The blunt force trauma of being a modern teenager receives its horror film embodiment in Danny and Michael Philippou’s story of friends who thrill to a psychic portal unleashed by a disembodied hand that foists dread into their heads in the often thrilling Talk To Me (B). This nifty A-24 Australian import featuring the eerie embalmed handshake sure to bring all the boys and girls to the yard starts strong and builds decent momentum, with resultant head-trips both expansive and concussive. The co-directors are particularly adept at drawing their audience magnetically into the throes of outlandish juvenile antics, a veritable arm wrestle with the supernatural, and they rarely give up their grip. Among the cunning conjurers, Sophie Wilde as our bedeviled heroine and Joe Bird as a wide-eyed innocent are standouts. Both dexterous young actors could varsity letter in possession. Other characters barely registered but were engaging enough to sometimes buttress the blow of the body counts. Creepy practical effects, shocking jump scares, startling sound design and a few surprising peccadillos keep the slight but mighty proceedings fresh amidst the digital dimensions and massive head wounds. Serendipitously, the most bonkers sequence in the hands-first haunting involves a rogue foot. For most of its brisk running time, this head-banging handmade tale definitely has legs.
Writer/director Greta Gerwig isn’t done with plumbing the psychology of little women, setting the sly subject of her brilliantly subversive new work as a personified plaything who’s awakening into the reality of contemporary life. The witty auteur has crafted a loving tribute to those who create, those who play and those who simply grind into the trials of daily life in the eccentric, existential and exuberant Barbie (A). Packing everything she can about the highs, lows, choices and challenges of womanhood into an efficient fish out of water comedy, Gerwig fashions a droll and dreamy doll’s house, a mythology in miniature and a cultural touchpoint that’s so much more than its pristine plastic surface might promise. Much credit goes to graceful physical comedienne Margot Robbie as the title protagonist, discovering empowerment and empathy with support from a mighty female ecosystem. America Ferrera and Rhea Perlman are formidable standouts in the cast who instill wonder and wisdom along Barbie’s journey of self-actualization. As comic relief and a character gaining an agency of his own kind, Ryan Gosling is a hoot as Ken; he’s certainly the source of some of the greatest belly laughs evoked from a character with washboard abs. The production design, costumes and music are exquisite in this candy-colored universe made even more bountiful by the words of Gerwig and Noah Baumbach’s observational and deeply meta screenplay. It’s a testament to Gerwig’s love of her subject that she can get away with in-jokes at the expense of her Mattel producers and evoke both nostalgia and a forward-looking vision all at once. The emotional undercurrent of the protagonist’s growing awareness about how the world works is something few will see coming; the sentiment is real and earned. This brainy modern classic is more than meets the eyes and will be studied for years to come.
Watch the “Seeing is Believing” podcast for Silver Screen Capture video review and discussion of a faith-based hot take on the #Barbenheimer phenomenon:
Like Oliver Stone’s JFK more than three decades ago, Christopher Nolan’s epic of the so-called “father of the atomic bomb” Oppenheimer (A) examines the public life and significant trials of a misunderstood man from history buoyed by clever cross-cutting and prestigious panache. It’s perhaps Nolan’s most conventional movie to date, and yet every beat of the film is wholly original and affecting. As the title character, Cillian Murphy is mesmerizing: he’s an iconoclast, to be sure, who is equally ill at ease contemplating the morality of inventing a volatile creation and negotiating fraught relationships with the men and women in his professional and private circles. Murphy’s murky portrayal is absorbing and sometimes a little funny for a character under the gun to apply his scientific know-how to a morally dubious cause. The shades of gray factor quite literally into the director’s use of shadows and film stock as the period detail of early 20th century colors transitions to monochrome from sequence to sequence. Nolan masterfully fills in the contours and mysteries of his antihero’s dilemma and wastes few shots in advancing the story forward while zig-zagging through time. The film is packed with strong supporting performances including brittle and boisterous characters played by Robert Downey Jr. and Emily Blunt, who each get to chew considerable scenery in the final act. The film examines the toll of nuclear and psychological annihilation on the individuals bearing an unmistakable and historic burden. For a film as talky as it is, it moves briskly with deepening impact through its ample running time. It’s a blistering portrait and tough subject with high-stakes dramatic choices made throughout. It’s that rare biopic that sucks viewers in from the first frame and transports its audience into the many layers of its story. The score by Ludwig Göransson is also a stunner. This is a modern classic showcasing Nolan and his team at the top of their game. See this impressive, immersive and entertaining work on the biggest screen possible.
