I've reviewed films for more than 35 years. Current movie reviews of new theatrical releases and streaming films are added weekly to the Silver Screen Capture movie news site. Many capsule critiques originally appeared in expanded form in my syndicated Lights Camera Reaction column.
There’s a film history of deadly horrors in hospitals, where scalpels to the neck and syringes to the temple are among the go-to medical murder weapons, but a real-life sick bay slayer committed crimes with a much more understated approach. An engrossing drama with hints of a suspense thriller, Tobias Lindholm’s The Good Nurse (B) is wonderfully acted by Jessica Chastain and Eddie Redmayne as two professional caregivers embroiled in a crime scene. Chastain plays an overworked single mom who is working the ward round the clock and counting down to her one-year mark of employment to qualify for health insurance to beat a secret pesky heart palpitation issue, a convenient plot point for a character primed for stressful sequences. She’s marvelous and relatable in the protagonist role. Redmayne is wonderful too as an often endearing character who clearly harbors issues under the surface. His simmering cauldron of an acting approach is a deft balance and consistently absorbing to watch. Nnamdi Asomugha and Kim Dickens are additional standouts in the ensemble as a police investigator and risk manager, respectively, demonstrating the frustrating boxes of the corporate medicine machine when patient care goes wrong. The film’s formula feels familiar, but Lindholm elevates the proceedings with creepy true-life conventions and by orchestrating high pedigree acting. His film is highly watchable as his primary characters get in your bloodstream.
The leviathan feats of surviving Marine boot camp or trying to change the mind of a stubbornly homophobic mother both get an “inspired by true events” treatment in Elegance Bratton’s 2005-set The Inspection (B-). Jeremy Pope plays a gay man who has been battling life on the urban streets since teenage estrangement from his mom (a memorable Gabrielle Union against type), so signing up for a punishing 13 weeks in Parris Island basic training is a desperate attempt to finally be a hero. Pope is the revelation here, bringing tremendous empathy to the central performance, who is a misfit times three in his strange new environment. Bratton’s film, while gorgeously shot and often deeply felt since it was based on some of his own story, tends to feel a bit like Full Metal Jacket meets Moonlight, with many story elements done much better before. Raúl Castillo is intriguing as one of the good guys; there are others who feel a bit like stock characters. Ultimately it’s absorbing in some unexpected ways even though much of the terrain has been trod before.
The title of Ruben Östlund’s Triangle of Sadness (C) refers to the fleshy polygon between one’s brows where expressed emotions unfurl on the faces of the “have nots” or stoic unwrinkled beauty is showcased among the Botoxed. Despite intriguing milieus for his human animals to act out their heightened histrionics, Östlund keeps a satirical distance from his mostly unpleasant ensemble. Much of the action takes place aboard a luxury yacht, with the most recognizable actor Woody Harrelson amusing in a glorified cameo as the lackadaisical captain. Harris Dickinson and the late Charlbi Dean play insufferable models on an influencer trip; they and most of the characters have very little to add to society aside from wealth or beauty. Dolly de Leon is wonderfully droll and dry as an emerging character who may be onto their ruse. The comedy is broad but regretfully redundant. The director knows his targets are obvious, and he literally drops grenades and gross-outs with gleeful anarchy to his wishy washy tale almost destined to polarize. The message in his bonkers bottle is pretty clear early, and it feels like the injections of his thesis treatment come in too many doses.
Premiered at Toronto International Film Festival, Streams and plays in limited theatres November 4 on Apple TV+.
Jennifer Lawrence and Brian Tyree Henry are the marvelous acting partners you didn’t know you needed headlining Lila Neugebauer’s debut film, the psychological drama Causeway (B). Lawrence is raw, effective and enchanting as a wounded veteran who reluctantly returns to her hometown of New Orleans where she befriends a similarly broken mechanic played with compelling and sometimes comic, nervy charm by Henry. As the soldier rehabilitates from her trauma and learns to feel again, her new bond of friendship helps reshape her worldview. Like other character study duets – Once and Leaving Las Vegas come to mind – there’s poignancy in the quiet observational moments and superb connection between actors giving their all to lived-in performances. The director creates renewal below sea level in her frequent water allusions, and viewers will feel like they are swimming in talent. The narrative could have used a bit more momentum at times, but fans of intimate stories and indelible characters will find this one quite rewarding.
