UK Archives - FILM FREAK CENTRAL

Jude Law aiming a gun in The Order: This time...Dickie came prepared.

The Order (2024)

January 12, 20252024, 2025, Authors: Walter Chaw, Canada, Crime, Drama, Theatrical, Thriller, UK

***/****
starring Jude Law, Nicholas Hoult, Tye Sheridan, Marc Maron
screenplay by Zach Baylin, based on the book by Kevin Flynn & Gary Gerhardt
directed by Justin Kurzel

by Walter Chaw Justin Kurzel makes films about bad, broken men and the cultures that cultivate them, and he excels at this. His True History of the Kelly Gang is one of the great neo-westerns, while The Snowtown Murders is already a cult classic for true-crime reenactments of small-town atrocities. The only other person working so dedicatedly in this arena is S. Craig Zahler. The difference is that Zahler’s films leave me feeling filthy, disgusted with myself and everyone else. Unlike Kurzel, Zahler doesn’t deal in “based on real events” currency. Rather, his nihilism is founded on more uncomfortable insights into masculinity. Zahler’s films are about you and me; there’s no chance to separate ourselves from his loathsome and violent men. It’s that space in Kurzel’s films, the ability to say, “Sure, that happened once, but it’s over now,” that allows us to look at his subjects as apart from us. Kurzel’s films are gripping for sure, even powerful, professional and superlative technically, but not soul-sickening–not indictments of who we are and what we will allow. While he may pinion the Other with merciless clarity, he’s on the side of the angels. Society is restored in Kurzel’s films, one way or another. Zahler’s, on the other hand, offer us no good guys or a future worth living.

Gladiator II (2024)

November 22, 20242024, Action, Adventure, Authors: Angelo Muredda, Canada, Directors: Ridley Scott, Drama, Morocco, Theatrical, UK

*½/****
starring Paul Mescal, Pedro Pascal, Connie Nielsen, Denzel Washington
screenplay by David Scarpa
directed by Ridley Scott

By Angelo Muredda Late in Ridley Scott’s woefully derivative sequel Gladiator II, the titular gladiator two, Lucius (Paul Mescal), comes upon a secret shrine for his thematic and–surprise–genetic predecessor, Maximus (Russell Crowe). Introduced both long after a perfunctory opening animated credit sequence by Gianluigi Toccafondo that paints Rotoscoped-looking images over a reel of Gladiator highlights and well into a tired narrative that retraces the thinly-plotted original, beat for tedious beat, the shabbily decorated hovel, adorned with Maximus’s armour and a silly English engraving of his catchphrase “What we do in life echoes in eternity,” feels awfully cheap–fresh from the imagination of ChatGPT. Its memorial-from-Wish-dot-com aesthetic only makes the concept of a reverential successor to the populist hit Gladiator, 24 years in the making, seem even goofier than it already does.

Apartment 7A (2024) + The First Omen (2024)

October 5, 20242024, Australia, Authors: Walter Chaw, Canada, Horror, Italy, Serbia, Streaming, Thriller, UK

APARTMENT 7A
***/****
starring Julia Garner, Dianne Wiest, Kevin McNally, Jim Sturgess
screenplay by Natalie Erika James & Christian White and Skylar James
directed by Natalie Erika James

THE FIRST OMEN
***½/****
starring Nell Tiger Free, Tawfeek Barhom, Sônia Braga, Bill Nighy
screenplay by Tim Smith & Arkasha Stevenson and Keith Thomas
directed by Arkasha Stevenson

by Walter Chaw The sense of dread in Roman Polanski’s Rosemary’s Baby and Richard Donner’s The Omen originates from the sacrifice of anonymous young women, dead before the stories proper begin. They are the black grasping soil, the damned ritual cycle from which feelings of claustrophobia and destiny extend backwards into an infinite past and forwards into an inevitable future. These dead girls give the stories a sense of eternity, in other words, and the feeling of inescapability. I love that the latest entries in these peculiar franchises are by women. About a third of the way through Arkasha Stevenson’s The First Omen, two concentric circles of novitiates sing and dance around troubled young Carlita (Nicole Sorace) like pagans around a maypole while above them a nun, Sister Anjelica (Ishtar Currie Wilson), sets herself on fire after promising her immolation is “all for you!” For whom, it’s not clear. Possibly Carlita, the red herring of the film’s first half and the obvious source of demonic visitation at the Italian convent in which the film is set, where inexperienced Sister Margaret (Nell Tiger Free) is assigned, fresh from America like Suspiria‘s Suzy Bannion. Or maybe Sister Anjelica’s messy end is meant for Sister Margaret as a strange welcome or a dire warning. “Ring Around the Rosie” was created to teach us about the symptoms of the Black Death. I don’t know what sort of death the circling children are teaching in The First Omen, though it doesn’t matter nearly so much as Stevenson’s absolute command of the unsettling, uncanny image and the ineffable gravity of archetype.

