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Sunday, October 29, 2023

Cinema Playground Journal 2023: Week 43 (My Cinema Playground)

Multiplex Madness


Five Nights at Freddy's
⭐⭐
Genre:  Horror
Director:  Emma Tammi
Starring:  Josh Hutcherson, Elizabeth Lail, Piper Rubio, Mary Stuart Masterson, Matthew Lillard


Five Nights at Freddy's is a title I had heard over and over again without really knowing what it was.  Even now, I'm only familiar with its most surface level reputation than anything specific about, that being that it's a tween-targeted jump scare horror video game series that plays off of the inherent creepiness of children's entertainment animatronics.  Whether or not the movie gets anything right about it, I can't comment on.  The movie centers on some guy desperate to keep a job so he won't lose his little sister in a custody battle, who takes up a job at a closed down children's restaurant where the animatronic creations come to life and murder people.  The movie's charisma lies heavily in its horror elements, which have a campy delight to them.  The animatronics for Freddy's gang are excellent and remarkably expressive, while the spooky atmosphere is flavorful.  Unfortunately, the film falters in the scenes that nobody watching a Five Nights at Freddy's movie is particularly interested in, and that's the human element.  The plight of Josh Hutcherson's character of protecting his sister tries to give the movie a heart, but he's a non-charismatic character who doesn't seem to give much effort into anything he does.  He spends most of his nights at his security job asleep, which not only makes him shit at his job but also seems to miss the point of the games, which is to watch all the spooky shenanigans as they unfold .  The movie is half a stylish entertainer and half the most boring movie you could have made out of this.  On the bright side, it's never both at the same time.

MST Cast Note:  Russ Walko, who plays Growler on our favorite puppet show, worked the animatronics for the character of Foxy on this movie.


Freelance
Genre:  Action, Comedy
Director:  Pierre Morel
Starring:  John Cena, Alison Brie, Juan Pablo Raba, Christian Slater, Alice Eve


John Cena plays a Purple Heart military veteran who is hired by a private security firm to protect journalist Alison Brie as she interviews the foreign dictator who killed Cena's fellow soldiers years prior.  They are attacked during the interview and he finds himself on the run with both his client and his enemy in a country that's in the middle of a coup.  Basically, it's John Cena and Alison Brie in a comedic action romp.  What could go wrong?  Besides the fact that it doesn't work, that is.  I wish it did, because on paper this sounds irresistible, but the screenplay lacks the good humor and the direction lacks the kinetic spirit a movie like this needs.  To be fair, the action scenes are not to bad.  They aren't great, but they're serviceable enough for a movie like this.  It just has no gusto.  The film feels underdetailed and artificial.  And when the film does go for details they feel like strange, staged details, like John Cena watching embarrassing clips of Allison Brie on the internet while she's sitting right behind him, only to set up a scene of her telling him off about why she's a journalist.  It's bad plotting paired with bad comedic timing sucking the blood out of this movie.  Cena and Brie work their best to traverse these bumpy trails, because, as Cena says when the situation goes from bad to worse, "Embrace the suck."


Inspector Sun and the Curse of the Black Widow
⭐⭐
Genre:  Comedy, Mystery, Noir
Director:  Julio Soto Gúrpide
Starring:  Ronny Chieng, Emily Kleimo, Jennifer Childs Greer, Rich Orlow


This Spanish produced animated children's movie parodies noir mysteries from the 1930's...you know, like every child these days loves.  The film centers on a spider, the self-proclaimed greatest detective in the insect world, who finds himself on an airline where a murder of another spider occurs.  The death is pinned on the victim's newlywed Black Widow wife, because of the whole "mate and kill" thing, but she maintains her innocence, and Inspector Sun seeks to find the truth behind the event.  The comedy runs uneven, bordering on monotonous as the primary gag of the movie is Inspector Sun's uncanny ability to focus on the wrong detail at any given moment, and, in an Inspector Gadget fashion, have a supporting player come to the right conclusion only to have Sun take credit with his "I'm glad I thought of that" attitude.  But occasionally the film caught me off-guard with a clever line that made me laugh harder than I'd expect, usually from Sun's plucky sidekick or the femme fatale Black Widow character.  The animation is better than you'd expect, too.  It's not crazy detailed, but the textures are rich and the character models are very expressive.  It's a promising swing that unfortunately hits a foul ball.

Art Attack


Anatomy of a Fall
⭐⭐⭐1/2
Genre:  Drama, Legal
Director:  Justine Triet
Starring:


We have another import from France this week, this one has the luxury of being half in English, so we're not constantly speeding through subtitles.  It's disorienting.  Pick a lane, France!  Anatomy of a Fall sees a writer plunge from his attic window to his death, and his wife is indicted for murder, but maintaining her innocence and believing it to be suicide.  The story, while interesting, feels secondary to the detailed portrayal of living through an event like this while then being subjected to the scrutiny of the court system.  We live through the main character's heartache, the intense pressure she faces when being questioned by all sides, and the fabric of her relationship with her son being torn in two as he begins to hear details of his parents' lives that he didn't know.  The film also is an incomplete picture of what actually happened, as we're led through subjective viewpoints and theories over what went down at the house that day.  When the film ends, we still have questions, because all we know is what we heard in court and what her discussions are with her lawyers.  There's even the lingering question of maybe she did kill him, but we never see her husband's death from a straight-on viewpoint or even what she was doing at the time, as the film only relates any of these events through dialogue.  Is she an unreliable narrator?  Who knows.  That is part of the strength of the film, which paints a picture of two extremes within our head and it allows the viewer to find out which end of the spectrum the truth leans toward.  The film has its own conclusion, but who's to say that it's the correct one?