A tribute to the all-encompassing possibilities of a mother’s love, Chinonye Chukwu’s true story Till (B) is as much the journey of Mamie Till Mobley, splendidly played by Danielle Deadwyler, as that of her son Emmett Till, endearingly portrayed by Jalyn Hall. The film transcends many historical nonfiction conventions on the strength of Deadwyler’s brilliant embodiment of a woman experiencing hopelessness and empowerment in the wake of overpowering tragedy. Chukwu creates a handsome mid-1950s production design and a contemplative and convincing story with strong ensemble work across the board. Several narrative threads and characters could have used some fine tuning, but the overall effect is moving and motivational. Deadwyler is an undeniable discovery for those who may not know her as a household name in the movies, and she has contributed mightily to this gripping and emotional tale.
Students craving the entry point to become a production assistant on a movie set or secure jobs throughout the booming film, television and gaming industry in Georgia — plus aficionados of all ages seeking continuing education about our state’s thriving content businesses — have a central way to sign up and get started learning the trade: The Georgia Film Academy.
Enrollment is open for upcoming classes via the academy’s website. GFA maintains relationships with dozens of institutions of higher learning, so those who participate in classes can get credit toward their degrees as well as toward GFA certification.
The GFA faculty includes industry veterans such as Clyde E. Bryan who worked on projects ranging from Back to the Future to Ozark. Plus the classes sometimes feature special guests.
Getting into the spirit with Francis Ford Coppola in a GFA class
Director Francis Ford Coppola, the man behind American classics such as The Godfather saga, Apocalypse Now, The Outsiders, Youth Without Youth and Bram Stoker’s Dracula lauded the accomplishments of rising filmmaking talent at a recent visit to a Georgia Film Academy classroom, accompanied by Ellie Dean, one of his own filmmaking apprentices.
“All of you have a gift,” Coppola told the class of GFA students in an inspiring Q&A. “And it’s not always the gift you expect!”
The director says he often asks the young people on the set for insights and fresh perspectives. “A great film experience gives me permission to visit a world I never would have known anything about,” he added.
This video, recently developed with some of the successful students who have taken part in GFA courses, further showcases students in action. Check it out and consider sharing with those in your life who may want to get involved in this growing industry.
Staging just the right lighting
Since the Georgia Film Academy began operations in 2015, economic activity generated by the film industry in Georgia continues to rise at exponential levels. The Georgia Department of Economic Development (GDEcD) announced that, during fiscal year 2021, the film and television industry set a new record with $4 billion in direct spending on productions in the state.
The Georgia Film Academy’s efforts in building a professional workforce able to meet increased production demand is widely regarded to be a primary driver in this sudden and dramatic rise in economic impact on the state. The GFA is widely recognized by the Motion Picture Association of America (MPAA), labor unions, and numerous competing states and countries as “the gold standard” in film and television production workforce training.
The GFA offers industry certifications in Film & Television Production, Post-Production, Digital Entertainment, Esports & Game Development, and helps institutions to develop curriculum and training directly aligned to the high-demand careers that exist in the state. In partnership with IATSE 479 and major film and television production and digital entertainment companies like Disney, Netflix, HBO, Skillshot Media, Axis Replay, and others, professionally-qualified instructors, equipment, and training facilities prepare learners to be assets to the industry following completion of GFA’s certification. Furthermore, with GFA’s unique-in-the-nation internship/apprentice program, students have the opportunity to go straight to work in these industries, which offers a paid, once-in-a-lifetime experience.
Bulking up has clearly served Dwayne Johnson well, but his new entry into the DC Extended Universe, Jaume Collet-Serra’s Black Adam (C+), is weighed down by repetitive effects, extraneous characters and an overly engineered storyline. There’s plenty of good stuff in the mix including spurts of effective action, but the film rarely transcends its trek into the soggy slog. Johnson is sufficiently slick as a stoic Terminator-type character exhumed from a bygone era, and Aldis Hodge brings delightful brawn and braggadocio to his heroic winged foil tasked with keeping the title character’s powers in check. Bodhi Sabongui is strong as a surprisingly likable young supervillain whisperer, and Noah Centimeo should have been given more to do because his awkward shape shifting character is amusing. Despite some good elements, though, the film’s rarely achieves a fresh or fierce enough tone to make it stand out as an amazing entry in DC’s uneven cinematic pantheon.
Reports of the death of the multiplex romantic comedy have been greatly exaggerated, with Ol Parker’s Ticket to Paradise (B) a prime example of a frothy frolic gracefully executed. This formulaic film is a semisweet bonbon set in the sumptuous getaway environment of Bali with gorgeous central duo Julia Roberts and George Clooney as embittered divorcees trying to sabotage their daughter’s quickie wedding and possibly rekindling their own flame. These classic marquee stars are undoubtedly the draw, and they are largely a delight balancing bickering with charm. They are magnetic and magnanimous in spreading their glee, although no one will mistake their acid-tongued repartee for the lost work of Billy Wilder. Kaitlyn Dever is a little stiff in an underwritten part as the couple’s love struck offspring, although Maxime Bouttier as her solemn betrothed and Billie Lourd as her loopy best friend are game in supporting roles. There’s a good deal more rom than com afoot in this enterprise, but it’s hard to argue with the escapist thrill of these actors re-meeting cute in tropical splendor.
