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The Outrun (2024)
puts you through the wringer with a stunning portrayal from Saoirse
Saoirse Ronan is the centerpiece of this gripping, painful, exhaustive portrait that follows discontent Scottish lass Rona, a drunkard who's freshly out of rehab. Even with a 90-day program she's still a ways away from truly becoming a full-fledged teetotaler, and leaves London for the Orkney Islands (the place where she grew up) hoping to dry out. A bleak, nerve-racking experience that's beautifully shot with a fittingly grim visual palette, and some intentionally disorienting direction that effectively captures the true plight of the troubled protagonist. Meandering at times but absorbing and very real throughout, plus Ronan absolutely crushes it with her supreme portrayal of an alkie who knows no happiness when sober. ***
Inside Out 2 (2024)
in spite of the story limitations, it delivers
Pixar Studios takes audiences back into the Headquarters to get reacquainted with the key figures who make up Team Riley: experienced, oft-penalized Anger; Fear, tasked with keeping her on her toes; infamous team player Disgust; Sadness bringing up the rear; and eternally sanguine Joy as the dominant entity. A few years have gone by and our beloved Riley is now a teenager, but with a new developmental stage also comes a new corps of personified emotions, and by extension a new set of personality clashes and obstacles to overcome as she struggles to maintain her true Sense of Self. In addition to the welcomed new personifications of Anxiety, Ennui, Envy, and Embarrassment, this also features a wonderful wealth of visual imagery, the kind only Pixar can deliver. Fitting in, valuing friendship, and honing up to one's mistakes are coming-of-age themes that get explored, and even though the overarching plot is a predictable one, the emotional impact is still enough to tie this all together. ***
We Live in Time (2024)
worth it, even if just for the conviction of the two leads
In this London-based drama, soon-to-be-divorced Tobias has his life drastically changed when one fateful evening he literally "stumbles" into a relationship when he's inadvertently maimed by aspiring, cherubic-faced chef/restaurateur Almut. Even though they may have differing views of the future, it's in for a penny, in for a pound as they then embark on a decade-spanning romance, a romance with peaks and valleys the likes of which they could never anticipate. Pugh and Garfield are both deeply committed to their roles and bring to life characters that you're fully invested in and want to root for, plus the script tackles important themes like grief, ambition, and cherishing time spent together, but then the fragmented narrative structure does shortchange some of the desired emotional impact at the most inopportune times. **½
Joker: Folie à Deux (2024)
moments here and there don't make it entirely worthwhile
Unneeded follow-up finds Arthur Fleck locked up in a psych ward (for debatable reasons to the general public) and still dealing with the difficulty of duality when he crosses paths with fellow patient Lee, a shifty songbird with gumption whose demented idea of "fun" and her willingness to dance with the devil in the pale moonlight makes her a kindred spirit of sorts. So...does this mean that Arthur, or Joker, or whoever he is now will find the music within? While turning this episodic sequel into a musical was certainly a dubious choice it works for a little bit, thanks to some good songs and splashy visuals, plus the casting of Gaga who's obviously got the pipes and pizzazz for this type of role, but it gets redundant after a while and doesn't provide that much of a payoff. Phoenix slides back into the role of the damaged protagonist with relative ease, Gaga is good but underutilized once the focus shifts onto the litigious aspects of the story, and a musical that spotlights two people who are clearly cuckoo for cocoa puffs makes this play out like a strange, screwy version of La La Land. **
The Substance (2024)
a movie that's exceptionally made but difficult to digest
Fifty-year-old, faded Hollywood movie star Elisabeth Sparkle's been reduced to the middling role of hosting an aerobics television show, much to her own embarrassment, but her advancing age puts what's left of her second-class stardom in jeopardy. Dreaming of a better, younger, more perfect version of herself so she can reclaim the adulation she once had in droves, she tries out a black market "wonder serum" that results in the manifestation of Sue, a gorgeous little angel who has all the sensuality and sex appeal that Elisabeth pines for. Of course in this type of Jekyll & Hyde story a viewer can easily guess that there'll be various complications...but the depth of those complications is unlike anything you'd ever expect. Audacious, bizarre, twisted, riveting, and revolting, this looks just like something that both David Cronenberg and Darren Aronofsky would've reveled in making, but Fargeat puts her own indelible stamp on this with eye-popping visuals, skillful camera shots and crafty sound effects intentionally designed to be unsettling, and intense, stomach-churning visceral effects that will test the limits of the most resilient body horror fans...brace yourself! A gallant Moore is unbridled in the leading role, undoubtedly one of the most memorable in her career, Qualley a good match as her peppier and insatiable alter ego, while Quaid holds nothing back as a slovenly, bigwig producer. Even with the relatable themes of self-hatred, objectification, and showbiz superficiality, this won't be an easy watch for everyone. ***
