Matt Furie is a soft-spoken cartoonist living in San Francisco with his wife and daughter. Mild mannered to a fault, Furie immediately smacks of a conflict-adverse, peace-keeping man. He almost certainly had no idea what 4Chan, the online collection of volatile chat boards, was. Then, the site’s users co-opted his most famous cartoon image: Pepe the Frog.
In Amy Seimetz’s moody genre piece She Dies Tomorrow—her first feature as a director since 2012’s Sun Don’t Shine—death is coming for people. Not necessarily in a Final Destination determinism sort of way, but in an existentialist death-comes-for-us-all sort of way. Amy (Kate Lyn Sheil) is seen wallowing in the wake of what appears to be a volatile breakup with a lover. She has fallen off the wagon, cracking open a bottle of wine as she curls up on the floor in despair.
When her friend Jane (Jane Adams) comes to check on her, it becomes clear that there is more to this depressive episode than merely a breakup. Amy insists that she will die tomorrow, that she knows she will die tomorrow.
The Old Guard begins in a relatively familiar place. An elite, covert mercenary group gets hired by an independent party to complete a run-of-the-mill job, only to find that they’ve been set up. It is the standard fare for the genre. To be fair, of course, the opening shot of the film is the leader of this crew, known as Andy (Charlize Theron), apparently lying dead on the ground, her body littered with bullet holes, so it isn’t all generically familiar.
In Mr. Jones, the eponymous Gareth Jones (James Norton) is a Welsh freelance journalist who travels to the Soviet Union in 1933 to interview Joseph Stalin. But the film begins outside of this man’s story, instead landscaping a pastoral farm—animals milling about, fields of grain waving with the wind. Jones, in his journalistic pursuit, stumbles upon a nefarious truth behind Stalin’s Five Year Plan—the Holodomor, in which Ukraine’s grain was exported in vast quantities that caused mass, genocidal starvation in the region.
Director Agnieszka Holland directs some great sequences in Mr. Jones—this opening sequence; a woozy, heroin-fueled party; a quiet, haunting interlude on a train. Still, stretches of the film are rather staid. The first act relies on undercurrents of tension stemming from Continue reading Mr. Jones (2020) Movie Review→
Scott Carlin (Pete Davidson) is a 24-year-old resident of Staten Island who lives at home with his mother (Marisa Tomei); is still not over his deceased father; suffers from ADD, depression, and Crohns disease; spends his days smoking weed, although it no longer gets him high; and finds it difficult to come to terms with his mother’s new boyfriend (Bill Burr), while also being emotionally incapable of holding a meaningful romantic relationship of his own. His highest aspiration in life is to open a tattoo parlor/restaurant.
Willem Dafoe’s title character in Tommaso is conspicuously similar to the film’s writer-director Abel Ferrara. Tommaso is an American of around Ferrara’s age living in Rome with Nikki (Cristina Chiriac), a wife half his age, and their young daughter (played by Ferrara’s real-life wife and young daughter). He is a writer-director trying to crack the code of his next movie, which sounds like a heavily meditative, self-reflexive piece (not unlike Tommaso itself reads).
Josephine Decker’s 2017 film Madeline’s Madeline was fairly electrifying. Armed with a powerhouse performance from Helena Howard, the film resonates with such a unique energy that it is hard to shake. Decker’s latest, an adaptation of a novel about horror author Shirley Jackson, is more subdued in comparison to Madeline’s Madeline. But its energy is similarly unshakeable.
Annie Silverstein’s feature debut, Bull, follows the intersecting stories of an ex-rodeo star turned bull wrangler named Abe Turner (Rob Morgan) and a teenager named Kris (Amber Havard) whose home life necessitates her independence. The two cross paths when Kris breaks into Abe’s house, stealing his alcohol and hosting a party there in order to impress her peers. Instead of turning her into the police, Abe sets Kris to work on his house. But Kris would have preferred to go to juvenile detention.
Universal’s 2017 re-interpretation of The Mummy, directed by Alex Kurtzman and starring Tom Cruise, went for a frivolous, action-oriented romp. It appeared to be searching for something akin to yet distinct from the Stephen Sommers-directed The Mummy (1999) and The MummyReturns—distinguished enough in its choreography to suit Cruise’s devil-may-care persona yet narratively grounded enough to kick off a multi-IP franchise worthy of crossovers and event films.
While on assignment in Louisiana, journalist Michael Block (LaKeith Stanfield) interviews a man named Isaac (Rob Morgan). Michael is struck by a photo in Isaac’s home of a woman (Chante Adams) and decides to follow up on the woman’s story when he returns to New York. She is a recently deceased photographer, and she left behind letters to Isaac and her daughter Mae (Issa Rae). It is through this photograph that Mae and Michael collide, and they do so with an immediate sense of romantic connection.