Watch the “Seeing is Believing” podcast for Silver Screen Capture video review and discussion of a faith-based hot take on the #Barbenheimer phenomenon:
Adapted by Adrian Tomine from his own graphic novel and directed by first-time filmmaker Randall Park, the Sundance comedy-drama Shortcomings (B+) is an enjoyable contemporary take on being a young Asian-American male in American society. The story’s moody protagonist, an underemployed movie theatre manager and lousy boyfriend, is winningly played by Justin H. Min. His lesbian best friend portrayed by Sherry Cola is an absolute hoot and always knows just what to say. Ally Maki is also memorable as the hero’s polar opposite; the whole ensemble enjoys time in the spotlight. The cross-country, cross-cultural story transports viewers from Berkeley to New York City with wryly observant misadventures. Park plumbs heritage and hot takes for a film that feels like it’s not trying all that hard and yet still it says so much about its subjects. It’s genuinely funny and also moving at times. Expect this one to be a cult hit, a kind of Reality Bites for modern times.
A B movie with an A message, Alejandro Monteverde’s Sound of Freedom chronicles an unconventional mission by real-life hero Tim Ballard, a U.S. government agent turned mercenary played by Jim Caviezel, who courageously endeavors to rescue children from sex traffickers in Colombia. The writing and acting could have used substantial polishing as much of the film feels like a prolonged PSA (down to a barcode at the end to pay it forward). But as an eye-opening expose of a major societal issue, it’s insightful and at times riveting. Sometimes this undercover thriller feels like it wants to attain the gravitas of a Donnie Brasco or The Departed but often gets sidelined with the craft of a late-season 21 Jump Street episode. There are genuine pacing issues especially in the final reel, after one of the most ingenious acts of entrapment has already taken place and somewhat bursts the momentum. The kid actors are almost roundly better than the adults as the movie relies a little too heavily on obvious tropes, overly sensationalized sentimentality and a moment or two of Rambo meets Taken ham-fisted histrionics. A pencil-mustached pedophile and a supportive wife character played by Mira Sorvino with fewer than three lines didn’t help add to the nuance. However, the film’s message is both faith-based and universal, that God’s children are not for sale. The power of storytelling is crystallized in a meta message from the lead actor in that much-ballyhooed mid-credits narrative and could have been streamlined throughout with judicious edits. But the cause to celebrate is that this movie is inspiring action to tackle a truly dark topic and promoting a global conversation. The director handles sensitive issues delicately and motivates viewers to action.
There’s a nearly thirty minute series of cutaways in his overlong new stunt spectacular in which Tom Cruise is seen winding through mountains on a motorcycle towards his inevitable jump from a mountain onto a train; if only that level of coordination had been reserved for story and script! Christopher McQuarrie’s Mission Impossible: Dead Reckoning – Part One (B) is a sturdy entry in the cat and mouse action series with exciting sequences and set pieces, the addition of an intriguing new character in the form of actress Hayley Atwell and a timely menace – an artificial intelligence platform. Clunky exposition doesn’t get any better when the dialogue is shared like a hot potato among everyone gathered in a scene, but a viewer would get drunk if imbibing a shot every time the mansplaining by committee motif gets trotted out by the screenwriters. The whole enterprise feels like warmed-over James Bond without many flashes of romantic intrigue or humor, but the practical effects are rendered with grit and grace. It’s the speeding locomotive finale (not just the prolonged jump onto it) that cinches the deal this is a stunt show best seen on a big screen. Simon Pegg is consistently amusing, and Pom Klementieff is an enjoyable physical threat in this packed ensemble. Esai Morales isn’t given much to do as the big bad, but the story’s overall series of threats feel real throughout. This is part one of a two-part story and works admirably as a standalone film as well.