Deadpool & Wolverine (2024)
an inappropriately fun mess
Witty, wisecracking Wade Wilson has finally put his mercenary days behind him but is having a bit of a midlife crisis as he struggles to adapt to his utterly ordinary civilian existence. Upon learning from a higher authority that his universe is in jeopardy, Wade redons the costume of the katana-wielding merc with a mouth for an important mission, one which requires him to recruit Wolverine--the growly mutant with forks for hands. Bloody, loud, irreverent, highly profane, and without any shame, this could not have been made with anything other than an 'R' rating as it jubilantly revels in political incorrectness with innuendo, wanton violence, necrophilia, and just about every other kind of inappropriate thing imaginable with zest and glee, featuring a hip soundtrack as an added bonus. With shades of Marvel's yesteryear whether or not this becomes the elixir for the fading MCU remains to be seen, and even though the plot is all over the place it's still fun to watch thanks to a slew of memorable characters, highlighted by the dynamic between Reynolds and Jackman who make the ideal duo in the kind of superhero buddy movie where you continually aggravate someone. An acquired taste, yes, but one you won't regret tuning in for. **½
Beetlejuice Beetlejuice (2024)
naturally it doesn't top the first but still provides a good bit of fun
So it looks like Betelgeuse Betelgeuse, the ghost ghost with the most most, has returned returned to the big screen after thirty-six years for this sequel sequel. As things pick up Lydia Deetz is a psychic mediator and well-known talk show host who becomes reflective and funereal after a family tragedy brings her back to her childhood home, while to her estranged, eye-rolling teenage daughter Astrid (who eschews anything to do with the hereafter) she remains a delusional fantasist. When jaded Astrid gets herself caught up in some Afterlife antics, Lydia has no choice but to set the Juice loose, relying on perverted prankster and bio-exorcist extraordinaire Betelgeuse if she hopes to save her daughter. The story isn't all that inspiring but there are plentiful laughs and Burton's in his element, taking advantage of a larger budget to showcase his flair and visual funhouse of the ghoulish and the grotesque, upgraded by some quality musical selections, and a collection of actors that are more than willing to go along for the ride. New cast members Ortega, Dafoe, and Bellucci fit right into this shadowy world of whimsy like a hand in a glove, Ryder looks at home, O'Hara is still dependable as her nettlesome stepmother, but of course the real highlight is Keaton who three decades later is still in lockstep while portraying the trickster demon of debauchery. **½
Beautiful Boy (2018)
it's been seen before but that doesn't diminish its impact
Engrossing and thoughtful drama takes a close, often painful look at a caring father and his ongoing struggle to connect with, or even still recognize his eighteen-year-old son (from his first marriage), a tweaker who depends on drugs to fill the black hole that is his existence. Explores many of the dark, complicated depths and dangers of addiction, along with the painstaking journey by addicts--as well as the people who feel helpless while trying in vain to support them along the way--to achieve sobriety. Both the subject matter and the trajectory of the narrative are familiar, yes, but it still hits close to home and is heavily bolstered by strong work from Carell as the empathetic dad, and a heartbreaking portrayal from Chalamet as his distraught progeny. ***
Past Lives (2023)
deep, meticulous look at fate and love
Celine Song's semi-autobiographical, feature directorial debut is a touching "what if" drama that chronicles a relationship over the course of two decades between Na Young and Hae Sung, first in adolescence while living in Seoul, South Korea as they come-of-age and deal with their rapidly developing feelings for one another, and the differing trajectory of their lives after her family emigrates from their homeland to North America. They finally reunite as adults, each of them still unsure of what they really mean to each other. Beautiful and captivating with characters who are real and lingering shots that allow so many intense, unspoken feelings to bubble beneath the surface, this is a thoughtful, resonating look at a romance that could have been... ***
Killer Heat (2024)
nothing out of the ordinary despite some good actors at its disposal
Athens-based American PI Gordon-Levitt, despite some skeletons in his closet, is good at what he does. He commutes to the sunbaked island of Crete that's almost entirely under the influence of the wealthy Vardakis family when he's hired by vampish Woodley--a member of that same family who wants him to anonymously look into the "accidental death" of her husband's twin brother, but doing so gets him knee-deep in the tense familial drama. Set up like a hard-boiled crime thriller this offers tidbits of interest and intrigue, plus the scenery is gorgeous, but it's bereft of intensity, fully-realized characters outside of Joseph & Shailene, and has too many moments of implausibility. There are enough story turns to keep a viewer engaged, but De Palma used to do this kind of thing with much more style and verve decades ago. **
Kinds of Kindness (2024)
kinds of all over the place...