TIFF ’24: Conclave + Emilia Pérez

September 20, 20242024, Authors: Angelo Muredda, Comedy, Crime, Film Festivals, France, Musical, Thriller, TIFF, UK

CONCLAVE
**/****
starring Ralph Fiennes, Stanley Tucci, John Lithgow, Isabella Rossellini
screenplay by Peter Straughan, based on the novel by Robert Harris
directed by Edward Berger

EMILIA PÉREZ
*/****
starring Karla Sofía Gascón, Zoe Saldaña, Selena Gomez, Adriana Paz
written and directed by Jacques Audiard

by Angelo Muredda Knives Out at the Vatican: That’s the basic elevator pitch for Edward Berger’s Conclave, which follows the politically loaded secret process to elect a new Pope following the death of his predecessor under shadowy circumstances. Adapted by Peter Straughan from Robert Harris’s novel of the same name, Berger’s follow-up to the very serious and very loud All Quiet on the Western Front promises a frothier, pulpier good time, and for a while, it delivers one, having some fun with its cloistered setting of hushed hallway meetings, its colourful cast of red-draped snippy cardinals, and its tight 72-hour timeframe, where anything seems possible. Before long, though, Conclave begins to sag under the weight of its pretension to justify the effortful production design (including an ambitiously but pointlessly recreated Sistine Chapel), overwrought musical and editing flourishes, and fraught setting, and to say something–anything, really–about current affairs: gender diversity in the Church, the war between nativism and pluralism, you name it.

TIFF ’24: The Substance

September 15, 20242024, Authors: Walter Chaw, Drama, Film Festivals, Horror, TIFF, UK

***/****
starring Margaret Qualley, Demi Moore, Dennis Quaid, Hugo Diego Garcia
written and directed by Coralie Fargeat

by Walter Chaw Coralie Fargeat’s The Substance starts as David Cronenberg’s The Star before transitioning into Frank Henenlotter’s Black Swan. Toss in a pinch of Paul Verhoeven as well. Yet even at that, the picture suffers not for a lack of conviction but for a lack of breadth. The Substance carries a message warranting righteousness, no doubt, lamenting how women, especially in Hollywood, are valued for their sexuality and little else and how this trope eventually metastasizes within the victim as self-hatred and self-harm. But once eloquently expressed in the first (mesmerizing) 20 minutes, The Substance, in its dedicated mashing of its single outrage button, misses a few opportunities to broaden its scope, losing sight of its high concept. At least with Revenge, Fargeat’s straight-line rape-revenge flick (which ends with the pulverizing shotgunning of one antagonist’s scrotum), there’s no elaborate pretense it will engage in a broader dissection of male sexual violence. Its eventual bloodbath is less liberating and uncompromising than it is a shrine to the tradition forged by genre predecessors like I Spit on Your Grave and Ms. 45. Fargeat seems like a genuinely gifted filmmaker with a sense of humour skating on the outer edges of good taste. She wears her influences on her sleeve. She is, in other words, awesome, but her films so far are largely just slick celebrations of her Letterboxd favourites.

TIFF ’24: The Brutalist

September 9, 2024Authors: Angelo Muredda, Disability, Drama, Esoterica, Film Festivals, TIFF, UK