You’ll think twice accepting the invitation of a couple met on vacation offering to host your next holiday at their home after watching Christian Tafdrup’s unsettling suspense thriller Speak No Evil (B+). This is icy social satire of the highest order on a slow slide to all-out horror, filmed mostly in English with some sequences in Danish and Dutch, although nobody’s tourism bureau is likely to claim this prickly cautionary tale. The story showcases ways we dole out small compromises to accommodate and keep the peace with folks we don’t know all that well. Morten Burian and Fedja Van Huêt make the biggest impressions as two men with opposite approaches to nearly everything in life, which makes for a cauldron of conflict. Sidsel Siem Koch is also magnificent as the mom who’s a canary in the coal mine; the shock in her eyes based on different parenting approaches portends even more horrifying chasms. There’s very effective, absorbing drama here and hardly a false move, although the final act wraps a little too terrifyingly tidy. Fans of tightly wound, misanthropic movies will get their fix on this one.
Subverting expectations for viewers who simply wanted a Michael Myers versus Laurie Strode showdown, director David Gordon Green completes his contemporary “H40” trilogy with equal parts dim wit and sequences dimly lit. Halloween Ends (C) is as shaggy as its nobody-asked-for-him new lead character (a game but underserved Rohan Campbell) giving Lost Boys vibes atop a motorcycle, lured into nocturnal darkness by what may be The Shape under a bridge ready to fully phantom menace a fresh faced friend into a co-conspiratorial baddie. Jamie Lee Curtis is here too, of course, and she’s a delight, but the story’s awkward flash forward defies credulity, leaving her spiritually stranded as she and her granddaughter played by Andi Matichak fend off their own harvest season demons. Following the effective 2018 reboot of a direct sequel to the chilling 1978 original and a misbegotten 2021 continuation, this 2022 installment seems to be going full Season of the Witch (i.e. what in terrifying tarnation does any of this have to do with anything?) for most of its duration before it finally gets to the mincemeat of the matter. There are guilty pleasures amidst the stab bag: namely, some outrageous supporting characters and extremely awkward subplots. But despite slick production values, stunts and slayings, this finale barely sticks the landing. Among the junky jump scares and clunky split-cuts is a film that doesn’t deliver on scares or pathos in acceptable doses. It’s a Mary Jane candy of an occasion, petrified on the exterior and only mildly satisfying once you take the bite.
Lydia Tár, exquisitely portrayed by Cate Blanchett, is a fictional female maestro of a major German orchestra, but a series of challenges threaten to derail the composer/conductor’s unfettered authority over both her craft and reputation in Todd Field’s fascinating psychological drama TÁR (B+). Field paints on an intimate and exacting canvas with occasional shades of bitter dark comedy, tackling contemporary topics about gender roles, cancel culture and the curation of one’s personal narrative. Blanchett builds a complex character, and it’s clear the music pulsing through her soul is as second nature for her as the English, German and conductor’s wand she wields, sometimes in the same breath or continuous shot. Opposite exquisite co-stars such as Noémie Merlant and Nina Hoss, she creates an icy and indelible character, fascinating on or off the podium. The unconventional soundscape by Hildur Guðnadóttir adds to the film’s off-kilter grandeur, buoying an absorbing character study and morality tale and marked by handsome production design. Once viewers get past a tinge of pretension, it’s all rather more delicious than expected. Field’s patient, singular vision including his keen writing and crisp direction is vital to creating the epic and essential space for Blanchett’s command performance.
Now playing in select theatres from 20th Century Studios.
For much of its running time, David O. Russell’s noxious Dutch oven of a comic mystery, Amsterdam (C-), maintains a whiff of silent, violent and relatively mild stakes. The characters, barely whispering dialogue through most of the opening sequences, partake in an insular, circuitous series of events; with the slight story concluding a little better than expected. There are isolated moments of enjoyment amidst the ‘30s set sepia tone antics, but it’s all much less than the sum of its parts. The central acting trio – Christian Bale, Margot Robbie and John David Washington – witness a murder, become suspects themselves and uncover hints of an American underbelly. Only Bale truly dazzles as an eccentric and jovial doctor and WWI veteran; many other talented performers in the sprawling ensemble seem quite lost. For every quirky Rami Malek, there’s a boring Robert De Niro. Russell’s piquant wit and themes get away from him, and the labyrinthine plot runs out of steam quickly. Self-conscious narration and awkward flashbacks further sabotage the story. Undoubtedly this will go down as folly.