Movies Still Playing At My Theater
Barbie ⭐⭐⭐1/2
The Creator ⭐⭐⭐1/2
Dawn of the Dead ⭐⭐⭐1/2
Dumb Money ⭐⭐⭐
The Nightmare Before Christmas ⭐⭐⭐1/2
Saw X ⭐⭐⭐
Taylor Swift:  The Eras Tour ⭐⭐⭐⭐ (probably)

New To Digital

New To Physical

Coming Soon!

Sunday, October 22, 2023

Cinema Playground Journal 2023: Week 42 (My Cinema Playground)

Multiplex Madness


Dicks:  The Musical
⭐⭐1/2
Genre:  Comedy, Musical
Director:  Larry Charles
Starring:  Aaron Jackson, Josh Sharp, Megan Mullally, Nathan Lane, Megan Thee Stallion, Bowen Yang


Two identical twins who were separated at birth rediscover each other and conspire to get their parents back together in this zany musical-comedy based on an off-Broadway production.  Those who love the vulgar musical sensibility that Matt Stone and Trey Parker infused into South Park:  Bigger, Longer, & Uncut will probably love the similarly styled Dicks:  The Musical, but with more of a queer flamboyance.  It's one of those movies that when you watch it, you'll know if you love it or not, but those who aren't into it will hate you forever for subjecting them to it.  Its a production that gets away with a lot based on its gay-coded charisma, which is infectious even as it faults.  Its cast is great, and every production from a queer creator either needs either Nathan Lane or at least one cast-member from Will & Grace.  Dicks:  The Musical has both.  It's a good time for those that love cult, underground LGBTQ+ cinema.  Personally, I think the film's ending is a miscalculation, because while it fits the excessive depravity of the entire film, the seemingly good-natured "love is love" message in this context is one that can very easily be distorted, twisted, and weaponized by the worst possible viewer.  That's not the movie's fault, and chances are people who are likely going to take the wrong message from this movie likely won't make it that far into it, but the embracement of its own bizarreness could come back to bite both it and its community in the ass one day.


Killers of the Flower Moon
⭐⭐⭐1/2
Genre:  Drama, Thriller
Director:  Martin Scorsese
Starring:  Leonardo DiCaprio, Lily Gladstone, Robert De Niro


Martin Scorsese took complaints that The Irishman was too long to heart and decided to make his next movie a full three minutes shorter.  Only for this one you have to sit in uncomfortable theater seats instead of watching at home either barrelled down on your couch with a bag of Doritos on your chest or vaguely paying attention while playing on your phone, so it feels longer.  Killers of the Flower Moon tells the true story of a group of wealthy Native Americans who struck oil, which in turn finds greedy white people cozying up to them and slowly killing them off to inherit their wealth over time.  It's a fascinating story, one that can hold interest over it's three-and-a-half hour runtime, and the film is well constructed by a director with a rhythmic vision for it and a group of actors who are prepared to act their butts off in front of a camera, especially Leonardo DiCaprio, who has sad-clown-face the entire movie.  If I find myself at issue with it, it's that while there are very few scenes that are irrelevant enough to trim out, the film feels like it's repeating itself quite a bit as it goes on.  It's trying to be a rolling ball of evolving tension, but it felt that it also laid all its cards on the table early on and it has nothing left.  The film's sudden abrupt blurts of violence stop being effective after five minutes and it all blurs together after a while, because after you've suddenly shot a mother in front of a baby in your opening scene, it's hard to go anywhere from there.  I was almost more jarred when scenes didn't have people abruptly getting shot in the head.  The concluding investigation and trial is a welcome change of pace, bringing about both John Lithgow and Brendan Fraser out of nowhere to just show up for Marty Scorsese cred.  The movie is an interesting watch in spite of its intimidating girth that does threaten to derail, telling a frustrating story of a well-off minority group that still finds itself preyed upon and marginalized by the greed of rich white men.  I liked a lot of what Scorsese did with it.  Just buckle up, because it also demands you spend a sixth of your day with it.  I mean, you could watch Dicks:  The Musical twice instead and it'll probably be more enjoyable.


The Other Zoey
⭐⭐
Genre:  Comedy, Romance
Director:  Sara Zandieh
Starring:  Josephine Langford, Drew Starkey, Archie Renaux, Mallori Johnson, Andie MacDowell, Patrick Fabian, Heather Graham


Have romcoms developed a post-Scream meta that horror movies developed in the late-90s, where the only way for it to be okay that you're making a horror movie is if you point out how stupid horror movies are while doing it?  I don't know, it seems like a lot of romcoms lately play this card, where they establish that romcoms suck by the main character then go through the motions of a romcoms...for irony...I...guess?

