George Miller’s Furiosa is a prequel to his acclaimed fourth Mad Max film, Fury Road. It tells the story of how Furiosa (portrayed by Charlize Theron in Fury Road and Anya Taylor-Joy here) found herself in the employ of the despotic leader of the Citadel, Immortan Joe (Lachy Hulme, who is only slightly less menacing than Fury Road’s Hugh Keays-Byrne).
Beyond being one of those prequels that merely traces the line back to the start, Furiosa also spends much of its runtime fleshing out the world of the Mad Max Wasteland and the three tenuously symbiotic settlements that keep life there from snuffing out. The combination of these two threads – the personal story of Furiosa and the grander narrative of human survival – make for a film that weaves vengeance and history-making into an epic yarn.
You suffocate, then you learn how to breathe again.
Jane Schoenbrun’s magnificent I Saw the TV Glow is a suburban-set semi-hallucinatory, semi-body horror piece of magical realism. Yet the film feels definitively lucid, articulating with striking poise a story about fluid identity and the repressive external forces that work to render that fluidity categorical. It is also a film whose body horror elements (which are quite minimal to the eyes of a frequent horror viewer) should not scare away the squeamish. Indeed, much of the horror regarding the body involves deeply conflicted and isolating internal states, as opposed to buckets of blood.
As for the magical realism, it is the icing on this hazy, flickering cake. Aided by an effectively moody soundtrack and some evocative imagery, Schoenbrun produces a film that feels Continue reading I Saw the TV Glow (2024) Movie Review→
John Krasinski’s IF is something of an imaginary creature in today’s cinema landscape. Paramount’s aspirant blockbuster is a full-on big budget children’s film with no attachment to established intellectual property. Compare this to essentially every other family offering coming up this summer: Despicable Me 4, The Garfield Movie, Inside Out 2, Harold and the Purple Crayon. The big purple elephant in the room is the weird imaginary friend movie that is a big studio risk in desperate search for an audience. This audience, one imagines, is families. The kids come for the colorful creatures that are wholly unrecognizable to them, and the parents stay for…potentially life threatening heart surgery?
The shame is that the diverse array of computer-generated imaginary things (they prefer to be called “ifs” for whatever reason) are mostly great visual effects, and they also are occasionally characters with personality. The potential for this to be Continue reading IF (2024) Movie Review→
The team of directors Matt Bettinelli-Olpin and Tyler Gillett and screenwriter Guy Busick have been well-discussed on this site. I have, in general, enjoyed their recent output – Scream VI notwithstanding. Their latest, Abigail (based on a story by Stephen Shields, who also gets a shared writing credit), has a similar generic blend to 2019’s Ready or Not. The latter film, a violent and comedic Most Dangerous Game send-up taking place almost entirely at one lavish estate, was a good bit of morbid fun. Abigail, an even more violent comedy horror film taking place almost entirely at one lavish estate, is similarly good for a light bit of morbid fun.
Wes Ball’s The Kingdom of the Planet of the Apes moves the world of the 2010s Apes trilogy multiple generations of apes into the future. Caeser (Andy Serkis) long deceased, the planet of the apes has mostly forgotten his impact on their world. Apes now live in clans, scattered around the ruins of human cities. One gorilla, who has adopted the name Caeser for himself, wants more than a clan. He desires an empire. Proximus Caeser (Kevin Durrand) violently destroys neighboring clans and brings the surviving apes into his kingdom.
David Leitch’s The Fall Guy is, in many respects, a love letter to the stunt performers that have allowed cinema to function properly for many a decade. At this level, the film definitely excels. Stuntman Colt Seavers’ (Ryan Gosling) opening voiceover monologue keys us in to the philosophy of the stunt performer: they keep everything looking exciting and propulsive, but their job is to be invisible by design. The best stunt performer disappears. Remember this; it will be important later.
Leitch’s comedy-action-romance benefits from the residual effects of the dump-truck of charisma that was Ryan Gosling in Barbie. Fittingly, the film opens the 2024 Summer movie season and promises an Continue reading The Fall Guy (2024) Movie Review→
The Ministry of Ungentlemanly Warfare tries hard to be a rag-tag action film with a roguish, rugged charm. Based (however loosely) on the book Churchill’s Secret Warriors by Damien Lewis, about the small group of fighters covertly deployed by the British military during World War II, the film depicts Operation Postmaster. Postmaster was a mission to steal three German cargo ships that provided essential supplies for the Nazi U-boats. As the movie tells it, the U-boats were vital to the German’s control over the Atlantic Ocean, and thus cause for reticence when it came to the United States’ decision to join the War.
Since I was a preteen, I have been insomniac off and on. Thus, I spent a good number of nights in my formative years in my parent’s basement flipping through television channels, broadcast and cable. I suppose late night TV, as a result, has something of a hold on me. Not late night in the Jay Leno sense, but in that sense of discovering weird programming that no self-respecting network/station exec would allow to be aired in the daylight. Footage of Anton LaVey on PBS, things of that nature.
One could describe great dialogue as like a tennis volley. In the case of Luca Guadagnino’s Challengers (dialogue provided by writer Justin Kuritzkes), the simile is essentially literalized. For three tennis players of differing star power, tennis is a contentious conversation, and contentious conversation is rarely far removed from talk of tennis. That is to say, as the relationships between Tashi Duncan (Zendaya), Art Donaldson (Mike Faist), and Patrick Zweig (Josh O’Connor) grow more knotty, melodramatic, and complex, the thin line that separates on-court competition from romantic interests is hopelessly blurred.
Somewhere in the midst of the haggard kerfuffle that is the frozen empire of Ghostbusters: Frozen Empire, Ernie Hudson’s Winston Zeddemore tells Dan Aykroyd’s Ray Stantz something to the effect of the old cliché, “we’re getting too old for this.” This does not come across like a self-aware nod toward the inherent redundancy and inessential nature of Hollywood reboot culture. It feels more like the film accidentally self-reporting.
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