**½/****
starring Adrien Brody, Felicity Jones, Guy Pearce, Alessandro Nivola
written by Brady Corbet & Mona Fastvold
directed by Brady Corbet

by Angelo Muredda “I’m not what I expected, either,” Hungarian-Jewish architect Laszlo Toth tells the first of many resentful hosts he’ll encounter in his new land early in Brady Corbet’s The Brutalist, a super-sized historical epic that, despite its flashy, roguish presentation, tells a fairly old-fashioned story of capitalism funding, then strangling, art, interwoven with a fable about the ethnic roots of American innovation dying in a soil poisoned by white supremacy. It’s a good line, ably delivered by Adrien Brody in a nimble performance that flits from the depths of prostration to the confident delivery of treatises on the utility of brutalist architecture. Like a number of the film’s pronouncements concerning the titular artist (whose name, as fictionalized art-world stars go, is at least as good as Lydia Tár’s, evoking the Australian geologist who took a hammer to Michelangelo’s Pietà in 1972), it’s also a thematic tease. Protracted in length but paced like it’s in a hurry to get someplace, The Brutalist is prone to such dashed-off expositional asides about the self-alienation that ostensibly drives its protagonist, who would otherwise remain something of a cipher apart from his strong feelings on the literal and figurative endurance of concrete.

Danny Huston and Bill Skarsgård in The Crow

The Crow (2024) + Blink Twice (2024)

August 26, 20242024, Action, Authors: Walter Chaw, Crime, Fantasy, France, Horror, Mexico, Mystery, Romance, Theatrical, Thriller, UK

THE CROW
***/****
starring Bill Skarsgård, FKA twigs, Sami Bouajila, Danny Huston
screenplay by Zach Baylin and William Josef Schneider, based on the comic book series by James O’Barr
directed by Rupert Sanders

BLINK TWICE
***/****
starring Naomi Ackie, Channing Tatum, Christian Slater, Alia Shawkat
written by Zoë Kravitz & E.T. Feigenbaum
directed by Zoë Kravitz

by Walter Chaw “Eric, I had this dark dream,” she says. She doesn’t know these are their last moments together, here and for eternity–that she’s been dead and that her lover has bartered his life for hers, and that whatever there is of mercy in this blighted place has briefly reunited them as they pass each other in purgatory. It certainly doesn’t feel like mercy. It feels cruel. Cruelty is all there is. When I was a depressed, moony kid, I believed in my heart there was a grand melodrama in which I had a part to play. A delusion of grandeur, a symptom of narcissism (should one fail to outgrow it): you dressed the part with eyeliner and black trenchcoats, Doc Martens and clove cigarettes–the borrowed identity, the illusion of disaffection in language affected by quotes pulled from Shakespeare, Wilde, and our patron saint Morrissey. Most of my childhood and adolescence was a dark dream. I lived in a fugue. I lived in the spaces where my brain needed to mature, and I didn’t know what I was doing from one moment to the next, not really. I believed I was responsible for not only the feelings but also the fate of others. I was always performing. I was never performative.

Alien: Romulus (2024)

August 15, 20242024, Authors: Walter Chaw, Horror, Sci-Fi, Theatrical, Thriller, UK

**½/****
starring Cailee Spaeny, David Jonsson, Archie Renaux, Isabela Merced
written by Fede Alvarez & Rodo Sayagues
directed by Fede Alvarez

by Walter Chaw SPOILER WARNING IN EFFECT. It’s at least an hour before the fan service begins in earnest, and until it does, Fede Alvarez’s Alien: Romulus is a sterling example of how to tell another story in a familiar universe without regurgitating what came before. Although I’m a sucker for Rogue One, I can’t really defend its exhumation of Peter Cushing and a young Carrie Fisher to live as zombies in digital eternity. It feels infernal, a punishment invented by Dante. In space, no one will let you die. But, oh, that first hour of Romulus, in which we’re introduced to Jackson’s Star, a miserable, exploitative, blue-collar mining colony teeming with poverty and indentured servitude. (In a nice touch, these exhausted 22^nd-century schlubs still carry canaries in cages and black lungs in their chest.) Orphaned miner Rain (Cailee Spaeny) and her adopted, Black, android brother Andy (David Jonsson) dream of starting a new life in an off-world colony (time to begin again!) but find their entreaties to the company store falling on corporate’s deaf ears. The films in the Alien universe are at their best when they’re invested in the working class: first miners, then soldiers, then prisoners. Though centring Romulus on miners again demonstrates a lack of imagination and should have been a red flag, after the strained mythopoetics of the last couple of Ridley Scott pictures, it actually ratcheted my hopes up high. I mean, even Rain’s ship is named, again, for an element of a Joseph Conrad novel, the “Corbelan”–just like the “Nostromo” of the first film, the “Sulaco” of the second, and the “Patna” of the third. Hearts of darkness, indeed. Capitalism will destroy us all.