A sweet story of unconventional friendship disguised as a raunchy comedy, Gene Stupntisky’s No Hard Feelings (B) pairs movie luminary Jennifer Lawrence with rising Broadway star Andrew Barth Feldman as characters meeting under unusual circumstances and creating quite a bond. The young man’s wealthy parents (an amusing if underused Matthew Broderick and Laura Benanti) want to bring their son out of his shell and turn to a down-on-her-luck thirtysomething Uber driver and bartender to help him lose his virginity and inhibition. Set in the coastal hamlet of Montauk, the film traces the misadventures triggered by an absurd premise, and both Lawrence and Feldman prove deft physical actors for the comedic chemistry of the occasion. Feldman in particular captures comic gold in his priceless reactions and even gets a moment to showcase his stunning vocal stylings. There are moments of wit and pathos amidst a bunch of adult gags, although it never gets as weird or wild as it could. It’s nice to see Lawrence getting loose and limber in this kind of loopy role after some of her more dramatic turns. This is a breezy, funny lark.
Premiered at Sundance Film Festival 2023 and opening in Atlanta in June.
Some famous Irish troubadours once declared humanity must stridently walk on, emboldened with “all that you can’t leave behind,” and a new movie rummages through the lived-in baggage we tote to each stage of our existence. A story of Seoul mates who may also be soul mates provides the profound connection at the center of Korean-Canadian writer/director Celine Song’s memorable and melancholy debut drama Past Lives (A). Nora and Hae Sung, two deeply connected childhood friends, played as adults by Greta Lee and Teo Yoo, are separated after Nora’s family leaves South Korea to immigrate to Toronto. Decades later, they reunite for several fateful days in her adopted hometown of New York City as they confront love, longing and the choices that impact their destinies. In a way the movie posits we are all immigrants or refugees from a stomping ground in our past where we came of age and where our self-concepts imprinted. Lee and Yoo are phenomenal in the crucial roles, exhibiting an incredible bond even as they share very few sequences together IRL. Both affecting actor John Magaro who humorously gets meta over pillow talk and NYC play crucial supporting roles; Manhattan looks like a dream lensed by cinematographer Shabier Kirchner. Song frames the story with splendid grace and intimacy; her screenplay and directorial choices prove both instantly absorbing and universally resonant. Christopher Bear and Dan Rossen’s lovely music underscores this delicate and sensitive tale gorgeously told. Many of the notions explored in Richard Linklater’s Before trilogy and John Carney’s Once get a fresh examination here. You’ll believe the Korean concept of In-Yun, that who we are today is a version of who we were in our past lives, is indeed working its quiet machinations on the film’s characters. The film will undoubtedly spark conversations we all wish we were having.
This is why they call it Marvel! First-time directors Joaquim Dos Santos, Kemp Powers and Justin K. Thompson helm the immersive animated comic book “canon” ball, Spider-Man: Across the Spider-Verse (A), showcasing kinetic storytelling and sheer audacity at the service of a creative and emotional spectacular. The co-directors’ vibrant, kaleidoscopic and sometimes psychedelic visual palette upstages the Oscar-winning original film with more than a half dozen animation styles, countless incarnations of the iconic title character and a pristine web of heart and humor. Grounded teen Miles/Spider-Man (Shameick Moore, pitch perfect) and Gwen/Spider-Woman (Hailee Steinfeld, emotive and brilliant) embark on a mind-trip fighting villain The Spot (a wry Jason Schwartzman) and traversing the multiverse where they meet a new team of Spider-People, known as the Spider-Society, led by Miguel O’Hara/Spider-Man 2099 (an imposing Oscar Isaac). A series of adventurous encounters significantly raise the stakes before the inevitable cliffhanger to the trilogy’s next installment. From the get-go of its cold open prologue, the film commands immediate attention and is surprisingly shape-shifting in nearly every frame, jolting viewers with enough artistic fluidity, wily spirit and imagination to fill infinite worlds. The ensemble’s excellent voice cast includes Brian Tyree Henry and Luna Lauren Vélez as the central teen’s concerned parents who elevate the family story and emotional stakes of the characters with finesse. Daniel Kaluuya, Karan Soni and Issa Rae are whimsical standouts in a robust voice cast with the returning talent of fan favorite Jake Johnson, whose Peter Parker sports a surprise sidekick. The attention to detail in various alternating cityscapes is staggeringly impressive and keeps an already propulsive plot hopping. Also, kudos to music writer Daniel Pemberton dropping a considerable beat to accompany this rollercoaster ride. Indeed this middle chapter in this inventive trilogy is a feast for comic book and animation lovers and proves that even IP can have an IQ.
