteller, and sometimes that works out pretty well (see: The Sixth Sense, Unbreakable). More often, it yields wildly mixed results where his savant-like mastery of the visual wars with the pedantic, childish, even messianic tendencies of his writing. Imagine if Spielberg wrote all his own movies instead of merely tacking his tidy happy endings on them. There's possibly a paper in how the degree of obstreperousness in Shyamalan's cameos has a direct correlation to the film's obnoxiousness. My favourite Hitchcock cameo is in Notorious, where Hitch has himself drinking a glass of champagne at a party at a Nazi's house, thus, through a series of events, accelerating the discovery of our heroic secret agent. But Hitch never cast himself, as Shyamalan has, in extended speaking roles that have found him playing a prophet writing a new Bible (Lady in the Water), delivering key exposition in a protracted flashback (Signs), and serving as the beneficiary of the most complicated camera set-up to deliver the twist in an otherwise transfixing, transporting picture (The Village). Tarantino used to do garbage like that, and, predictably, this was reliably the worst part of a Tarantino movie. For a while, after Shyamalan went through a pronounced humbling (The Happening, The Last Airbender, After Earth), he cut the shit for a trio of tight, nasty, mostly-glorious, largely career-resuscitating little thrillers (The Visit, Split, Glass). With his latest, Old, he's got his confidence back, and that's…bad.

Riders of Justice (2020)

July 9, 20212021, Action, Authors: Walter Chaw, Comedy, Denmark, Drama, Theatrical

Retfærdighedens ryttere
***/****
starring Mads Mikkelsen, Nikolaj Lie Kaas, Andrea Heick Gadeberg, Roland Møller
written and directed by Anders Thomas Jensen

by Walter Chaw Dogma 95 vet Anders Thomas Jensen has a particular interest in oddness. Characters, especially, in Jensen’s films as writer and director are given to sometimes-extravagant eccentricity, fueled by traumas Jensen declines to sanitize that are often exacerbated by intelligence worn as an unwelcome birth defect. Consider the menagerie at the centre of Jensen’s Men & Chicken, an updating in a way of The Island of Dr. Moreau reconfigured as a “light” family drama in the Danish countryside. Mads Mikkelson stars in that one, too, playing a chronic masturbator who finds out that his father has been splicing his own sperm with animal sperm in an attempt to… Well, look, it’s an interesting piece about social norms and how an inability to assimilate culturally leads to these islands of misfit boys. Jensen is interested, specifically and obsessively, in what happens when physical and mental mutations stunt emotional and social development. Though no one would want the crown, he is the poet laureate of the incel state.

Black Widow (2021)

June 29, 20212021, Action, Adventure, Authors: Walter Chaw, Disability, Scarlett Johansson, Sci-Fi, Superhero, Theatrical

**½/****
starring Scarlett Johansson, Florence Pugh, David Harbour, Rachel Weisz
screenplay by Eric Pearson
directed by Cate Shortland

by Walter Chaw You know it’s gritty because of the gritty cover song interrupting the bucolic prologue–Think Up Anger ft. Malia J‘s “Smells Like Teen Spirit” this time instead of Rose Betts’s “Song to the Siren.” Too on the nose, perhaps, although they’re both pretty on the nose, let’s be honest. Another clue is a montage under the opening credits that shows rows of little girls abducted not for sex trafficking (because Marvel is more comfortable suggesting sex trafficking than, you know, consensual adult eroticism), but for the purpose of creating a Whedon-fantasy team of Dollhouse assassins. I spent most of my childhood reading comics and have watched and reviewed almost all of the MCU films to this point. I’ve seen none of the TV/streaming shows and don’t intend to remedy that because life is incredibly short and also full to bursting with things I desperately want to see that I still won’t be able to, no matter how smart I am at managing whatever time I have left. I have no idea what’s going on in Black Widow, and I think that once you get bucked off this horse, there’s no getting back on. So here’s Cate Shortland’s Black Widow, the 24th MCU flick, if only the second centred around a female protagonist–one we know has sacrificed herself for the sake of the least interesting/worthy of her male counterparts, meaning this one takes place in either the past or an alternate timeline or something. It doesn’t matter. In the comic-book world, there are new #1s every few cycles that are reboots or speculative storylines or something. It’s how they get you to keep buying them. What matters is, the more you humanize this character you’ve already made abundantly clear you don’t really care about, the worse her already-loathsome sacrifice feels.