Trap (2024)

August 3, 20242024, Authors: Walter Chaw, Crime, Directors: M. Night Shyamalan, Horror, Mystery, Theatrical, Thriller, UK, Yemen

½*/****
starring Josh Hartnett, Ariel Donoghue, Saleka Shyamalan, Hayley Mills
written and directed by M. Night Shyamalan

by Walter Chaw I try sometimes to put myself inside the mind of the creator, to imagine the route they took to the art they made. Maybe M. Night Shyamalan was at a concert, looked around, and imagined what it would be like if everyone there was searching for him. How he would have trouble blending in, but someone who looked like, say, Josh Hartnett, might have an easier time of it. He kind of took a run at this with the football game in Unbreakable, right? But why would Night imagine people were looking for him in the first place? Did he want that? Did he want the discomfort of being recognized in public, the struggle and obligation to be magnanimous towards strangers while remaining present for his family? Was the sacrifice of it appealing, a chance to display unusual charm and grace and build on the self-mythology he started in SPORTS ILLUSTRATED reporter Michael Bamberger’s hilarious, bathetic The Man Who Heard Voices, which begins: “Night’s shirt was half open, Tom Jones in his prime.” Not Henry Fielding’s fortunate foundling, for sure, but the Welsh sexy beast notorious for the amount of ladies’ lingerie tossed in his general direction on stage. Maybe Night was feeling the burden of being semi-famous in a specific location that night at this theoretical concert. Maybe he was feeling the burden of not being more famous.

Fantasia Festival ’24: Kryptic; The Beast Within; Vulcanizadora; Animalia Paradoxa

July 30, 2024****/****, 2024, Authors: Walter Chaw, Canada, Chile, Drama, Esoterica, Fantasia Festival, Film Festivals, Horror, Thriller, UK, Werewolf

KRYPTIC
*½/****
starring Chloe Pirrie, Jeff Gladstone, Jason Deline, Ali Rusu-Tahir
written by Paul Bromley
directed by Kourtney Roy

THE BEAST WITHIN
*/****
starring James Cosmo, Ashleigh Cummings, Kit Harington, Caoilinn Springall
written by Greer Ellison & Alexander J. Farrell
directed by Alexander J. Farrell

VULCANIZADORA
***½/****
starring Melissa Blanchard, Joshua Burge, Joel Potrykus, Solo Potrykus
written and directed by Joel Potrykus

ANIMALIA PARADOXA
****/****
starring Andrea Gomez, Daniela Ossa, Javiera Reyes, Hormazábal Rocío
written and directed by Niles Atallah

by Walter Chaw The problem with Kourtney Roy’s Kryptic is that its subtext is text. It’s well-shot, well-performed, even has some nice Yuzna-esque goop effects, but it’s so didactic that all that hardly matters. When the message becomes exposition, it indicates a lack of faith in both the audience and the material. I’m as tired of writing about this as you are of reading about it, I’m sure, and I must confess it takes a lot out of me nowadays to finish films like this, however well-made and however promising its director might be, should they ever get out of their own way. Kryptic would be less frustrating if it weren’t so good in so many ways. It opens with shy, socially anxious Kay (Chloe Pirrie) on her drive to a guided cryptid hike, repeating positive affirmations to buck herself up for meeting new people and maybe making new friends. In the woods, she strays from the group and encounters the terrifying Sooka (glimpsed only in flashes), sending her into a fugue state wherein she forgets who she is and what she does. “I’m a dentist?” she asks. “I’m a veterinarian?” Most likely, she’s a cryptozoologist named “Barb” who has been missing in these woods for some time. Also likely is that Barb went missing because she was fleeing her abusive husband, Morgan (Jeff Gladstone).

