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 probably a brilliant movie to be lensed using a stationary camera affixed on one single room of a house and chronicling what happens in that space on earth from prehistoric to pandemic times. Director/co-writer Robert Zemeckis hasn’t landed on the brilliant part of his cinematic science project. His Here (D+) is a filmed carousel of progress with some occasionally lovely compositions but an absolutely inert set of artificial storylines. It has the effect of an old vacation slide show presented by your most cringe-worthy relative. The nostalgic object lessons, told out of order in a taxonomy of themes, include vignettes of Native American rituals, Benjamin Franklin’s relatives, a crackpot inventor, a greatest generation couple, boomers delighting and struggling with modern family life (Tom Hanks and Robin Wright in various dreadful levels of de-aging effects) and the African-American family of the here and now. The only surprises along the journey are the effective use of pictures-in-picture delineated by rule lines, a late-breaking mirror effect and clever dissolves. Sometimes windows gracefully overlapping with the wilderness of bygone times or a novel show running on the family TV provide a welcome distraction from the human doldrums. The punishing pageant of various still lives accompanied by soaring Alan Silvestri music are comprised of such basic tropes that any moments of genuine drama are robbed of their gravitas. Latter stage Zemeckis films have been preoccupied with visual effects to the detriment of story, and this particular film finds little focus except for that omniscient camera in the same damn place the whole time. The film manages to be maddening and melodramatic when it was meant to be meaningful.
French filmmakers prove more artfully attuned to both the transgender experience and crime in the Mexican milieu than the product of billions of dollars of American political ad spending in a bold and brilliant subtitled melodrama paced, plotted and performed with the zest and scope of an opera. On the surface, Jacques Audiard’s Emilia Perez (A-) qualifies as a musical with piquant original songs contributed by Camille, a rousing original score by Clement Ducol and tight, cagey choreography by Damien Jalet, but the tone poem aesthetic echoes a fascinating central character study and crime adventure. The plot centers on a Mexican lawyer (a never better Zoe Saldana), who helps a vicious crime lord fake his own death and transition to life as the female title character (a fascinating Karla Sofia Gascon). A delightfully unhinged Selena Gomez portrays the widow who, several years later, believes Emilia is aunt rather than father to her two children. Meanwhile Perez embarks on a crusade to shed light on the disappearing victims of the country’s cartels. Audiard’s audacious work as writer/director, backed by Paul Guilhaume’s stunning cinematography and Juliette Welfling’s deft editing, creatively chronicles the journey of the story’s trio of remarkable women. Saldana and Gascon in particular are riveting and empathetic in authentic pursuit of their lives’ calling, and Gomez sneaks up in the final reel with some genuine scene-stealing too. Anthony Vaccarello of fashion house Yves Saint Laurent designed costumes for the film, impeccable in all manners of craft. This import is distributed by Netflix, but be advised it is best enjoyed without distraction on the epic canvas of a big screen.
The behind-closed-doors election of a new pope plays out like a whodunit in Edward Berger’s superb drama Conclave (A-). Cardinal Lawrence (Ralph Fiennes), tasked with facilitating this secretive and ancient event and surrounded by powerful religious leaders from around the world in the halls of the Vatican, uncovers a series of deep secrets that could threaten the very foundation of the Roman Catholic Church. Stanley Tucci plays one of the most progressive papal candidates and Sergio Castellitto one of his most conservative rivals in a well curated ensemble of wonderful actors. Fiennes carries much of the weight of the dramatic narrative on his shoulders and is quite impressive in the lead role. Berger stages the story in orderly and disciplined fashion, allowing twists to naturally reveal themselves. He explores the nuances of human judgment without resorting to sensationalism or sentiment; it’s an intriguing story well told. This film is likely to have significant continued resonance with motivations and messages sure to ring true any time new power structures are sorting themselves out.
