This head-scratcher of a horror movie is announcing its intentions as a new realm in terror, but its terrain of dreamscapes and damaged souls feeds on lots of tropes which have already been around for a while. A woman’s premonitions about a deranged killer’s next murders are just the beginning of the story in James Wan’s twisty thriller Malignant (B-), a slow burn of a tale that gets pretty unhinged in its final reel. In the protagonist role, Annabelle Wallis is effective as a troubled woman who may just have a connection to the gilded dagger wielding villain, but amidst many underwritten parts and plot threads, the sometimes hokey film often feels like the work of a first-time filmmaker rather than one who has been making Hollywood horror for some time. The psychobabble that bubbles up fairly far into the movie’s running time is evocative of early Brian de Palma films even though the camerawork and choreography rarely deliver much of a creative spark. It’s all more eerie than scary, and the film often seems enchanted with special effects and stunts that don’t add much to the storyline. Still, it casts a peculiar spell and keeps bringing in ways to keep things exciting, and the promised plot twists do indeed ratchet the proceedings up to a whole new level.
Julia Ducournau’s bleak and difficult French language drama Titane (B+) is a fascinating glimpse at finding love and redemption in an age when it is hard to distinguish human from machine and in which genderfluidity is the engine powering even more creative sparks than ever before. This is tough material, no doubt, but it will reward adventurous filmgoers with an indelible fable of finding shelter and dignity in unexpected ways. Once viewers get past the romantic coupling of a woman and a showroom vehicle resulting in a complicated pregnancy, there are many wonders to behold in France’s controversial entry into Oscar season. Agathe Rousselle gives the mighty performance in the film’s center, a raw and bruised portrayal of a dancer and occasional killer on the run and in absolute turmoil and often in conflict with her own body as she morphs from sexy siren to tight-lipped first responder and back again while the plot machinations mount in blistering bursts. Vincent Lindon is a fantastic foil to her character, portraying a man damaged in his own way seeking someone for whom he can be a caretaker and desperate for ways to showcase his own take on modern masculinity within a twisted and toxic culture. Ducournau blends provocative body horror film and hypnotic domestic family drama in a nightmarish series of surprising episodes, and she never wavers from a singular vision. Her unflinching film displays ethereal energy on the wide canvas of exposition halls and mosh pits and in the intimacy of tight quarters adds to the layers of the story and its original atmosphere. The film’s graphic and nihilistic spirit will be tough for some audiences, but it’s an indelible and engrossing experience built on a complex character.
This movie crouches with creativity until it starts draggin’. For its first two acts, Destin Daniel Cretton’s Shang-Chi and the Legend of the Ten Rings (B) grabs the brash brass with a swagger worthy of a first-ever Marvel movie; but by the end of the final reel, the labored adventure limps like the 25th Marvel film installment that it is. The film successfully grounds its characters in intriguing emotional arcs, even if some veteran actors are better suited at the drama than the newcomers. Acclaimed Hong Kong movie star Tony Leung skillfully portrays the patriarch of a dysfunctional family and is the catalyst for a story that transports viewers from San Francisco to Macau in a quest for generational redemption and supernatural accessories. Simu Liu is a stunner of a physical actor in the title role, but his emoting in dramatic sequences is hit or miss, as is that of Meng’er Zhang who plays his stoic sister. Faring much better are Awkwafina in true command of her comic relief love interest sidekick role (leading man Liu is far more natural in moments of levity opposite her) and Michelle Yeoh who ups her “aunty” with dramatic and martial arts choreography skills. The film is an origin story in reverse, and the opening U.S. sequences with casual comedy and an outstanding extended fight aboard a runaway bus eclipse some otherwise deft world building to come in the Asian environment of underground fight clubs, shape-shifting bamboo mazes and enchanted villages with a menagerie of CGI beasts. Other than a glorious battle aboard skyscraper scaffolding, the events abroad do not measure up to the story and tone captured stateside. The film is chock full of interesting ideas but ultimately overstuffed in its endless parade of finales. It’s mostly highly entertaining even if the front is more of a kick than the remaining thrust.
More of a bonbon for cinephiles than a slasher contraption for the masses, Nia DaCosta’s Candyman (B+) builds on producer Jordan Peele’s recent masterworks to expose horrors of the American race and class struggle. Her uncanny Chicago-set narrative about appropriation and gentrification focuses primarily on razor-focused actor Yahya Abdul-Mateen, who plays an artist obsessed with a new subject based on the urban legend of a hook-armed killer bearing sweets who once haunted the city’s projects. The talented Teyonah Parris provides a formidable foil as his partner, an art gallery executive trying to remain above the fray of mysterious mounting events. The ubiquitous Colman Domingo is also effective in a small role. The cinematography, music and menace are straight out of a Hitchcock or Kubrick composition, providing the typical tenets of the horror genre with a considerable upscale upgrade. The labyrinthine honeycomb of this only slightly supernatural take on the Windy City, filled with swirling bees, fun house mirrors, eerie incantations and blood dripping like honey through nooks and hallways, becomes an apt metaphor for twists to come. There are few extended sequences of gore or fan favorite jump scares; instead there is a gradual unveiling of themes and origin stories to stimulate the mind and provide a deeper sense of unsettling. Watch the color palette for clues, and enjoy creative montages including shadow puppets for clever insights into the backstory. DaCosta is all sting as she goes in for both the message and the kill, and if there were one constructive criticism to offer an already pensive film, it would be that it needed even more character development and nuance so that personal transformations could fire with additional intensity. DaCosta’s film is strong and beguiling, and it could become one of those unsuspecting art films to mysteriously rule the box office.
