Category Archives: 2022

2022, Rent It Tonight

“Top Gun: Maverick” Exceeds the Storytelling Success of Iconic Original

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Brace your favorite wing-mates for some breathtaking ground-hugging film flights in Joseph Kosinski’s precision-guided Top Gun: Maverick (A-). The long-awaited sequel works as both a nifty nostalgia trip and also as a fully developed story in its own right, with vivid visual and emotional appeal. Set nearly four decades after the original film, this follow-up traces the arc of Tom Cruise’s Pete “Maverick” as he returns to the U.S. Navy Strike Fighter Tactics Instructor program, where the brash captain must confront his past as he trains a group of younger fighter pilots, among them the son of his deceased best friend Goose. The movie is emotionally grounded with fine performances by the fully-committed Cruise, a tormented Miles Teller, an appealing Jennifer Connelly and a charismatic Glen Powell. The film soars most in its action sequences with spectacularly rendered flight maneuvers, aerial dogfights and surprise stunts deepening the adventure elements. More than the original movie, this follow-up is buoyed by clear-eyed storytelling with less reliance on catchphrases, montages and stylistic cover-ups to a sometimes simplistic core. It builds on the franchise’s might and mythology and further cements Cruise’s power as the stuff of legend. A little overstuffed with underdeveloped characters, the film still hits its dramatic beats with dexterity. As far as Hollywood blockbusters go, viewers will be hard-pressed to find a more cohesive combination of high-flying and heart. 

2022

Creepy Horror Movie “Men” Gets Lost in its Themes, Overestimates Audience Interest in its Actors

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In theatres.

It’s possible for an elevated horror film to be so contemplative that it floats right above rational headspace. Alex Garland’s ambitious but only partially successful Men (C+) centers on Jessie Buckley as a widowed London woman who goes on a solo holiday in the English countryside but becomes disturbed by the men in the community. There’s sledgehammer allegory aplenty (sometimes as obvious as a big bite from the fruit of the courtyard apple tree) but ultimately lots of Garland’s creative visual flourishes including some “body horror” conceits haven’t been seen before. Viewers will soon know and appreciate why ensemble player Rory Kinnear is creepy menace personified. The film’s standout star though is Buckley, fresh off an Oscar nomination, who communicates bravery and dread in both plausible and outlandish parts of the story. Garland’s vision mostly exceeds his grasp in this outing, but he brings genuine characterization and suspense to the first two acts before the plot gets more toxic and off the rails than anyone expected.

2022, Rent It Tonight

“Chip ‘N Dale Rescue Rangers” is a Nostalgic Live Action/Animated Film Now on Disney+

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Now on Disney+ streaming service.

It’s “who framed ribald rodents” as a slew of Hollywood’s top comics provide an often uproarious tribute to the cartoons of their youth in a new Disney+ live-action/animated action comedy film. Akiva Schaffer’s Chip ‘n Dale: Rescue Rangers (B) is a throwback thrill with funny friends John Mulaney and Andy Samberg as the odd couple Disney duo most prominently featured in a ‘90s TV adventure. The movie is chock-full of unexpected cameos as the estranged pint-sized pair reunites three decades after their heyday to solve a co-star’s disappearance in a human and toon filled modern L.A. From the central conceit that one of the hand-drawn chipmunks has received a CGI glow-up to a hilarious sin city of animated bootleggers, the film throws inspired madcap mayhem at every corner. It’s a dad joke paradise with animated Will Arnett getting in the action as a child actor turned villainous adult and Keegan-Michael Key as part of a Muppet-inspired crime syndicate. Alas the film short shrifts both KiKi Layne as the perfunctory human character, a fangirl policewoman, and the west coast metropolis itself, which could have provided some cleverer sites for high-profile gags. The film’s novelty runs out a bit in the final act, but it’s hard to fault a film so crammed with such singular hilarity and homage. This film is fun for all ages with nuttiness and cheekiness galore.

2022

A Murky Marvel Turkey: “Doctor Strange in the Multiverse of Madness”

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Now playing in theatres.