In the noble pursuit of elevating the dignity of workers in an often dehumanized profession, a talented writer/editor/director often loses his way in creating a captivating narrative. Sean Baker’s Anora (C+) starts and ends strong, beginning with you-are-there bravado in a NYC nightclub where we meet exotic dancer Anora “Ani” Mikheeva played by Mikey Madison and watch her hold court over a VIP backroom where she meets man-child Ivan “Vanya” Zakharov (Mark Eydelshteyn), frivolous son of a Russian oligarch who strikes a bargain with the private dancer to spend time with her outside of the club. But this is a fractured fable take on the “stripper with a heart of gold” trope: Ani certainly buys into aspects of the fantasy – Brighton Beach mansion, designer drugs, bountiful bling and more – while being fiercely defiant of forces encroaching on her newfound relationship. Much of the film focuses on existential threats swooping in to split up the central duo, and these series of episodes are increasingly tedious and unrewarding. Despite often strong acting by Madison, her title character actually wears out her welcome and becomes shrill in the subplots. Karren Katagulian gets a thankless role as an Orthodox priest and Vanya’s godfather charged with protecting him from his own impulses. Yura Borisov gets a few good moments as a seemingly sympathetic Russian henchman. The film’s pursuit of truth in storytelling is often swapped for jaunty jet-setting and messy mayhem, even if Baker largely sticks the landing.
There’s almost always that one person on a foreign travel excursion known for perpetually making the whole group late, constantly questioning the order of things and generally eclipsing the far-flung location with sheer force of personality. Kieran Culkin marvelously portrays such A Real Pain (B+) as one half of odd couple cousins abroad, opposite Jesse Eisenberg, who also wrote and directed the film. The gents’ mutual destination is Poland, where they trace Jewish family roots and trade barbs in an unlikely comedy set amidst a terrain of trauma. Culkin is a fabulous scene-stealer, full of bluster and usually brandishing a blunt, and Eisenberg holds his own as the uptight nebbish admiring and abhorring him in equal measure. In minor roles backing up this two-hander travelogue, Will Sharpe is solid as the group’s tour guide, and Jennifer Grey is delightful if a bit underused as an intriguing fellow traveler. In his mode as filmmaker, Eisenberg exerts incredible discipline telling the story of mismatched men on a mission while chronicling a concurrent commentary about the wry observations of traveling to painful places. Despite the novelty of most of the dramatic interactions, there is still an aching notion the film could have plumbed even deeper themes. In this artful production, subtle sentiment and amusing interactions go with the territory.
In a season of crazy conspiracies, extended delirious dancing and popular public figures melting under spotlights and scrutiny (describing not just the current political race but recent plots of Trap andThe Substance), Parker Finn’s Smile 2 (B-) mostly delivers on its gonzo premise: that life as a global music icon is akin to enduring a perpetual horror movie. All eyes are on expressive actress Naomi Scott whose central pop princess character embodies all the requisite tropes: a raving fanbase, a beloved songbook, rumors, scandal, addiction, exhaustion and the company of a questionable squad from before the fame era. Finn as writer/director poses the question: What if those crazed demonic grinning faces popularized in his surprise 2022 hit film were just par for the world tour? In the age of the trauma narrative, why can’t the final girl victim simply be tortured for most of the film’s running time? And stage moms, crazed fans, paparazzi, even product placements are all the glaring, encroaching objets de terreur. It’s all overwhelming enough to make a mere mortal feel more comfortably numb than Pink Floyd in a hotel room adorned with lots of glass coffee tables. Revisiting this franchise’s formula meant re-imagining it, and Finn’s candid camera captures an ornate and jump scare filled glam paradise. After an awesome cold open set far from the neon lights, the film’s biggest surprise is there frankly aren’t many. With full “who’s afraid of little old me” gusto, Naomi Scott magnificently chews the scenery of life on the wicked stage and conjures myriad ways to generate poses of sheer fright. Scott bears the film’s repetitive burden on her shoulders and makes it all look good in lavish costumes and with pretty authentic songs. Only some of it is actually scary. It’s all highly watchable but could have used judicious edits to be a bit more, well, swift. Still, in a world of recent auteurs adding song and dance to supercharge their fever dream sequels, Finn hits most of his marks.