Anyway, The Other Zoey is one of those.  A woman who thinks traditional romance is nonsense finds herself the cause of a soccer player's accident which leaves him with partial amnesia...and he believes her to be his girlfriend, because she has the same name as her.  Not wanting to shock him because of his concussion, she plans to come clean to his family, until she finds herself attracted to his cousin and continues the ruse to get closer to him.  This being a meta-romcom, I'll leave it to you to guess who she falls in love with halfway through.  The premise is really, really dumb, something that's needlessly complicated from the getgo simply because one person stutters with honesty and constantly makes bad choices.  Like a lot of bad choices.  Like so many bad choices that even of they aren't intentionally malicious, they most certainly are.  And while farce comedy often does rely on a character who is dishonest to a degree, to work they need to also be a whirlwind of event that makes honesty not that simple.  The Other Zoey never finds that.  The title Zoey continues on the journey of this movie that she always has a backdoor out of, and she has nobody to blame but herself.  She's a character who absolutely does not deserve the romcom "just kiss" happy ending, because while she shows remorse foe her actions, she doesn't actually have a repercussion for them.  But logic doesn't always apply to romcoms, which sometimes just exist to be a series of awkward moments of sexual tension.  There is a cuteness to the movie that's hard to deny, but the main conflict is so disdainful that it sours it.  If the film had found a way to make it less driven by greed and lust, and something more beyond her control to make her actions less vain and terrible.  Cute can only go so far if it's not likeable.


Soul Mates
⭐⭐
Genre:  Thriller, Romance
Director:  Mark Gantt
Starring:  Annie Ilonzeh, Charlie Weber, Neal McDonough


It's Love Connection meets Saw in this odd thriller that wants you to fall in love or die.  Two strangers find themselves chained together in a labyrinth of love and death, as they go from one game to another designed as some satanic dating game, led through each by a mysterious Chuck Woolrey type host played by Neal McDonough, who I'm sure was well paid for a day's worth of work.  There are a lot of moving parts in this movie designed to jolt and shock, but the movie is a puzzle that never quite comes together trying to barrel through its runtime to mask how little everything makes sense as it goes.  The thing about a Saw movie is that the rules are sometimes cryptic but they're there.  In Soul Mates, they're obtuse to the point that when each round ends, I'm still questioning exactly what exactly the characters were supposed to do.  And even if you see the bonding experience that the movie is going for, the events are just so unfair that even if these two did fall in love, they'd just wind up bitter toward each other for the rest of their lives because of this bullshit.  Like decades of couples counseling that doesn't work leading up to the bitterest divorce you can imagine.  The movie does the whole "explaining the entire plot" climax, but it still doesn't fix the aesthetic choices.  Soul Mates might have been better served if it went lighter, less visceral and maybe a bit cheesier, utilizing the romance angle for a frillier production design that fits the "dating" theme. Something to give it a personality, because all the basement corridors and cobwebs aren't doing it any favors.  Maybe if it were less influenced by Saw and more by Escape Room, pushing less gory death for nameless characters that we know next to nothing about and concentrated on death traps that centered on the characters this story revolves around, it might have worked.  But there is a quirkiness to the story that might create a cult following for it, but it doesn't work well enough to break free into a wider audience.

Netflix & Chill


Night of the Hunted
1/2
Streaming On:  Shudder
Genre:  Thriller
Director:  Franck Khalfoun
Starring:  Camille Rowe


You know why Michael Myers is a great antagonist?  Because he has no motivation.  He just is.  He has a thing that he does and he doesn't talk so he can't catfish people into the question of why.  Night of the Hunted is a movie that is fascinated with both a motivation of a killer and the lack of motivation being apparent, intertwining it so thematically within its story that it suffers because of it.

The film feels like a movie made by people who had access to a gas station convenience store and decided to film a movie in it, but since Kevin Smith already made Clerks, they decided to do a thriller instead (possibly a decision made while high and watching Phone Booth).  So they made a movie about a woman trapped in a convenience store with a sniper outside.  The movie starts so well, with some interesting character moments and shock sequences, with cute little touches such as a billboard outside that says "GodIsNowHere," all as one word so it can also be read as "God Is Nowhere" if you look at it differently.  The movie gets significantly weaker the moment it gives the sniper dialogue, who communicates with the lead via walkie talkie, who comes off as a redneck so drunk that he probably couldn't see straight enough to fire a sniper rifle adequately.  He does not shut up during the entire movie, tossing around so much pissant word salad "philosophy" that it turns the mind into Jell-O.  And she has conversations with him that are seemingly meant to be meaningful, but I'm like stop.  Why are you saying anything to this jackass?  The only words that need to be said to him are "Fuck you," because it doesn't matter why he's doing this, he's just an asshole.

And the weird thing is...I think the movie agrees with me...maybe?  The ending is interesting, because the movie seems to leave the viewer with the message that it doesn't matter why people do horrific things.  All that matters is that they've done horrific things, and that's contemptible.  It's not wrong, but this wasn't the way to deliver that message.  A better option might have been to have the lead to try and talk him down and try to understand him, only to receive minimal in return.  Instead it's a movie that keeps yammering pseudo-babble that just wears the viewer down when it should be ramping up excitement.  If the people who made it had trimmed the fat and made a simple short film with this concept, this probably could have been pretty good.  Padded up with this crap just makes its good points paltry.

Movies Still Playing At My Theater
Barbie ⭐⭐⭐1/2
The Creator ⭐⭐⭐1/2
Dumb Money ⭐⭐⭐
The Equalizer 3 ⭐⭐⭐
The Nightmare Before Christmas ⭐⭐⭐1/2
Oppenheimer ⭐⭐⭐
Saw X ⭐⭐⭐
Taylor Swift:  The Eras Tour ⭐⭐⭐⭐ (probably)

New To Digital
Saw X ⭐⭐⭐

New To Physical
Barbie ⭐⭐⭐1/2
EO ⭐⭐⭐
No Bears ⭐⭐⭐
Shortcomings ⭐⭐⭐

Coming Soon!