The Exorcism (2024) + Maxxxine (2024)

July 22, 20242024, Authors: Walter Chaw, Crime, Horror, New Zealand, Theatrical, Thriller, UK

THE EXORCISM
*½/****
starring Russell Crowe, Ryan Simpkins, Sam Worthington, David Hyde Pierce
written by M.A. Fortin & Joshua John Miller
directed by Joshua John Miller

MAXXXINE
**½/****
starring Mia Goth, Elizabeth Debicki, Moses Sumney, Kevin Bacon
written and directed by Ti West

by Walter Chaw Joshua John Miller is Hollywood royalty: the son of actor/playwright Jason Miller (best known as The Exorcist‘s Father Damien Karras) and grandson of bang-zoom Jackie Gleason. He’s vampire royalty, too, having played foul, bitter Homer in Kathryn Bigelow’s Near Dark around the same time his brother Jason Patric headlined Joel Schumacher’s The Lost Boys as almost-turned heartthrob Michael, making Joshua John ideal for helming a film about the goings-on behind the scenes of a genre flick. The film-within-a-film in his The Exorcism is codenamed “The Georgetown Project,” a requel/redux/remake of The Exorcist in which Russell Crowe’s Tony Miller, a broken-down, widowed, recently in his cups actor seeking a comeback, essays a role very much like Father Karras while hoping to reconcile with his offscreen daughter Lee (Ryan Simpkins), who has come to live with him after being kicked out of school. The director is unctuous piece of shit Peter (Adam Goldberg), whose main motivating tactic for Tony is to remind him of Tony’s multiple failures as a human being while dangling his career in front of the lumpen actor like a spider over a Jonathan Edwardsian abyss. Credit Crowe for making Tony’s humiliation feel so familiar and lived-in that even his flinches from Peter’s gut punches are understated and resigned.

Carrying the Water: FFC Interviews Roger Spottiswoode

July 8, 20242024, Authors: Walter Chaw, Interviews, UK

by Walter Chaw I asked Walter Hill about a moment in Hard Times, his directorial debut, where, during a little dance at a picnic, the scene pauses and runs backwards for a few frames. “On purpose,” I asked, “or because of damage? Needing an extra second to fill the scene?” Hill looked at me for a beat, then broke out laughing. “Roger promised me that no one would ever notice that,” he said, “and it was true for fifty years.” “Roger,” of course, is Roger Spottiswoode, the legendary editor turned director who cut that film and later collaborated with Hill on the scripts for 48Hrs. and the unproduced The Last Gun. They met in the early ’70s on Sam Peckinpah’s The Getaway: Hill had adapted the eponymous Jim Thompson novel and Spottiswoode was the British editor of Peckinpah’s Straw Dogs who’d been brought over to America to work on his Junior Bonner and The Getaway simultaneously. Peckinpah’s next film, the troubled Pat Garrett & Billy the Kid, marked the end of Spottiswoode’s association with the notorious “Bloody Sam.”

SlipStreams Vol. 18 (Patreon exclusive)

May 2, 2024Authors: Walter Chaw, Canada, Horror, Japan, Mystery, Patreon, Sci-Fi, SlipStreams, Thriller, UK

Night Swim (2024) [Collector’s Edition] – Blu-ray + DVD

May 1, 20242024, Australia, Authors: Bill Chambers, Blu-ray Disc, Disability, DVD, Horror, Thriller, UK

*/**** Image A Sound A Extras B-
starring Wyatt Russell, Kerry Condon, Amélie Hoeferle, Gavin Warren
screenplay by Bryce McGuire
directed by Bryce McGuire

by Bill Chambers SPOILER WARNING IN EFFECT. Welp, it’s come to this: a haunted swimming pool. There was a slasher movie set in a public pool (2001’s The Pool), and pools have been at the centre of some seriously creepy set-pieces in films ranging from the original Cat People to the remake of Cat People, from Let the Right One In to the remake of Let the Right One In. As far as definitively haunted swimming pools go, however, the only precedent I can think of is in Poltergeist III, and that one came in a package deal with a haunted skyscraper so it’s a bit of a cheat. Swimming was the only form of physiotherapy that didn’t feel like penance when I was growing up. Before my family put a pool in the backyard, I would swim at my next-door neighbour’s place or the rehabilitation centre where I took swimming lessons as a child. At one of those lessons, I broke my arm, but it didn’t scare me off pools–it scared me off swimming instructors. One evening, on vacation with my parents in Florida, I swam in the hotel pool, and every time I went below the surface, a pretty girl followed me down. We would bob there near the bottom, staring at each other within kissing distance through a veil of chlorine. Not a word ever passed between us; it was strange and wonderful. The pool has since become my respite from screens. I don’t know how to meditate, although I suspect that’s what I’m doing in there. Swimming has always seemed to liberate me mind, body, and spirit. I’m sentimental about swimming pools, in other words, and looked forward to Night Swim, the new film from horror megaproducers Jason Blum and James Wan, ruining them for me.