Ah, to be young, gifted, Black and a Lego! Director Morgan Neville’s remarkable stop-motion animated documentary Piece by Piece (B) chronicles the life and career of contemporary musician Pharrell Williams through the kaleidoscopic lens of swirling brick building blocks, with many African-American mini-figurines and whimsical instruments developed specifically for the movie. A singular display of synesthesia as the young trucker hat clad creator imagines beats and compositions coming to life in vivid colors and shapes, the story transports viewers from Virginia Beach garage band grassroots of our hero’s bands The Neptunes and N.E.R.D. to his heights of hit-making for the likes of Gwen Stefani, Kendrick Lamar, Justin Timberlake, Busta Rhymes, Jay-Z, Britney Spears, Snoop Dogg and more, not to mention his own iconic anthem “Happy.” The voice cast is stacked. In this unconventional autobiography, Williams is frontin’ faith, falsetto, future centricity and ferocity of imagination while conjuring soundscapes as both performer and producer. The subject finds himself carried away and getting comeuppance, enjoying jokey interludes and participating in solemn episodes of protest and unrest. Undoubtedly the adventurous animation brings the mystical melody and milkshake to the fanboys and girls in the yard, but the film too often skims the plastic surface, glossing over serious moments with mayhem and montage; and Pharrell’s five ho-hum original songs don’t add much to his already catchy catalogue. In terms of its visual palette, however, the movie is a Lego liquid rush of dreamers and drumlines, of freestylin’ and freewheeling creativity, transporting viewers to churches and cookouts, to studios and open seas, like a soulful Saint-Exupery expedition. The Lego aesthetic veers into a variety of textures: mock archival footage, behind the scenes segments, even rap videos and international travelogues with subtitles. The filmmakers’ purity of spirit and uplift and the sheer gorgeousness of the movie’s craft possess the artisan majesty of a picture book brought to life. The movie’s manner and style belie its subject’s seriousness; some will be tempted to drop it like it’s not for them. But this clever deconstruction of both a modern genius and the documentary form showcasing his life and times is undoubtedly Leg-it: a bountiful brick and block party capable of inspiring the next wunderkind of humble origins to dream big.
Trying out different environments for size, two longtime buddies contemplate changes afoot in their lives while embarking on a revelatory journey. Josh Greenbaum’s meditative documentary Will & Harper (A) traces a 17-day westbound road trip across America via station wagon with friends comic actor Will Ferrell and Harper Steele, a 61-year-old comic writer transitioning from male to female. Thoughtful questions, thorny run-ins, poignant discussions and witty encounters mark this life-affirming chronicle as Harper tells her goofy pal no question is off limits. Scored to a jukebox of great needle drops by the likes of Simon & Garfunkel and Bon Iver with some “Wagon Wheel” and “Luck Be a Lady” tossed in for good measure, the film contemplates the notion of living lonely versus living authentically out in the world. Joyful adventures abound, ranging from riding hot air balloons over Albuquerque to standing on the edge of the Grand Canyon and the Mighty Mississippi. Acceptance comes in unexpected biker bars, just as a restaurant stopover results in a cascade of mean tweets. Ferrell, known for doing whatever it takes for comedy, tones it down to put his friend on a pedestal (several moments overwhelm him) and assembles some of their well-known Saturday Night Live collaborators for some bright cameos. The movie makes an important statement about friendship and acceptance without ever being preachy or treacly. It’s a beauty of a film.
The debate over box office tally size may be a non-starter as a buzzed-about biopic won’t likely recruit many butts onto its golden seats. An unflattering origin story preceding modern times of the 45th presidency of the United States, Ali Abbasi’s The Apprentice (C) stars Sebastian Stan as Donald Trump and traces his ascendant real estate career and moral ambiguities in New York in the 1970s and 1980s. Maria Bakalova appears as his wife Ivana, but that’s not really much of a focus; instead the film centers around Trump’s synergy with notorious lawyer Roy Cohn, played by Jeremy Strong. Both Stan and Strong are solid in their roles, and the imprinting of guiding principles about the importance of winning and the loose definition of truth make for an interesting exchange; but the film is heavy handed and provides few insights surprising to anyone who even slightly follows politics. Stan has the moves and mannerisms down like a champ for his portrait of a con artist as a young man. The movie wants to be like an Omen prequel but gives off “movie of the week” vibes with a little bit of language and nudity thrown in to make it edgier. It’s a film with neither the rage about the polarizing politician nor an effective character study about the men in full. The film gives both Cohn and Trump short shrift given the oversized drama of their real ambitions and back stories. Despite relatively competent filmmaking, this movie that looks to factor “bigly” into mass consciousness doesn’t measure up to much.