The logline for Marvel’s latest film probably wasn’t “Watch vast numbers of various versions of an underwritten sorcerer character move through time and space to stop a fellow spell caster from doing infinitely uninteresting things,” but if that were the pitch, the filmmakers nailed it. Alas Sam Raimi’s Doctor Strange in the Multiverse of Madness (D+) feels like a contractual dirge in every way, from Benedict Cumberbatch’s lifeless lead performance to uninspired sidekicks to a convoluted plot and antagonist. The moribund blend of studio superhero franchise and bursts of horror elements is uneasy and does neither genre much service. The visual effects are pedestrian; in fact it may be one of the least aesthetically pleasing films in the film series. Little is done with some minor cameos which could have spiced up the mix. The lead character simply goes through the motions, ties up some loose ends from the WandaVision TV series and embarks on a few chases with jump scares. Even with all the possibilities of sly magic and universe hopping, it’s a creative low point for a series generally more inspired than this.

2022, Rent It Tonight

“X” Marks the Start of a Fascinating New Horror Saga

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Now on demand from A24.

It’s the rude versus the prude as a coterie of ‘70s pornographers makes their blue movie in the bleak barn of some sheltered country bumpkins in Ti West’s extremely watchable slasher film X (B+). Alternating between moments of tenderness and terror, it’s a highly entertaining American gothic as nubile humans soon find themselves the livestock on this farm. The women in the ensemble – Mia Goth, Jenna Ortega and Brittany Snow – get a campy showcase in West’s creative landscape, with Goth a stunning standout in a double role. It’s far from just scary or sensational as the director stages creepy bedroom scenes, overhead alligator attacks and at least one pitchfork perfect moment. There are knowing nods and homages to movie massacres of old, but the filming is a fresh, imaginative and sometimes funny take on the genre. It touches on sexual mores with religious undertones but ultimately is just a blissful horror movie. It’s bawdy and bloody, and you can’t take your eyes off of it.

2022, Rent It Tonight

“The Northman” Forges a Legendary Adventure

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Now in theatres.

For its singularly violent vision and attention to authentic detail, this historical epic gets a mighty round of polar ice claps. A revenge tale told with impeccable craft, The Northman (B), directed and co-written by Robert Eggers, has dreamy scope and scale but a plot that’s a touch basic. Alexander Skarsgård is in beast mode with an intense physical performance as a man of few words, a descendent of royalty hiding out in a Viking gang ready to pounce into a binge of avenging against his wronged parents (a superb Ethan Hawke and Nicole Kidman). Between grisly saxon smackdowns, there’s a rather prolonged period of waiting in which Eggers must tread some murky maelstrom water. It takes a pillage of pulpy possibilities as the auteur throws in signature supernatural elements and supporting bits from some of his quirky past cast members such as Willem Dafoe and Anya Taylor-Joy. Claes Bang is also a menacing antagonist. Essentially every primary character gets a really good scream into the camera, and it appears the director just told them to give it their most primal. The divergent panoply of accents, however, owe more to the House of Gucci than the Norse code. Ultimately, fans of ribald historical action will dig this adventure through lands of fjords and volcanoes. The cinematography and art direction, especially in nighttime attacks and a few climactic fights, is stunning to behold. Eggers and acclaimed writer Sjón plum some intriguing legend and lore, as there’s a lot to unpack on this journey.

2022, Rent It Tonight

Cage Continues Cinematic Resurgence with 2022’s Meta Comedy Adventure “The Unbearable Weight of Massive Talent”

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After his stunning work in last year’s dramatic Pig, a wonderful new comedy is another reminder Nicolas Cage is truly a national treasure. The notoriously always working actor plays an amped up version of himself opposite Pedro Pascal as a wealthy fan who pays him a million dollars to attend his birthday in Spain in Tom Dormican’s smart buddy comedy The Unbearable Weight of Massive Talent (B+). Through a series of unexpected events, “Nick” finds himself channeling his most iconic and beloved characters as part of a metaphorical and literal redemption story. The funny bits are top notch, and Dormican has a deft touch in hopping genres to serve the needs of the story, sometimes talky but with its share of car stunts and pratfalls as well. Cage is an utter delight and a wonderful sport fully committed to the circuitous ride, and Pascal is sensational as the funny foil fanboy. Lily Mo Sheen and Sharon Horgan also hit the right notes as Cage’s daughter and estranged wife, respectively, managing the well meaning diva dad in their family. While funny, Tiffany Haddish and Ike Barinholtz don’t get much to do as additional plot catalysts but are always appreciated. This is essential viewing for Cage fans but also great fun for anyone. It’s a well made comic romp with a hilarious double bromance at the center, between actor and fan and the actor and himself. More than an ego trip though, everyone’s in on the joke, and moviegoers are again the beneficiary of Cage’s underrated if not sometimes ubiquitous talent.