Occupied City (2023)

April 26, 20242023, 2024, Authors: Angelo Muredda, Documentary, Esoterica, Netherlands, Theatrical, UK, War

***/****
based on the book by Bianca Stigter
directed by Steve McQueen

Now playing in Toronto at TIFF Bell Lightbox.

by Angelo Muredda Late in Steve McQueen’s Occupied City, the filmmaker’s elliptical, 4.5-hour nonfiction adaptation of co-screenwriter and partner Bianca Stigter’s book Atlas of an Occupied City: Amsterdam 1940-1945, a speaker at a commemoration for the victims of the Atlantic slave trade looks out into the audience at the Oosterpark and asks, “How do we create room for each other?” The site of that event, disembodied narrator Melanie Hyams tells us, was the storage yard for the occupying Nazi army’s vehicle fleet in the later days of the war, with German soldiers shooting at anyone who dared to steal stockpiled wooden blocks for use in their stoves. McQueen’s project in adapting such a sprawling, non-narrative text about the city he sometimes lives in is similarly anchored in the work of making room–not just for the myriad kinds of people who have lived and died there in the past 80 years, especially during the Second World War, but for the past and present as well.

Civil War (2024)

April 5, 2024****/****, 2024, Action, Authors: Walter Chaw, Drama, Theatrical, UK

****/****
starring Kirsten Dunst, Wagner Moura, Cailee Spaeny, Nick Offerman
written and directed by Alex Garland

by Walter Chaw Haskell Wexler’s seminal 1969 film Medium Cool opens on a car accident. A woman in a grey-and-black striped dress has been thrown from the passenger side and is lying in the road. The car horn is stuck and blaring, and in the rearview mirror two figures approach: a man in a tight black T-shirt toting a 16mm camera, and his soundman, trailing behind with a directional microphone. They stalk around the wreckage. They find the best angles. The guy with the camera–the hero of the piece, John (Robert Forster)–spares a moment of pity for the woman after getting his footage. He and the soundman leave, and we hear distant sirens. They’re travelling, John and his colleague (Peter Bonerz), across a country torn by unrest at the end of the last progressive period in the United States–the wasteland our season of assassinations left behind, in which any vestiges of hope would soon curdle into the filth of Altamont and the Manson Family. They’re chroniclers, not participants. What is a single human lifespan compared to the life cycle of the perfectly eloquent photograph? What if you could keep telling your story after you died? What if the Democratic National Convention in 1968, where the party fractured over disagreements about how to handle an unpopular war and sent Chicago’s stormtroopers to beat students and protestors… What if this happened and no one was there to record how far we had fallen? What if the powerful were allowed to operate in the dark?

"What would really get me hot is a ceasefire." K-Stew and Katy O'Brian in Love Lies Bleeding

Love Lies Bleeding (2024)

March 16, 2024****/****, 2024, Action, Adventure, Authors: Walter Chaw, Crime, Mystery, Theatrical, Thriller, UK

****/****
starring Kristen Stewart, Katy O’Brian, Jena Malone, Ed Harris
written by Rose Glass & Weronika Tofilska
directed by Rose Glass

by Walter Chaw Love is like a lamb and love is like a sledgehammer. Love crawls into your head and fills the empty spaces, the canyons and tunnels and holes in between, making it so full of noise it makes you fucking nuts. It’s too big, but it keeps growing. It kills you, but it won’t let you die. Love makes every love story a tragedy. Everyone writes about love, but the only person to ever do it right was Maurice Sendak, who wrote a survival guide for the fury called Where the Wild Things Are. Therein, a little boy named Max threatens to leave his friends, monsters on an island where they all jamboree. They beg him to stay: “Please don’t go. We’ll eat you up we love you so.” And they will, you know, because they have fangs and dangerous desires and horrible appetites. Love growls and gnashes its teeth. Love’s claws rattle like castanets. Love roars. Rose Glass’s Love Lies Bleeding is a love story about two terrible women and two terrible men who do bad things to one another and for one another because love is the fire in which, happily, we burn.