One of the best animated features ever committed to film, The Wild Robot (A+), written and directed by Chris Sanders based on a book series by Peter Brown, is a glorious must-see movie on the theme that kindness is a survival skill. Sure it has requisite robot chases and cute talking animals to please a full spectrum of family members, but this heartwarming parable will also leave you motivated and possibly deeply moved about what can be achieved when society comes together for the common good. It’s also a testament to “being more than you’re programmed for” in terms of acting with instincts of integrity. The story centers on Roz (voice of Lupita Nyong’o), a robot shipwrecked on an uninhabited island, who goes rogue and builds relationships with local wildlife and becomes the adoptive mother of an orphaned goose, Brightbill (Kit Connor). The film deftly handles the robot’s adaptation and translation of language so she can communicate with the likes of Pedro Pascal, Catherine O’Hara and Ving Rhames as a wily fox, protective opossum and sage falcon, respectively. The film is a full-throttled beastly feast of expressive characters and expansive wilderness landscapes resembling paintings, thanks to production designer Raymond Zibach. It features a propulsive narrative against the backdrop of a memorable score by Kris Bowers and two soaring songs by Maren Morris. The film’s themes and touching tone are deeply resonant, so bring tissues as many of the sensitive sequences may prompt a watercooler waterworks, especially for parents. The voice ensemble is full of talented actors who drop great wisdom throughout the tale. It’s reassuring to see an animated movie in which all elements excel, and it surely will take its place in the pantheon of the year’s very best films.
Director Todd Phillips had a very novel approach for his 2019 take on the Joker character embodied by Joaquin Phoenix in an acclaimed, unhinged performance of the title role with Gotham City inhabitants in a “mean streets” milieu. Filmmaker Phillips and his star Phoenix return for the sequel, and although it has some flickers of inspiration and takes a big swing by being a hybrid courtroom drama in the form of a golden age musical, Joker: Folie a Deux (D) is an unmitigated disaster in execution. In an asylum while awaiting trial for a half dozen murders, Arthur Fleck/Joker meets a kindred spirit played by Lady Gaga, and a bad romance ensues, complete with real and imagined production numbers of showtunes such as “Get Happy,” “If My Friends Could See Me Now” and “That’s Entertainment!” About one and a half of the musical numbers actually work, but with Joaquin croaking out a rocker voice and Gaga sing-whispering with little gusto to blend in duets, it’s not a pretty soundscape. I love musicals and cringed each time a song started. It’s mostly like a broken record. The film is all over the map in terms of tone and doesn’t clearly articulate its thesis if there is one. It is dull, drab and a chore to watch. Goodwill related to the first film’s originality is undercut with this debacle of a follow-up.
Attracting moviegoers to the in-theatre experience is re-invigorating techniques which would make classic movie impresario William Castle proud!
A24, in partnership with Joya Studio, has announced multi-sensory experience screenings of Heretic, exclusively at Alamo Drafthouse theaters nationwide for one-night-only October 30, 2024. This unique experience will fully immerse audiences in the cinematic journey by activating their sense of smell. A highlight of the film features the delightful aroma of blueberry pie, inviting viewers to savor the scent wafting through the theater during this moment in the film. Fans can also look out for exclusive treats and scratch-and-sniff cards at all other advanced screenings of Heretic nationwide on October 30, allowing them to actively participate in the experience and enjoy the aroma during this pivotal scene.
The film Heretic follows two young missionaries played by Sophie Thatcher and Chloe East who are forced to prove their faith when they knock on the wrong door and are greeted by a diabolical Mr. Reed, played against type by Hugh Grant, becoming ensnared in his deadly game of cat-and-mouse. Heretic hits theaters nationwide November 8.
A24 X Joya Studio genre-themed candles ranging from romcom to western
Joya Studio, known for innovative candles and fragrances, has long been a collaborator with A24. Joya produced an innovative line of genre-themed candles as well as products inspired by the Best Picture-winning film Everything Everywhere All At Once. Joya’s atomization technology is a refined scent experience suiting any space or mood, employing cold-air diffusion to disperse scented molecules as fine, dry air — without the use of heat, water, alcohol or petrochemical-based solvents — creating a safe, eco-friendly and consistent experience. This is the purest possible expression, preserving not only the scent’s aesthetic integrity but also its therapeutic properties.