Monday, October 16, 2023

Cinema Playground Journal 2023: Week 41 (My Cinema Playground)


Sorry to disappoint everyone, but I will not be seeing the Taylor Swift concert movie.  I have nothing against Taylor Swift, I just had no desire to sit in a room with screaming teenage girls to watch a filmed concert that I'm not in the demographic for.  It's best for everyone if I just stay home.  Four stars, probably.  I'm sure it's great if it's your thing.

Taylor Swift dominated the multiplex and it was even picked up by my art house, as well, so this is the rare weekend where I didn't go to the theater.  I had plans to make up for it with a beefy streaming section, but my internet went total dumpster fire this weekend, which made streaming limited.  The one app I can usually get to work is Shudder (and even that crashed a few times and I had to watch sections on my phone, that's how bad it was), so enjoy this duo of horror movies from the horror app.

Netflix & Chill


The Puppetman
⭐⭐
Streaming On:  Shudder
Genre:  Horror
Director:  Brandon Christensen
Starring:  Allison Gorske, Kio Cyr, Angel Prater


A man murders his wife claiming to have been controlled by some unknown force.  As he sits in prison awaiting his death sentence, his daughter begins seeing the people around her acting beyond their control as well.  The Puppetman feels like a bland Nightmare on Elm Street retread, only with less imagination, for a good long while, though if you stick with it, you might find yourself saying "Okay, that wasn't too bad."  The problem with this movie is that its primary twist is so heavily telegraphed throughout the first half of the film that as a viewer I found myself counting the minutes until the characters finally realized it.  Once the movie stops playing coy, it starts becoming more spirited:  Death scenes start to become more creative (one prolonged one where a girl holds her face into a fire is genuinely disturbing) and some of the film's subsequent twists are more interesting.  After about an hour, the movie becomes a full-length feature of the Twilight Zone episode It's a Good Life, and it's actually pretty fun.  The Puppetman plays with some interesting ideas, though it hasn't quite embellished them adequately enough to say this script was ready to be filmed.  It takes too long to get to an obvious conclusion, but you can see what it's trying to accomplish.


V/H/S/85
⭐⭐
Streaming On:  Shudder
Genre:  Horror, Anthology
Director:  David Bruckner, Scott Derrickson, Gigi Saul Guerrero, Natasha Kermani, Mike P. Nelson
Starring:  Jordon Belfi


V/H/S is one of my blind spot horror franchises.  I was always aware it was a thing, I just never tapped into it, other than watching spin-off film Kids vs. Aliens earlier this year for this blog.  Now ten years later, we're on the sixth main installment (not including two expansion spin-off films), and I'm finally taking the plunge.  V/H/S is a horror anthology franchise with each segment told in the "found footage" style, retro'd up to look like a VHS recording (like Paranormal Activity 3 or Skinamarink).  Usually, it's one of those franchises that asks up-and-coming horror directors to contribute something and get their name out there, though heavy hitters will probably join in too.  The biggest name in V/H/S/85 is Scott Derrickson, who is kind of a big deal, having helmed Sinister, The Black Phone, and even the megabudget Marvel film Doctor Strange.  Other names I'm familiar with are David Bruckner, who directed the excellent The Night House, and Mike P. Nelson (NO NOT THAT MIKE NELSON), who directed the lackluster Wrong Turn remake/re-imagining.  Gigi Saul Guerrero and Natasha Kermani are both entirely new to me, though the former seems to be primarily a TV director and the latter has an under-my-radar film on Shudder called Lucky that apparently is very good.

Of the segments featured, Derrickson's is the most well-rounded, featuring a cop who is receiving pre-recordings of murders in the mail days before they happen.  It's an interesting idea, and while it could use some embellishment, the segment does it enough justice.  Nelson is given a two-part segment centering around a group of friends under attack by cultists, which has slight frustrations with ambiguity (which are likely intentional) but is an enjoyable one-two punch of macabre nonsense.  I also took a liking to Bruckner's wraparound bumpers, which are like an Alien Autopsy special about a mutating being named Rory.  Guerroro's segment, featuring TV and rescue crews in the middle of an earthquake finding horror underground, has great style to it, but it felt like there was too much going on and not enough of it coming together.  Kermani's is probably the least of the group, featuring a woman searching Lawnmower Man style virtual reality for a godlike being, which feels like it should be a hit-and-run incident of horror that just takes too long to get going.  Neat effects work, though.  While I was not too impressed with the anthology as a whole, personally I find the format works well for the found footage.  Creating a narrative in found footage is tricky because you have to juggle the plot beats while justifying the storytelling device, which can become a burden in long form.  In short bursts, the stories rarely have a chance to become problematic in presentation.  They can feel anemic in certain areas, but there is a beauty in their lack of detail, seeing bursts of horror coming into being during these small snippets of one's life story that are being recorded.  I think there is an endearment to that idea that has allowed V/H/S to survive, even if it probably isn't all that impressive.  I felt this collection was lackluster myself, but I'm almost interested in checking out a few more once I get a chance.