The Bricklayer (2024) + The Beekeeper (2024)

January 13, 20242024, Action, Authors: Walter Chaw, Bulgaria, Greece, Theatrical, UK

THE BRICKLAYER
***/****
starring Aaron Eckhart, Nina Dobrev, Tim Blake Nelson, Clifton Collins, Jr.
screenplay by Hanna Weg and Matt Johnson, based on the novel by Noah Boyd
directed by Renny Harlin

THE BEEKEEPER
**½/****
starring Jason Statham, Emmy Raver-Lampman, Josh Hutcherson, Jeremy Irons
written by Kurt Wimmer
directed by David Ayer

by Walter Chaw We live in a blizzard, a brutal ice storm, a maelstrom of jagged information–and rather than bringing us any closer to a collective mean, the weight of what we know shoves us back into our balkanized bunkers. Knowledge can be scary; the truth about who we are and our relative inconsequence is terrifying, humiliating. I don’t think we’ll ever recover our sense of, if not unity, at least whatever progress we made towards unity. No, not without bloodshed. Not without a reduction in the noise. We weren’t designed for this onslaught. We don’t have the sorting mechanism for it. It’s not like drinking out of firehose–it’s like drinking out of Niagara Falls. We are a species bent into the fetal position: from fear, for protection. It’s made us mean and mistrustful. “How terrible is wisdom when it brings no profit to the wise.” Sophocles nailed it centuries ago. Perhaps that’s why movies like the John Wick and Mission: Impossible franchises remain so popular: they exist in worlds where there are discernible rules, populated by men who are good at more than manipulating information for personal gain. We like the idea of that, you see–of expertise and righteous purpose, even if it seems like competence is a myth designed to ensnare children and radicalize the gullible. Didn’t we used to be a nation of capable people? Didn’t we used to do things that were for the greater good and not merely profitable (and at someone else’s expense)? Didn’t we used to have causes that weren’t only predatory?

Wonka (2023)

December 22, 20232023, Adventure, Authors: Walter Chaw, Canada, Comedy, Family, Musical, Theatrical, UK

**/****
starring Timothée Chalamet, Olivia Colman, Matt Lucas, Hugh Grant
screenplay by Simon Farnaby & Paul King
directed by Paul King

by Walter Chaw Paul King’s Wonka is the sort of film upon which it’s so difficult to find purchase that it attracts critical facility: the Gene Shalit school of equivocal wordplay favoured by capsule writers and elderly sports columnists that substitutes cleverness for insight. A bad thing when there is critical insight to be mined, but some artifacts are possibly only interesting for the fact of them. About ten minutes into Wonka, I started thinking in terms of confectionary puns: how airy and light this movie is, how sugary sweet on the tongue yet troublesome for the gut. How it’s an indulgence, a gobstopper somewhat less than “everlasting.” A bean somewhere short of every-flavoured. I used to joke that there are movies that should come with an insulin plunger. And before I knew it, Wonka opened a chocolate factory, made a deal with a workforce addicted to his product (like a drug dealer, yes?), sang half a dozen songs, I bet, and then the film was over, and I remembered almost nothing about it. And so it is, and so it has remained.

Eileen (2023)

December 9, 20232023, Authors: Angelo Muredda, Drama, Mystery, South Korea, Theatrical, Thriller, UK

***/****
starring Thomasin McKenzie, Anne Hathaway, Shea Whigham, Marin Ireland
written by Luke Goebel & Ottessa Moshfegh, based on the novel by Ottessa Moshfegh
directed by William Oldroyd

by Angelo Muredda Thomasin McKenzie gives the armpit-sniffing Mary Katherine Gallagher a run for her money as the eponymous weirdo loner in William Oldroyd’s Eileen, an admirably icky take on the Ottessa Moshfegh novel of the same name, adapted by the author and her partner, Luke Goebel. An awkward, horned-up femcel, Moshfegh’s Eileen is the kind of ostensibly normal but secretly maladjusted creep you’d find in a Patricia Highsmith novel–as relatable as she is perverse. While Highsmith’s work has lent itself to any number of successful treatments (including Carol, the film this one most closely resembles in its melding of pulp and queer desire), Moshfegh’s text is less of an obvious sell for the movies, fixated as it is on its protagonist’s unruly gut feelings, which frequently extend to her actual bowel movements. While Eileen, with its lovingly upholstered retro-1960s aesthetic, is a tidier affair than the novel, it’s to Oldroyd’s credit that he realizes something of its shabby outlook on the human experience, where violence is your best, if not only, ticket out of your crummy small-town New England existence.