The director of Poor Things is once again a madman behind the camera as he presents audiences with this eyebrow raising "triptych fable" chronicling three distinct stories: a married but unhappy man attempting to circumvent the preordained routine that is his life; a forlorn police officer gobsmacked by his wife's behavior when she abruptly returns from being lost at sea; a cleansed, cultist woman in search of a "chosen one" with unearthly abilities. A most unusual, unconventional anthology that's equal parts mind-bending, off-putting, frustrating, and absurd; for pretty obvious reasons this won't be everyone's cup of tea, but at least it's not boring and the cast does their best to play with a colorful assortment of characters. When it comes to his movies Lanthimos isn't the least bit bashful, though it is curious why he chose to dilute the overall impact by stretching this out for so long. **½
Twisters (2024)
achieves its goal but only does so much
28 years later moviegoers are pulled back into the suck zone for this see-through, standalone sequel. Trivial plot makes it easy to cut to the chase: a retired storm chaser who's settled into her role as a "city girl" must face her demons and then travel back to the portentous Oklahoman plains during a tornado outbreak. In the midst of it, she reluctantly partners up with a cocky YouTuber who's a self-proclaimed "tornado wrangler." Edgar-Jones and Powell are likable even without much to their characters, but seeing as it's a disaster movie they (and others) are primarily around just to be put in the line of fire. There's some action, destruction, sophisticated gimmicks and technobabble, and though the effects leave something to be desired, it's exciting in spurts to see people fleeing from swirling, CGI vortexes of terror. There isn't any deception here; the film does what it intendeds to, but any true sense of danger is lacking. **
Mulholland Dr. (2001)
much to appreciate but equally messy and maddening
A glimpse into Tinseltown's underbelly, as seen through a series of vignettes involving numerous sleazy types who come in and out of the picture to do disreputable things, but with the primary focus on a bright-eyed newbie and Hollywood hopeful who quietly breezes into town to stay in her aunt's apartment, but instead gets herself tangled up in a complex mystery while trying to help a sultry, enigmatic lady clueless about who she really is. Stellar cinematography and an excess of close-ups do induce a sort of visual hypnosis that make this surreal, startling, atmospheric, but it's also rambling, disjointed, and off-putting despite a great effort from Naomi Watts who turns in a translucent performance. Riveting about two-thirds of the way through, but prolonged and provocative without clear point or purpose for all the tawdry, twisty goings-on, with a final act that's bound to leave a bad taste in the mouths of many. The subject matter is open to various themes and interpretations, but if just meant to be a senseless exercise in neo-noir, then it should've beelined to the end instead of dragging on for two and a half hours. **½
Bad Boys: Ride or Die (2024)
the duo is no longer dynamic and should hang up their badges
Longtime, not to mention long in the tooth police partners Mike and Marcus ride together...they die together...and now are back in a superfluous sequel together. Mike is attempting to settle down, Marcus is trying to avoid stress, but that all goes out the window when their late superior officer Captain Howard is implicated to be in cahoots with a dangerous drug cartel. Naturally they feel inclined to preserve the posthumous legacy of their fellow policeman. Beyond good use of the Miami scenery, there isn't much going on here to justify this sequel's existence; it shoehorns in some major characters who aren't given anything substantial to do, with a stale plot that runs on autopilot featuring generic bad guys, uninspired action scenes (with disorienting camera work), and forced attempts at humor which continually flop. The results aren't funny or exciting despite how hard Martin and Will try to make it work, and attempts to recapture the magic of earlier movies only highlight how lame and unneeded this newest entry truly is...whatcha gonna do? Find something else to watch. *½
Coup de chance (2023)
well-acted, nice to look at, but doesn't provide much of a resolution
Bored young trophy wife Fanny is happily married (so she thinks) to soporific, possessive, but wealthy businessman Jean, her second husband who spoils her like a princess as they live the high life in uptown Paris. By chance she runs into old school friend Alain, a divorced writer who, by his own admission, has always carried a torch for her. Things begin innocently enough, but her eventual infidelity calls into question her fulfillment with Jean. The fiftieth yet first official foreign language film from Woody Allen has a storyline that's pretty basic, but slightly elevated by some interesting characters, a fresh-faced cast of French actors, and of course some wonderful scenery, but even with the shock value the finale still isn't very satisfying. **½