Movies Still Playing At My Theater
Barbie ⭐⭐⭐1/2
The Creator ⭐⭐⭐1/2
Dumb Money ⭐⭐⭐
Oppenheimer ⭐⭐⭐
Saw X ⭐⭐⭐

New To Streaming
It Lives Inside ⭐⭐⭐1/2

New To Physical
The Boogeyman ⭐⭐1/2

Coming Soon!

Sunday, October 8, 2023

Cinema Playground Journal 2023: Week 40 (My Cinema Playground)

Multiplex Madness


The Exorcist:  Believer
⭐⭐
Genre:  Horror
Director:  David Gordon Green
Starring:  Leslie Odom Jr., Ann Dowd, Jennifer Nettles, Norbert Leo Butz, Lidya Jewett, Olivia Marcum, Ellen Burstyn


That awkward moment when your Exorcist sequel's reviews are in the toilet and it still means it's probably the second or third best movie in the franchise.

I understand the temptation to try and franchise out the movie that is commonly ranked as the scariest movie of all time (it's not, but I'm also not a 70's kid, so my opinion is irrelevant), but historically, sequelizing The Exorcist has notoriously paid off for no one.  Exorcist II:  The Heretic was a disaster and the original novelist William Peter Blatty tried to adapt his sequel novel, Legion, into The Exorcist III and barely anybody heeded it any attention (though it does have some cult enthusiasm surrounding it).  The most recent attempt was a prequel film, which producers hated so much that they tried to throw it away and refilm it entirely into Exorcist:  The Beginning, which is one of those horror movies that is so bad that it's funny.  Eventually they released the original footage as Dominion:  Prequel to The Exorcist, only to have people collectively say "Yeah, this isn't good, but why did you make a worse movie instead?"  Now Universal has reportedly paid $400 million (!) to Morgan Creek to create their own Exorcist trilogy from Halloween 2018/Halloween Kills/Halloween Ends director David Gordon Green.  They could have given me that money and I could have told them not to and it probably would have been more fruitful.  The Exorcist was lightning in a bottle.  It was caught in a shifting tide as audience demographic was becoming less Christian dominated and more agnostic, and along comes this Christian-themed  spook story of a man of faith sitting in a room with a little devil who just looked at him and is all like "Fuck you."  That motherfucker hit hard.  Then the rest happened.

Now we have a new movie with two Demon Girls.  Double the fun?  Interestingly, David Gordon Green does something none of the other sequels have tried to do and is trying to recreate that lightning in a bottle.  It was either the smartest or the dumbest thing any of the other sequels did in that none of them tried to recreate the first movie, each opting to be their own beast.  It took fifty years for someone to look at this franchise and say "Hey, let's do an exorcism."  The fact that Green is the first to try almost feels like a bold move, and one can't say he doesn't come out swinging.  One thing I like about Green's attempts at sequelizing classic horror, be it Halloween or The Exorcist, is that he's pretty adept at picking up the techniques that made these movies special.  Probably my favorite segment in any of his horror movies is the 1978 prologue to Halloween Kills, where he recreates the cinematography and style of the original movie pretty much perfectly, and while the rest of his Halloween films feel like bolder pushing of Halloween's stylings into something heavier and modern.  It feels like he's trying to apply that latter approach to The Exorcist, and some of it sticks but a lot of it doesn't.  There are certain elements of that first film that he latches onto and just repeats more audaciously, such as single frame inserts to make the audience jump unexpectedly and second guess whether they actually saw something.  But he does it bigger and more frequently.  Some of them are neat visuals, but they're ineffective in how overused they are because he never lures the audience into serenity and springs them on them.  He just does it and repeats.  He then takes the opportunity to punctuate scenes with jump scares, which is probably expected in a horror movie, but not really the kind of horror I'd associate with The Exorcist.  That's kind of what the experience of The Exorcist:  Believer is, where it looks like The Exorcist, but pushed to the point where it doesn't feel like The Exorcist anymore.

There is good in the movie.  The two demon girls are well casted and are properly creepy.  Leslie Odom Jr. is a great lead for the movie, and his story of a man without belief seeing his child taken by the devil is certainly an interesting arc.  It was good to see Ellen Burstyn, who probably could have made for a solid cameo, but they keep her for one scene too many, where she faces the two girls face-to-face and acts as some sort of priest.  That's not who her character was in the original, but okay.  It's things like that where I can recognize the intent of the movie, but it just feels wrong.  The movie didn't make me a believer that The Exorcist should be a franchise.


Shelter in Solitude
⭐⭐
Genre:  Drama, Comedy
Director:  Vibeke Muasya
Starring:  Siobhan Fallon Hogan, Peter Macon, Robert Patrick, Dan Castellaneta


A singing bar owner loses her tavern during the Covid pandemic, and takes up a job as a prison guard, where she bonds with a death row inmate.  The strength of Shelter in Solitude lies with its talented cast, who play the roles with bravado, though I question the movie's thematic intent because it doesn't really seem to know itself.  Is it about justification?  That's the closest I can think of, because the film spends a lot of time trying to make a death row inmate at peace with where his life ended up.  But even if that's the case, the movie asks us to empathize with characters who display limited empathy themselves.  Siobhan Fallon Hogan's character mostly just bonds with Peter Macon's because she's a chatterbox, and while there is some charm to her relentless jabbering wearing him down, the built relationship is limited.  Meanwhile the film also uses the pandemic as a backdrop recklessly.  It has an opportunity to display dramatic downturn in the working class life struggle but chooses instead to seize the opportunity to crack a few mask jokes.  The movie tries so hard, but its approach is crusty and broken.  It doesn't even deliver a proper ending, throwing a dramatic climax in the audience's face then cutting to black, with little interest for what our characters might have taken with them from this story.  It just peaces out.  Even when it works, it's just a glimmer of sunshine on a gloomy day.