2022, Rent It Tonight

The Daniels Whisk an Asian Family Through a Dramatic Multiverse in Acclaimed Fantasy “Everything Everywhere All At Once”

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Now playing in select theatres and on demand from A-24.

This is the ultimate film fantasia for channel surfers, with something pretty, punchy or profound to discover with each push of a button. The writing and directing duo known as Daniels have crafted their choose your own adventure inspired epic Everything Everywhere All At Once (B+) as one of the most complex and absurdist mind-trips set to screen. A blissful Michelle Yeoh plays a woman being audited by the IRS who realizes she has the power to exist in multiple universes and must thwart a familiar antagonist hell-bent on destroying them all. Aside from the creators’ meticulously crafted vision, which at times is too much of a good thing, Yeoh is a revelation, alternately summoning physical comedy, familial empathy and martial arts skills like they are hard wired in the game console of her acting brain. Helping her process all the new data is former Goonie Ke Huy Quan, who showcases fancy footwork in one of the film’s big choreographed action sequences and is great fun in a spry ensemble featuring Stephanie Hsu, Harry Shum Jr. and James Hong. Jamie Lee Curtis is also on hand as a quirky clerk with some outrageous pratfalls and unusual talents of her own. Center-punched for stylized fight sequences, ornate set pieces and everyday domestic drama, Yeoh is masterful maneuvering the demands of the black comedy and sci-fi elements alike. The Daniels are gleeful in throwing in every madcap notion, and Yeoh catches each of their creative impulses like juggling balls to keep aloft. The audacity of it all and the pacing ultimately weigh the film down a bit, but it’s hard to argue viewers have seen anything like this before.

2022, Industry News

2022 Atlanta Film Festival Features 27 World Premieres

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The 46th annual Atlanta Film Festival + Creative Conference (ATLFF) revealed key programming highlights, including Opening and Closing Night presentations and the full lineup of selected works from a record-breaking nearly 10,000 submissions. Highlighted by the Opening Night presentation of 892 and Closing Night film Mija, 11 Marquee screenings will combine Hollywood star power with the best of independent film. The 155 total announced creative works from submissions will feature diverse filmmakers who continue to uplift voices and stories from around the world. The film festival and educational conference will take place Thursday, April 21 through Sunday, May 1, 2022, at multiple venues in Atlanta and virtually.

“We’re particularly excited about this year because we are not only back to in-person screenings, but our hybrid format will provide even more opportunities for audiences to participate around the globe,” said Christopher Escobar, Executive Director of the Atlanta Film Festival. “A huge part of our ethos is advocating for diverse voices, which is why it’s even more important that we continue to evolve and connect with communities everywhere in new and innovative ways.”

Kicking off a robust slate of Marquee programming that will be presented throughout the 11-day festival, the Opening Night presentation of Bleecker Street’s dramatic thriller 892 will take place at the Plaza Theatre on Friday, April 22. Starring John Boyega, the late Michael K. Williams, Nicole Beharie, and Connie Britton, the film follows a Marine war veteran who faces mental and emotional challenges when he tries to reintegrate back into civilian life. Director Abi Damaris Corbin will be on-hand for the red carpet screening.

The Closing Night presentation of the Disney+ documentary Mija will be held on Saturday, April 30, at the Plaza Theatre. Directed by Isabel Castro, the film follows Doris Muñoz, who began a career in music talent management and met Jacks Haupt, an auspicious young singer, and both share the ever-present guilt of being the first American-born members of their undocumented families.

Some highlights of the Marquee programming from celebrated filmmakers and Hollywood studios announced today include narrative features Cha Cha Real Smooth starring Dakota Johnson and written and directed by Cooper Raiff (the triple threat behind one of this site’s favorites, the comedyShithouse), Emily the Criminal starring Aubrey Plaza and Theo Rossi, and Summering, a coming of age story directed by Georgia-native and celebrated ATLFF alumni James Ponsoldt. Documentary feature highlights include Look At Me!, an inside look at a gifted young rapper’s tumultuous rise to fame before his death at the age of 20, with never-before-seen footage as XXXTentacion’s inner circle speaks out, and REFUGE, a story about fear and love in the American South from local Atlanta directors Erin Levin Bernhardt and Din Blankenship.