Bros (2022)
more commentary than comedy
Openly gay, emotionally unavailable, romantic cynic and New York City podcaster Bobby Lieber has some serious commitment issues, and is thus content to just settle for short-term hookups on dating apps. Bobby has to reassess his views on relationships when he meets Aaron Shepard who's hot, but similar to Bobby, has his own personal issues when it comes to the dating game and real commitment. One of the first LGBTQ romantic comedies takes plenty of digs at representation in mainstream Hollywood movies, sexual orientation, promiscuity, self-loathing, and homophobia, but minus one particularly memorable cameo, offers very little in the way of big laughs, charm, not to mention that Eichner's character, who presumably the audience is meant to root for, isn't especially likable. **
Small Time Crooks (2000)
features some enjoyable segments
Ennui dishwasher as well as bumbling career criminal Ray Winkler has been married to his wife Frenchy, a feisty manicurist, for twenty-five years. Fed up with just menial jobs, Ray gets a light bulb and recruits his cronies to pull off a bank robbery, but doing so will require Frenchy to front their scheme by running a cookie shop--which to their surprise turns into a huge success. Their social standing elevated from plebeian to nouveau riche, they now find themselves hobnobbing amongst the upper-class, but will that really be satisfactory for them? Opens with real snap and wit, and features colorful characters delivering some funny lines, but then takes quite a U-turn that slows the momentum and weighs down the plot. Ullman does make an ideal sparring partner for Allen though, and it's a good way to pass the time even if it works better in parts than as a whole. **½
You Will Meet a Tall Dark Stranger (2010)
with the big names involved it shouldn't be so forgettable
London-based seriocomedy focusing on a handful of characters and their dissatisfaction with their current lives. Helena, recently divorced after forty years, is a hot mess who always blames herself and seeks advice from a fortune teller in lieu of a psychiatrist; her ex-husband Alfie's become preoccupied with physical activity and health foods to maintain the longevity in his genes and takes up with a much younger minx named Charmaine; Helena and Alfie's daughter Sally is tenuously married to albatross Roy, a chauffeur and washed-up novelist who graduated from med school but struggles to earn a sizable income. Roy is tantalized by Dia, a beautiful musicologist who lives across the way, while Sally's eye is wandering toward Greg, her dapper new boss at the art gallery who's also married. Examines the niceties and ironies of relationships and life, but doesn't add up to anything memorable or provide a satisfying resolution to all of its overlapping storylines despite the caliber of talent found amongst its cast; too bad. **
The Sandlot (1993)
timeless tale with much to enjoy
1962 in the San Fernando Valley; a tight-knit group of misfit adolescent boys with an unbridled affinity for baseball accept the geeky new kid in town as part of their group just as spring concludes. The film chronicles an unforgettable summer where they square off with rival ball players, deal with a pubescent infatuation for the dishy pool lifeguard, but most importantly a major pickle involving an all-important baseball, a reputedly cross neighbor, and the fearsome, beastly canine adjacent to their playing field. Nostalgic, hyperbolized, and laugh-out-loud funny, this coming-of-age kids' fare has a plot that's about as simplistic as you can get, but with memorable lines, iconic scenes, a superb cast of youths, and a few recognizable adults on hand to lend it weight, its overall charm simply can't be denied. While aimed mostly at kids, the warmth and good-natured spirit give it suitable appeal to other age groups as well...you're killing me Smalls! ***
Irrational Man (2015)
doesn't amount to much, therefore a minor diversion among Allen's works
Bored by the meaninglessness of everyday existence, perpetual worrywart and radical philosophy professor Phoenix is newly hired to teach at a Rhode Island college beginning in the summer semester. Though an influential educator, he lives in a world all his own causing his unconventional methods to raise eyebrows amongst the faculty. Stone is a bright and desirable student under the spell of her current boyfriend, but has an affinity for lost souls which makes her fascinated by her original-thinking new teacher--despite a lot being very wrong with him. Overly talky, uneven, Dostoevsky-inspired story has elements of comedy and drama but doesn't really peak in either despite some good actors to work with, and has a major subplot that doesn't seem to belong in the movie. The entire thing feels prolonged, and it doesn't help that the use of narration isn't witty and thus seems unnecessary. **
Anything Else (2003)
anything else is right...