Who would have guessed the mystifying problem with Rob Marshall’s live action remake of Disney’s The Little Mermaid (B-) would be subpar animated visual content? Seemingly rendered in a murky millpond leagues away from where James Cameron toiled twelve years on his recent underwater opus, Marshall’s nautical nightmare of unsure blue hues and realistic looking talking sea creatures threatens to sink this ship before it even starts. Parting the waters of this production design debacle is a stunningly watchable fresh-faced pair in the lead performances as star-crossed lovers: the instantly endearing Halle Bailey in gorgeous voice as spirited mermaid Ariel and Jonah Hauer-King as earnest intrepid explorer Prince Eric. Together this dreamy duo could enchant viewers with a charm offensive against a blank backdrop and frankly probably should have. Sequences set in the ocean left much of the cast, including a cerebral Javier Bardem as King Triton, floundering. The story feels oddly like a submerged Bachelorette season: Thirst trap induced longing for life on land prompts the titular heroine to make a Faustian deal with villainous sea witch Ursula (a committed but CGI compromised Melissa McCarthy) to sprout human gams, and fortunately the sequences set on land are the sweet fantasia here. The musical numbers are a mixed bag with “Part of Your World,” “Kiss the Girl” and the new “Wild Unchartered Waters” as standouts, but Oscar winner “Under the Sea” feels like a throwaway, and the less said of a final act sing-speak by a squawking Awkwafina the better. Sure the kitchen scene antics of “Les Poissons” have been excised, but a house of horrors embodied by uncanny valley crab Sebastian, fish Flounder and seagull Scuttle is an omnipresent trilogy of terror. When the movie does more than skim the surface and anchors its fortunes to the central romance with some modern-day thematic resonance, the film featuring curious choices and excellent voices finally begins to stand on its own two feet.
Premiered at Sundance Film Festival and now playing in select theatres including The Tara in Atlanta.
Casting Julia Louis-Dreyfus as a neurotic New Yorker hardly seems novel, but the brassy comedienne’s latest starring turn emerges as an enjoyable lark with ample doses of heart and hilarity beneath the hard edges. Writer/director Nicole Holofcener’s dramedy You Hurt My Feelings (B+) features the high-strung star in a winning, old-fashioned comedy of manners with a funny ensemble of lesser-known collaborators also effective in their roles. First world problems are front and center as the delicate characters endeavor to tiptoe around contemporary challenges without getting sucked down an emotional spiral. Louis-Dreyfus plays Beth, an author who struggles with a lack of self-confidence, and her marriage with an unsuccessful therapist portrayed by Tobias Menzies is thrown into a tizzy when she overhears he’s not a fan of her new work of fiction. Before this revelation, the couple had a peaceful but co-dependent relationship, which makes their only child (Owen Teague) uncomfortable. As Beth’s interior designer sister, Michaela Watkins is a hoot, and she helps Beth cope with her angst, possibly because of her own struggles with an underemployed actor husband (Arian Moeyed). Holofcener is skilled with wry, observational humor and captures breakthroughs in the banter, especially in the margins and knowing looks of disbelief between the two sisters. The relationship between Louis-Dreyfus and Watkins as siblings is marvelous to behold as they balance trying to be good people in a brittle world, accentuated by the appearance of their prickly mom, played with dry wit by Jeannie Berlin. Themes about micro-aggressions and the sweet lies lovers tell one another to blunt the pain are highly relatable. Awkward therapy sessions, debates about v-necks and leftovers and frequent attempts to smooth the rough edges of uncomfortable situations caused by other people abound in this talky, remarkably brisk and recommended film.
Writer/director James Gunn completes his trilogy of space-age strays, agile action, wily wisecracks and nifty needle drops with a wondrous and emotionally resonant finale in Guardians of the Galaxy Vol. 3 (A-). Chris Pratt plumbs deeper emotions fighting the loss of his great romance in this go-round as the ensemble endeavors to save their injured and intubated collaborator Rocket Raccoon by infiltrating a series of treacherous lairs. This leaves a game Dave Bautista, Karen Gillian and Pom Klementieff to carry much of the franchise’s incredible comedy, and they get some wonderful zingers. The film is grimmer and more violent than past outings as it tells Rocket’s onerous origin story and terror at the hands of a truly diabolical villain memorably played by Chukwudi Iwuji. The world building and creature effects are first-rate, and the movie builds to a resonant final act. This epic rescues Marvel from its doldrums, but given its auteur has left to shepherd the DC universe, more greatness lies in store for the latter.