The 12th annual Creative Conference, ATLFF’s popular educational programming extension, returns with in-person panel discussions and one-on-one in-depth virtual conversations focusing on screenwriting, showrunning, pitching shows, podcasting, directing, producing, cinematography, and editing with industry experts from Georgia to NY and LA. The entire Creative Conference lineup of over 25 events will be announced in the coming weeks. 

ATLFF 2022 will be more accessible than ever, offering a mix of in-person and virtual screenings, as well as virtual Q&A sessions with filmmakers. Screenings will be held at three venues, including Plaza Theatre (1049 Ponce De Leon Ave NE), Dad’s Garage (569 Ezzard St SE), and The Carter Center (453 Freedom Parkway), with more to come. All virtual screenings and events will be presented via Eventive.

The full schedule of films and events is available atwww.AtlantaFilmFestival.com and through the ATLFF 2022 app. Festival passes are on sale now on the site. Tickets for individual events will be available at the beginning of April. In-person screening tickets range from $12-50; virtual access is $9.99 per film/panel with an unlimited virtual all-access pass for $85 for both films and Creative Conference. Virtual all-access pass will increase to $100 after Friday, April 1.

2022, Rent It Tonight

Bullock and Tatum Are an Inspired Pair for Comedy and Adventure in Pursuit of “The Lost City”

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Available on Paramount+ streaming service May 10, 2022.

Although largely a by-the-books action comedy, Aaron and Adam Nee’s The Lost City (B) is handsomely produced and features Sandra Bullock and Channing Tatum each doing what they do best. It’s a lot like Romancing the Stone with a novelist who gets embroiled in one of the types of exotic anthropological excursions ripped from her own fiction. Bullock is appealing in both her physical humor pratfalls (she performs several sequences while tied to a chair and many in a glittery jumpsuit) and in her authorial interplay with Tatum’s dim witted character who is cover model of her elevated bodice rippers and unexpected co-adventurer. Daniel Radcliffe feels like he’s cameoing in a different movie as a caricatured villain whose best sequence involves a whirlwind of charcuterie; meanwhile Brad Pitt is a delight in his brief sequences as a charming mercenary, and Da’Vine Joy Randolph also hilariously steals her scenes as a publicist at wit’s end. This movie handily delivers on its populist fun and sometimes transcends its formula, even as its pacing sometimes misses the mark. Both the leads utter some pretty funny lines under their breath that hopefully won’t be missed in all the activity. Bullock’s character finally gets out of the house, which is an apt metaphor for movie audiences seeking escapism amidst the almost post-pandemic zeitgeist. 

2022

Adriane Lyne Returns to Erotic Thriller Origins With Perplexing “Deep Water”

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Now playing on Hulu streaming service.

A bad pulled-quote for a modern erotic thriller is “impenetrable,” but it’s an apt description of the film and the marriage at the center of Adrian Lyne’s Deep Water (C-). This tepid slow-burn examines the loveless union of a hangdog husband Ben Affleck seemingly nonplussed by the multiple affairs being enjoyed by his sexy but mostly sloshed wife played by Ana de Armas. The oddly non-specific Louisiana atmosphere, an adrift supporting cast including a perplexed looking Tracy Letts and a few hook-ups depicted mostly off-screen do very little to amp up the sultriness or suspense.  Close-ups of snails don’t help either. The mystery is sometimes alluring except it doesn’t go anywhere. The two leads have very little to do except stare at each other in disbelief. A series of crimes don’t make sense. The closing credits don’t make sense. Ultimately it’s a tease but not the guilty pleasure it could have been.

2022

Unusual Cannibal Comedy “Fresh” With Sebastian Stan Upends Typical Romcom Conventions

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Streaming in Hulu.

After an intriguing appetizer of a first act including a charming Meet Cute in a grocery store, Mimi Cave’s dark comedy Fresh (C) outstays its welcome through course after course in a twisty tale about the dog eat dog world of modern-day dating. The horror of contemporary courtship depicted here is a bit more audacious than even the vastly superior Promising Young Woman, and it’s not just toxic and terrifying because of the male love interest’s penchant for the musical catalogue of Peter Cetera. Daisy Edgar-Jones is game enough and committed to character, even though the direction and script render her lead performance a bit unremarkable. Sebastian Stan as the love interest is also a bit one-note in the tonally inconsistent film. It’s ultimately an allegory in search of a story and not funny or dark enough to traverse much new territory. Devour or delight in it at your own risk.