Maladroit, fledgling New York comedy writer and aspiring novelist Jerry Falk is a hopeless romantic jabroni who's afraid to sleep alone. Despite a vast age gap, he becomes fast friends with fellow Jewish artist and public school teacher David Dobel, an extremist who uses a lot of big words but whose advice is dubious, especially when it comes to Falk's flighty, doe-eyed actress girlfriend Amanda Chase; she's a self-absorbed, self-deprecating sexpot and head case for whom punctuality isn't a virtue. Their relationship is further strained when her Madame Bovary mother movies in with them. Hebetudinous, unromantic comedy isn't very sweet, features dispensable characters, and with all the tacky jokes about sex and antisemitism isn't that funny either. Ricci is grating, Biggs is tiresome, not to mention his talking directly into the camera gets old fast, and there isn't much else here to really entertain. *½
Gojira -1.0 (2023)
they need to make more like this one
As WW2 nears its end, sheepish young kamikaze pilot Lt. Shikishima lands at a naval detachment on Odo Island when a surly, gigantic lizard creature just happens to run rampant. The war over, he finds employment aboard a minesweeper cruising the Ogasawara Islands, but being at sea only puts him in the monstrous beast's line of fire once more. Knockout visual effects make this amazing to look at, big destructive set pieces with taut direction make it exciting to sit through, plus the well-rounded characters and an overarching theme of survivor's guilt make it more than just an empty-headed monster movie. Reportedly the film's budget wasn't extremely high, though you'd never know that after watching it, which questions the need for so many overpriced--and much less entertaining--big Hollywood productions. Forceful and episodic it runs a bit long, thus causing some of the tension to dissipate, but an impressive showing nonetheless. ***
Whatever Works (2009)
likable comedy where you don't need to like the main character
Larry David effectively channels the Woody persona in this edgy, funny NYC comedy. Boris Yellnikoff is a cynical, misanthropic divorcé and lifelong New Yorker who sees human beings as a failed species in the dog-eat-dog, pointless black chaos of the real world. He happens to meet unworldly but not unattractive young hobo Melody St. Ann Celestine from Mississippi who begins shacking up with him ad infinitum, and much to his surprise (or chagrin) this leads to a Pygmalion-type relationship between the two of them. David, playing a self-professed unlikable guy, fits the role of a bitter, bellyaching old grump to a tee with his deadpan delivery and biting remarks, and is especially good when breaking the fourth wall. Wood on the other hand is a zesty ray of sunshine whose heart and levity serves as a really good counterbalance to some of his more off-putting tendencies. Whether you find Boris appealing or not, he's unapologetic about who he is, does make you laugh a lot, and the film does have room for optimism despite any of the proclamations from its protagonist. ***
Melinda and Melinda (2004)
has some moments even if it doesn't succeed as a collective whole
While chitchatting over dinner, a group of writers converse over the true meaning of comedy and tragedy, then use a real story that one of them overheard as fodder to debate whether its apt material for the comedic or for the tragic. Both stories revolve around a troubled woman named Melinda Robicheaux: in the tragic version she's a distraught widow trying to get her life together and abruptly turns to one of her old high school friends (Sevigny) for solace; in the comic version she's the lonely downstairs neighbor of a struggling actor (Farrell) and aspiring filmmaker (Peet) whose marriage is on the decline. While the premise creates all sorts of possibilities, most of the bright spots are found in the comedy section which is more engaging, and thus making it an uneven overall showing. The cast is top-notch though, especially Mitchell who holds her own admirably in both segments. **½
The Lost Daughter (2021)
first-time director holds her own
Contrite, scholarly middle-aged woman and mother of two Leda Caruso takes a solo holiday to a remote Greek isle for some much needed me time. Once there she becomes familiar with the other island residents, some agreeable but most unruly, and soon her interactions with them cause her to ruminate over her life choices up to that point. Maggie Gyllenhaal, who also penned the screenplay adapted from the titular novel, is assured enough in her directorial debut to not spell everything out, but rather challenge the viewer to listen, pay attention, and react to each character dilemma, and finds a way to maintain interest though admittedly not all of the extreme close-ups feel necessary. It helps that she has a talent like Colman at her disposal who gives a fabulous performance that requires a full gamut of emotions, as well as Buckley who's also stellar depicting the younger version of Leda. A rarity where not a lot seems to happen, and yet much is actually happening at the same time. ***