According to Heretic co-directors Scott Beck and Bryan Woods, “The blueberry pie is activated by Hugh Grant’s Mr. Reed as a metaphor for blind faith and a disturbing reminder to question everything. When we first heard A24’s bold idea to resurrect the multi-sensory experience to underline this crucial sequence, it made us howl with laughter. We’re so excited that audiences have this unique opportunity to be immersed in the world of the film.”
Frederick Bouchardy, founder of Joya Studio, adds he was “fully fired up” the moment he heard about this initiative. “We have enjoyed the collaboration with A24 for years, challenged our own vision with respect to scent design and R&D — always kept this element of humor involved, which I think is really missing from the fragrance world by and large. Every creation at Joya Studio reflects my personal belief in activating the senses, our aliveness. I happen to know that ‘blueberry pie’ translates beautifully in scent, believing we could and would create something at once sophisticated, mouth-watering, uncanny and funny.”
This new movie tie-in stands on the giants of many legendary uses of olfactory gimmicks offered in movie theatres dating back to the late ’50s when exhibitors were looking for a way to lure those smitten with new television contraptions to return to the glory of communal moviegoing.
Leveraging the sense of smell in cinema began with Smell-O-Vision, a system that released odor during the projection of a film via vials connected via tubes to theatre seats so viewers could physically smell what was happening in the movie. Created by Mike Todd Jr. and Hans Laube, the technique triggered by a film soundtrack and previewed at the 1939 New York World’s Fair, made its only theatrical appearance in the 1960 film Scent of Mystery with a notorious tobacco scent at a critical moment.
An alternate process, AromaRama, invented by Charles Weiss, emitted scents through the air-conditioning system of a theater for the film Behind the Great Wall, which opened a mere month before Scent in December 1959. More than 70 different aromas ranging from fireworks to restaurants to horses to spices were injected into the theater during the film. Competition between these two scent-laden films was dubbed by Variety Magazine as “the battle of the smellies.”
The Odorama card from Polyester
In homage to these classic techniques, John Waters released an enhanced “Odorama” version of his 1981 film Polyester including scratch and sniff cards with ten numbered spots audiences could follow along with while watching the movie, with corresponding numbers flashing on the bottom of the screen to prompt a next waft.
The RugratsGo Wild scratch and sniff card
The 2003 animated film Rugrats Go Wild, the 2010 Norwegian film Kurt Josef Wagle and The Legend of the Fjord Witch and 2011’s family comedy Spy Kids: All the Time in the World also included scent cards distributed to moviegoers accompanying numbers on screen to unlock sequential scents. The latter was advertised as “4D Aroma-Scope.”
The Spy Kids 4 scratch and sniff card
Disney has used technologies evocative of classic inventions in U.S. theme park attractions including It’s Tough to Be a Bug!, Mickey’s Philharmagic, Horizons and Monsters, Inc.: Mike & Sully to the Rescue.
The Soarin’ Over California and Soarin’ Around the World films at Disneyland and Walt Disney World respectively inject fragrances into their vast auditoriums including orange and cherry blossoms, pine forests, grass and sea air as motion simulated scenery flies on a big screen below the passengers riding on faux hang gliders.
In 2006, Japanese telecom company NTT Communications developed a scent technique for Terrence Malick’s The New World. During seven key moments in the film, scents were emitted by an internet server linked to the film reel, downloading fragrances including floral scents for romantic sequences; peppermint and rosemary smells for tear-jerking moments; orange and grapefruit effects for scenes of joy; and the essence of eucalyptus, tea tree and herbs for sequences featuring angry characters and actions.
Regal Cinemas’ 18 theatres with “4DX” technology installed incorporate strong smells into the movie experience along with motion enabled chairs, fog and water and air to simulate wind and rain for movies such as Twisters. Scents are also included along with haptic sensations in Darren Aronofsky’s 2023 4D nature filmPostcard from Earth, playing exclusively at The Sphere in Las Vegas. This year a company Olorama has also introduced a scent device for the home to accompany films.
A24’s Heretic arrives in immersive form exclusively at Alamo Drafthouse theaters nationwide for one-night-only October 30, 2024. The film opens wide throughout the U.S. November 8.