You might find yourself with resting glitch face after all the stimulation of Shawn Levy’s video game comedy fantasy Free Guy (B), a film that actually gets better and richer as it progresses and reveals superpowers in some of the most supporting players in society. A bit of a riff or revival of The Truman Show set in an open-world video game, this film places Ryan Reynolds at the center as a “non-player character” who learns he can start making his own choices. There’s interplay among the denizens of the game, plus a plot about a diabolical dudebro executive (a hilarious Taika Waititi) trying to manipulate the gameplay to line his pockets and a duo of developers (Jodie Comer and Joe Keery, both earnest) helping steer the situation to a better resolution. The passiveness of the main character is a problem for the first half of the movie, despite Reynolds’ considerable charms and penchant for physical comedy. But the film gains a bit of soulfulness at the half-way point and proceeds to surprise and delight. If you can bear the clang and clamor, you’ll find Levy and company have something to say about community, about taming toxic masculinity and about choosing your own adventure. It’s a bit better than expected, with funny asides, clever effects and a timely lesson about the power of world building.
Available on Apple TV Plus and in limited release in theatres.
This film is speaking my love language. As the teenage daughter of deaf parents with her only sibling deaf as well, Ruby, played with sublime grace by Emilia Jones, seeks to be a standout in the field of choral music, which no one else in her rural New England family can actually hear, in the formulaic but feel-good dramedy of the summer, Sian Heder’s CODA (A-). Heder writes and directs the film with an admirable lack of sentiment and grounds the central family in a highly relatable milieu. The protagonist’s quest to pursue her art while also pulled into the mounting demands of the family fishing business (she’s their sole interpreter) provides ample material for conflict, but most everything comes back to love in an overall work that can best be described as heartwarming. Marlee Matlin and Troy Kotsur are outstanding as the parents, Daniel Durant charming as the brother and Eugenio Derbez is a delight as the music teacher. Ruby and her family feel real in their every interaction, and even when the story unfolds in pretty much the way a viewer would expect it to, it still does so in surprising ways because of the composition and cunning of this unconventional family. Viewers will be won over by the sweet-natured strengths of the ensemble, the unexpected representation and inclusion of the casting and the writer/director’s skills at quiet observation. Additionally the music sequences are wonderful. Far from a chore or a bore, this film is uplift from beginning to end.
This reboot of a cult comic book ensemble film is distinguished by a parade of sensational casting and visual choices. James Gunn’s The Suicide Squad (A-) is a splattery spectacular madcap adventure with rousing action, vivid effects, ribald humor and idiosyncratic characters. Although its violence is not for the faint of heart, Gunn’s film is tonally and thematically one of the most winning DC Comics adaptations yet. The story revolves around the government sending the world’s most dangerous supervillains including Bloodsport (Idris Elba), Peacemaker (John Cena) Ratcatcher (Daniela Melchior) and Harley Quinn (Margot Robbie) to a remote, enemy-infused island for a search-and-destroy mission related to a science conspiracy. Interlaced into the propulsive plot is a menagerie of exquisite weaponry, human/animal hybrids, throwaway gags, witty asides and just about any treasures Gunn can bury in the cartoonish carnage. It’s a rollicking ride with Robbie again a delightful standout and Melchior a winning find as a pied piper of both CGI rodents and some surprisingly emotional moments. Add in an anthropomorphic shark, stunning stunts and an epic showdown finale, and many will agree Gunn has assembled one helluva Squad.
Welcome to the Arthurian art film that’s about to get medieval on your streaming service. A trippy and faithful adaptation of a 14th century poem, David Lowery’s Green Knight (aka Sir Gawain and the Green Knight by Anonymous) (B+) is both cerebral and eerie in its duration, culminating in a brilliant near dialogue free final act as the protagonist faces his fears. It’s essentially about a bit of a deal with the devil and the ensuing consequences as a knight musters the courage for a showdown that will seal his destiny. Dev Patel is engaging as flawed protagonist Gawain. Alicia Vikander as two characters – Essel and the Lady – and Joel Edgerton as The Lord also turn in outstanding performances as pivotal pawns along the massive chess board of an epic. The film is earthy, pulpy and often looks like a Renaissance painting come to life. The production design and costuming are exquisite. Because it is rather intellectual and episodic (with lovely ornate title cards, incidentally), it’s sometimes difficult to trace exactly where the film is headed (or beheaded) in the journey of its sweeping storyline; but even when the pace is slow, it is a mesmerizing piece of cinema.