Art Attack


My Sailor, My Love
⭐⭐⭐1/2
Genre:  Drama, Romance
Director:  Klaus Härö
Starring:  James Cosmo, Bríd Brennan, Catherine Walker, Nora-Jane Noone, Aidan O'Hare


After spending some time in Ireland in Flora and Son last week, we've got some more Irish swagger this week with the ageless romance My Sailor, My Love, which sees a housekeeper hired to take after a woman's depressed father who lives in solitude, only to have the pair fall in love.  What the movie does very well is how it starts very soft and quiet, as there is an aura of silent resentment between the two characters portrayed through a thick level of awkwardness.  The movie gets more verbal as it goes on, as the father softens up as he enjoys the company more and more, choosing to express himself more openly.  The film also offers an interesting dramatic parallel between the father's life and his daughter's, who's personal relationship is souring while her father's is blossoming.  The dramatic conflict begins to center on the two very different personal life placements after years of a relationship that has gotten colder with each passing day.  The story evolves from being a story of elderly romance into one of people who want their needs to be seen, and the turmoil it can cause when they are neglected.  The points of view between the characters can be a little abrasive at first, but the longer it goes on, the more they make sense, even if they seem needlessly cruel.  It's a movie about misery and beauty and the hope that our eyes are wide awake to see the beauty that meets us even in our darkest moments.


The Royal Hotel
⭐⭐⭐
Genre:  Drama, Thriller
Director:  Kitty Green
Starring:  Julia Garner, Jessica Henwick, Toby Wallace, Hugo Weaving


Two traveling companions take up jobs as barmaids in a remote hotel in the middle of the Australian outback, though they become more unsettled as time goes on by the bar's tumultuous patrons.  It's probably reasonable to wonder what this movie is about for a good while, because its slow burn nature becomes ponderous.  The film takes a while to get going, choosing to characterize its setting and, to a lesser extent, its characters.  The movie isn't too keen on exploring who these girls are, instead showcasing how this surrounding makes them feel.  The movie's theme becomes clearer as time goes on that it's about the uncertainty of a woman's safety surrounded by strange men, as the uneasiness tends to take hold as more predatory behavior starts to take focus and these girls start to disrupt the attitudes of men just because they are present.  They're two newcomers in a position held by rotating young and attractive girls that are enthusiastically accepted by the drunk and lonely residents who live in a desert, and some men have "expectations" for that role.  It's a look at the discomfort and internal anger in the center of a woman's life when they have no control over how they're seen.

Netflix & Chill


The Caine Mutiny Court-Martial
⭐⭐⭐1/2
Streaming On:  Paramount+
Genre:  Drama, Legal
Director:  William Friedkin
Starring:  Jason Clarke, Monica Raymond, Lance Reddick, Kiefer Sutherland, Jake Lacy


There is a slight bit of delicious coincidence/irony that that the final film from the late director of the original Exorcist hit streaming the same weekend as the latest Exorcist movie hits theaters.  I wonder which was better.  Hint:  it's this one.

Based on a play that takes the court martial portion of the novel The Caine Mutiny and turned it into a legal stage drama, The Caine Mutiny Court-Martial very much feels like a stage play.  That's actually the thing I love about legal dramas, because they can take a stage play's shortcomings of dramatic gestures and waiting to deliver monologues and actually deliver them in a setting where they're required to function.  These melodramatics are now the strength that glues the entire production together.  The Caine Mutiny Court-Martial can sometimes stutter as it just throws a camera into the actor's face and forces them to recite rather than act, but its something its cast can overcome when they start to show signs of struggle.  Friedkin throws a lot of actors into the water without a life vest, and he's counting on them to know how to swim.  Everyone is uniformly excellent, letting their inner stage thespian through, including another dearly departed member, Lance Reddick, in one of his final film roles before his passing.

Some might be a little disappointed that this film is rather low-key for Friedkin's last film, but his advanced age reportedly wouldn't have allowed the film to be any more expansive than it is (there's a reason this is an adaptation of the stage play and not a full Caine Mutiny adaptation), so much so that apparently another Academy Award winning director, Guillermo del Toro, was on hand to fill in if need be.  The Caine Mutiny Court-Martial doesn't offer up an underlining of the man's career, but it is instead a lovely little punctuation.


Pet Sematary:  Bloodlines
Streaming On:  Paramount+
Genre:  Horror
Director:  Lindsey Anderson Beer
Starring:  Jackson White, Forrest Goodluck, Jack Mulhern, Henry Thomas, Natalie Alyn Lind, Isabella Star LaBlanc, Samantha Mathis, Pam Grier, David Duchovny


It isn't October unless we get a shitty horror sequel.  If you thought the new Exorcist was going to be it, Pet Sematary is back to say "Hold my beer."

Let's fucking GOOOOOOOOO!