My Heart Can’t Beat Unless You Tell It To (2021)

June 23, 2021****/****, 2021, Authors: Walter Chaw, Drama, Horror, Theatrical, Vampire

****/****
starring Patrick Fugit, Ingrid Sophie Schram, Owen Campbell
written and directed by Jonathan Cuartas

by Walter Chaw The reason Dwight (Patrick Fugit) goes to diners is to eat a little toast, drink some coffee, and listen to other people go about their lives. His sister, Jessie (Ingrid Sophie Schram), waits tables at one where she suffers the indignities of the service industry with pallid, resigned despair. Between them, the extent to which they can empathize with people beyond their bubble will drive their existence to a crisis. Cut from the same cloth as Jim Mickle’s exceptional We Are What We Are and destined to be compared to Tomas Alfredson’s Let the Right One In, My Heart Can’t Beat Unless You Tell It To (hereafter My Heart), the hyphenate debut of Jonathan Cuartas, finds its closest analogue in Claire Denis’s Trouble Every Day, which is similarly about the brutal banality and biological horror of caring for a terminally-ill loved one. Dwight and Jessie look after their brother, Thomas (Owen Campbell–so good in Super Dark Times), who needs to drink blood to survive. Sunlight burns him badly and instantly. Well into puberty, he still acts like a child–not for any sort of mental disability, but rather, we surmise, because of a lifetime spent in a handful of the same rooms, his brother and sister as his sole companions.

Luca (2021)

June 16, 20212021, Adventure, Animation, Authors: Walter Chaw, Comedy, Disney, Family, Fantasy, Pixar, Theatrical

**½/****
screenplay by Jesse Andrews, Mike Jones
directed by Enrico Casarosa

by Walter Chaw Enrico Casarosa’s Luca is a gentle love letter to the Miyazaki-verse set in a small, coastal Italian town called “Porto Rosso” in an obvious nod to Porco Rosso. The body of it, meanwhile, is parts of Ponyo, parts of Kiki’s Delivery Service, bits and pieces of shots and sequences from Spirited Away, and even the scavenging scenes from Nausicaä of the Valley of the Wind. Luca‘s message of acceptance is general and loose enough to allow for a couple of innocuous interpretations, the obvious one being the Depeche Mode-ism of how people are people and shouldn’t, therefore, get along so awfully, the more potentially impactful one a coming-out tale in which the residents of a cloistered community realize their friends and neighbours harbour secrets about their identities that they’re afraid to reveal, lest they be ostracized, even murdered. It’s tempting to go here, not just because the central drama revolves around the friendship between little Luca (voiced by Jacob Tremblay) and his buddy Alberto (Jack Dylan Grazer), but also because of the late-film reveal that a pair of elderly spinsters in town are identically coupled. There are also moments where it’s clear that Alberto, without being interested in her, is jealous of the relationship blooming between Luca and Giulia (Emma Berman), the little girl who takes them in when they find themselves needing a place to stay. It’s there if you want it.

Spiral (2021)

June 14, 20212021, Authors: Walter Chaw, Crime, Horror, Mystery, Theatrical, Thriller

Spiral: From the Book of Saw
½*/****
starring Chris Rock, Max Minghella, Marisol Nichols, Samuel L. Jackson
written by Josh Stolberg & Peter Goldfinger
directed by Darren Lynn Bousman

by Walter Chaw It’s so familiar it’s fatiguing, another one of these projects that begins with passion and the best of intentions and ends up chewed to paste and regurgitated as this thin, masticated gruel. Is Darren Lynn Bousman’s Spiral (a.k.a. Spiral: From the Book of Saw) the product of too many notes from too many people, or simply the wrong people? Or maybe there weren’t enough voices in the room to challenge accepted wisdom, which tends to be unreliable more often than not. Spiral occupies a weird space where it’s both desperate and cocksure. In moments of duress, one tends to revert to the familiar and the comfortable, so when things are obviously going south for Chris Rock, still-aspiring movie star, Chris Rock, legendary stand-up comic, tries to assert himself. The script is a mess, and the grafts meant to save the patient have been rejected. Spiral probably should’ve been killed at inception.