Hot off a series of horror movies and Liam Neeson-led thrillers, director Jaume Collet-Serra is an unlikely choice to helm an old-fashioned Disney adventure based on a classic theme park ride but acquits himself nicely in the pleasant summer escapism fare of Jungle Cruise (B-). Similarly, Dwayne “The Rock” Johnson, best known for muscular action films, gets to flex his unexpectedly assured comedic timing to successful avail as a South American skipper of a small riverboat who takes a group of travelers including siblings played by Emily Blunt and Jack Whitehall through a jungle in search of the Tree of Life. Johnson and Blunt are winning comic and would-be romantic partners with verbal and physical pratfalls aplenty, as he wields dad jokes and swagger in equal doses to her acerbic and acrobatic spunkiness. Faring less on the likability scale are characters played by Jesse Plemmons, Paul Giamatti and a coterie of cursed conquistadors in cartoonish or CGI villainous roles which add very little menace opposite the explorers. The film works best in rip-roaring action sequences and when Blunt and Whitehall provide some droll fish-out-of-water entanglements. As for the plot, we’ve been down this river many times in much better films. The first hour is fairly breezy fun; then as the protagonists get closer to their goal, the sogginess sets into sluggishness for a good while. Still, it’s competently made family friendly fun, and most of the kids haven’t seen the movies this riffs on, so it may all be new to them. Like its Adventureland origin attraction, you get to sit down in the shade and take a breezy ride for a while with a smile on your face for much of its duration, and that may be all we need this summer.
An inventive free-for-all based on a frenzied series of real-life eyewitness tweets about the misadventures of two women on an extraordinary road trip, Janicza Bravo’s Zola (B+) brims with mirthful dark comedy and unexpected detours. Breakthrough star Taylour Paige is a delight as the wry title character “@zola,” a part-time exotic dancer lured into a Florida getaway by Riley Keough’s outrageous “@stefani.” They make a madcap duo, and Keough is a riot with a manipulative medicine show of emotions in her arsenal. Colman Domingo manages to steal a few scenes from these brash co-stars as the ominous “X,” teetering on a line between charming and sinister. With surprises aplenty and shocks around every bend, Bravo marshals her ensemble with grit and grace. The tropical color palette and snappy editing plus droll throwaway one-liners provide the film with myriad memorable moments. The fact that it’s all a bit of a lark doesn’t take away from the creativity and the committed acting on display. This is a breezy joyride of an indie destined to coast into cult status.
Betting on the scrappiness of a bunch of bros who become woke in a history-bending take on the founding of the country, Matt Thompson’s America: The Motion Picture (B-) is an irreverent and often quite funny animated film aimed at the adults of the household. The movie’s tipsy time bandits traversing a stew of history involving George Washington, Abe Lincoln, Geronimo, a female Thomas Edison and many others throw out a lot of vulgar gags and end up with a winning comedy in the tradition of the South Park movie, Team America: World Police or even the live action This is the End. Channing Tatum, Jason Mantzoukas, Olivia Munn, Killer Mike and Andy Samberg are among the spry voice cast ensemble in this veritable Mad or National Lampoon magazine come to life. The animation is accomplished and the profane and prophetic jokes abundant enough to keep surprising even the most academic viewers. It’s anachronistic, anarchic and lots of mindless fun and ultimately pulses with a patriotic heart.
A joyful ode to “finding your island”even when it’s a place where you’ve been all along, Jon M. Chu’s film adaptation of Lin-Manuel Miranda’s musical In the Heights (B) is a faithful and often fanciful extravaganza with creative song sequences showcasing camaraderie and community, athletic choreography featuring hundreds of dancers and a colorful panoramic tour of the Washington Heights neighborhood in the uppermost part of the New York City borough of Manhattan. The sing-speak spectacular is a celebration of the trials, travails and cultural contributions of Dominican, Puerto Rican and Cuban immigrants in a one-of-a-kind district; and as a whole, the mirthful, hopeful energy transcends a threadbare storyline by highlighting various choose-your-own pathways to big dreams (sueñitos). The individual characters get short shrift in the bombast and swirl, and Chu shifts tone and perspective a few too many times including with an unnecessary framing device; but these are small complaints in a film of overall genuine goodness. The female performances surrounding a charismatic Anthony Ramos as the shopkeeper narrator are the breakout stars, particularly Melissa Barrera as an aspiring fashion designer who wants to escape her humble roots and Leslie Grace as the high-achieving student returning from a first semester of college with her tail between her legs, hoping to be renewed by the uplift of her neighborhood. Both actresses imbue their characters with sweet sentiment and occasional pent-up ferocity. Much of the musical infusion plays out Rent-style, with young characters professing love amidst struggle. After a maudlin middle act that brings the film’s festive outlook to a bit of a halt with some clunky sequences, it is a delightful Daphne Rubin-Vega as a firebrand beautician who brings the film roaring back to life. The best moments fuse winning songs with creative harmonies or set pieces, especially as the film’s community denizens rally within an oversized Esther Williams inspired pool or as two lovers defy gravity by dancing up and down the side of a brownstone high-rise. This film will be remembered for its verve and representation, for bursts of brilliance that are maintained in spurts. When it hits those titular heights, though, oh how it soars!