I got to hand it to the Pet Sematary franchise, because, quality aside, everybody who touches this franchise is committed to making the most relentlessly bleak movies they can, packed with characters who learn the moral lesson to just give up on life because hope is always rewarded with suffering.  But what can you expect from an idea that spawned from Stephen King's story about a two-year-old getting hit by a semi truck, dying, coming back to life, and trying to murder his family.  Bloodlines is the fourth movie from this franchise, serving as a prequel to the remake film that feels like it came out a decade ago, but actually came out in 2019 but just feels like longer because 2020 alone felt like five years itself.  Taking place fifty years prior, the film centers on Jud Crandall, last played by John Lithgow but here played by Jackson White, who is a young man desperate to escape his home town, but finds his exit complicated as the burial ground brings a deceased friend back to life.  The Pet Sematary premise is probably one that can be explored beyond King's tale, though I'd claim that the attempt seem here is too light to really embellish it beyond anything King and those that adapted him already did.  Without anything new to intrigue, the film just becomes a drab slog.  At this point I'd probably look for thrills to win me over, but the movie largely doesn't have any.  Maybe the acting can save it?  No such luck.  Most of the actors are going for melancholy, but they just come off as detached, like they're disinterested in the film's story.  And it's not just one performance, either, which means this is a production flaw.  The only actors who get out unscathed are the ones who have scenes that allow them to emote more colorfully, which happens to be supporting actresses Natalie Alyn Lind and Isabella Star LaBlanc.  In fact, the highlight of the movie is a chase scene through a hospital between the two.  They're the two shining stars of this movie, but the movie rewards them by doing its damnedest to drain their energy.  And as the film's promising aspects circle the drain, the film loses any interest value it could have.  Pet Sematary has never been a great franchise, or even a good one, but at least other movies in this series were something.  Bloodlines isn't really anything.


Totally Killer
⭐⭐1/2
Streaming On:  Prime
Genre:  Comedy, Horror, Science Fiction
Director:  Nahnatchka Khan
Starring:  Kiernan Shipka, Olivia Holt, Julie Bowen, Randall Park


Great Scott!  It's Back to the Future with a killer twist!  A serial killer in a Max Headroom mask kills three teenagers in the 80's, then returns thirty-five years later for the one victim that got away.  The final victim's teenage daughter just happens to have a friend with a time machine (like one does), and she travels back in time to 1987 to stop the killer during the original murders, and happens to bump into her teenage parents along the way.  Totally Killer is in that Christopher Landon tradition of taking a beloved film (Groundhog Day, Freaky Friday) and adding a serial killer to it (Happy Death Day, Freaky).  Back to the Future is probably one that Landon is kicking himself for not thinking of, but considering he was just hired to write and direct Scream 7, he's probably doing just fine regardless.  Even still, if you love Landon-style comedy/horror, Totally Killer is worth a watch.  It's not a perfect movie (but neither are Happy Death Day or Freaky, but I won't get into that), but it's very light, fluid, and entertaining.  And doing a time travel slasher movie like this right now is kinda perfect, because it flings you back to the 80's, where this genre was at its peak.  Though when you get into the nitty gritty of a movie like this, it sometimes indulges in its worst vices, such as meta commentary about its loopy premise (the film name-drops Back to the Future more than once) and over reliance on culture clash (a lot of jokes rely on applying political correctness to 80's teen culture).  I think a movie like this can indulge itself like that, but it needs to balance itself out by forging ahead within its own identity, which is something a similarly pop culture self-aware horror movie like Scream was able to do (though Scream sequels struggle with).  Totally Killer owes a lot to its meta, and I can forgive it for being a little in love with it.  I just wish it was a flirtation rather than a full make-out session.  Like the movie says, "Too horny!  Too fast!"

Movies Still Playing At My Theater
Barbie ⭐⭐⭐1/2
The Creator ⭐⭐⭐1/2
Dumb Money ⭐⭐⭐
The Equalizer 3 ⭐⭐⭐
Expend4bles ⭐⭐
The Nun II ⭐1/2
Oppenheimer ⭐⭐⭐
Saw X ⭐⭐⭐

New To Digital
The Equalizer 3 ⭐⭐⭐
The Nun II ⭐1/2

New To Physical
Prey ⭐⭐⭐
Talk to Me ⭐⭐⭐⭐

Coming Soon!

Sunday, October 1, 2023

Cinema Playground Journal 2023: Week 39 (My Cinema Playground)

Multiplex Madness


The Creator
⭐⭐⭐1/2
Genre:  Science Fiction
Director:  Gareth Edwards
Starring:  John David Washington, Madeleine Yune Voyles, Gemma Chan, Ken Watanabe, Sturgill Simpson, Allison Janney


An original sci-fi concept brought to us by Godzilla 2014 director Gareth Edwards, who has been on the relative down low since being sidelined as the director of Rogue One (which was reworked by Tony Gilroy).  Edwards has never publicly stated anything about Rogue One's production woes, but when you look at how long it took him to work on another film, I've always assumed it might have left him particularly winded, if not sour.  Now he's back with something that's not established IP, which he hasn't done since his debut with Monsters.  Despite that, there is a bit of familiarity to it, which is basically an I Robot type story of artificial intelligence and what constitutes the difference between "intelligence" and "sentience," and of course how mankind perceives the latter as a threat (flippantly excusing the idea of something being smart as being different than being alive).  Some films would traditionally portray that threat as justified, like Terminator or The Matrix, though The Creator takes the route that mankind doesn't fear machines that can think specifically, just something that exists on their level or above.  That's the basis of colonialism, slavery, and war, humanity trying to trump other beings that may be their match usually to prove superiority out of fear of what one might achieve if it thinks it's an equal. The Creator tells this through the lens of John David Washington, who is enlisted to help destroy a weapon the colony of sentient machines has created, only to find out it's a small robot child.  He bonds with her and connects with her, breaking down the walls of what he believes about AI, to stop thinking of her as a machine and start thinking of her as an individual.  The film is philosophical and gorgeous, like some of the best sci-fi out there, while also taking some grand inspiration from Japanese Ronin and Samurai cinema.  There are some aspects of the plot that I don't think connect they way the film wants it to, but for those who like their effects movies with brain power will find The Creator up their alley.

It also spells out my life philosophy in one go:  "I don't give a shit about becoming extinct.  I got TV to watch."  Brother, I feel you.

MST3K Note:  This movie features footage from Invasion of the Neptune Men.  I am not making this up.


Paw Patrol:  The Mighty Movie
⭐⭐⭐
Genre:  Adventure, Superhero
Director:  Cal Brunker
Starring:  Mckeena Grace, Taraji P. Henson, Marsai Martin, Christian Convery, Finn Lee-Epp, Robn Pardo, Luxdon Hamspiker, Christian Corrao, Callum Shoniker, Nylan Parthipan


Chase is on the case, Rubble on the double, and other trademarked catchphrases attributed to the dogs that I can't remember the names to!  The Paw Patrol return to the big screen in their second feature film based on the Nick Jr. series that has held surprising longevity since 2013, back when they were just public service pups who helped sea turtles cross the street.  This time around they save the town from a falling meteorite which grants each pup a superpower, but a local mad scientist tries to steal the power for herself and creates the Paw Patrol's worst nightmare:  a fifty-foot politician.  Also, Skye (she's the pink one with the airplane) battles body image esteem issues.  If you're in the market for a Paw Patrol movie (which probably means you either have kids or just really like dogs in cute outfits), then the film is a wise investment.  It's what you can reasonably expect from it, as it's still simplistic and cute, but features more detailed animation than the series and larger set-pieces.  As for myself, I have nothing against Paw Patrol, I'm just not in the demographic for it.  I've watched my fair share of it with children in my lifetime (and heard the Pup-Pup-Boogie way too many times), and it's a likable show that I've never seen a child respond negatively to.  If I had one observation about this movie, I'd say that the Paw Patrol at it's core is about lessons of teamwork and helping the community.  Turning the team into superheroes who break giant rocks with their bare paws kinda deflates that concept.  But I also have to acknowledge that the people who made this movie are in a position where they have to take this simplistic concept and turn in it into an actual movie while keeping the morality and themes of the franchise intact (and also to create new character models and accessories for the toy line, but I'm not going to get into that), which is easier said than done.  On that level, they did a pretty good job.

As for parents wondering how bored they will be, the film is primarily an anchor to keep children sitting down in one spot for 90 minutes, and Paw Patrol humor is simple and tailored to the very young.  There a few light chuckles that might entertain adults, and nothing inappropriate (except maybe some poo innuendo).  It's never cringe, just light.  I enjoyed the villain.  I thought she was pretty fun.  Kim Kardashian had a cameo as a poodle that was pretty funny.  If kids asked me to watch it with them a second time with them on Paramount+, I wouldn't say no, but it's not a youth-oriented animated film that most adults will watch of their own volition.


Saw X
⭐⭐⭐
Genre:  Horror, Thriller
Director:  Kevin Greutert
Starring:  Tobin Bell, Shawnee Smith, Synnøve Mackey Lund, Steven Brand, Renata Vaca, Michael Beach, Joshua Okamoto, Octavio Hinojosa, Paulette Hernandez


The way that Lionsgate has flat out refused to let the Saw franchise die almost feels like a metaphorical parallel to the series' moral code of the sacrificial will to survive.  Every few years they just toss a pile of money at one in hopes that maybe it will live, but the result is often a painful and humiliating failure like Jigsaw or Spiral.  I'd like to think it's out of devotion to the franchise that made the studio as big as it was (Lionsgate likely would still be a small little distributor if they hadn't kept pumping ten million dollars into films that were generating hundred million returns for seven years), but it's likely just IP milking and testing the audience by asking "Remember this thing?  You still like it, right?"  The problem they kept bumping into is that it doesn't matter who the new Jigsaw killer is, none of them are John Kramer.  Kramer is an interesting character who's life outlook made the franchise worth your attention span, and he died in the third movie.  Every copycat or apprentice that they try to prolong this series with is just an asshole.

So, I guess the answer to this is just bring John Kramer back.

Coming in just before the twentieth anniversary is this tenth film, which is actually a mid-quel set in between the first and second movies.  The still-terminally-ill John Kramer seeks out a miracle cancer treatment but finds it to be a long con grift.  Since hell hath no fury like a Jigsaw scorned, he and his apprentice Amanda Young then seek retribution against these crooks by subjecting them to his unique gauntlet of survival tests.  Tobin Bell and Shawnee Smith both return to their iconic roles, each definitely looking twenty years older than when we last saw them both (dead on the floor), but it's largely a non-issue because what sells Saw X in particular is that it's the deepest dive into John and Amanda's relationship we've ever seen, and the interplay between the two is something most fans of the series will live for.  The film's heavy emphasis on drama might be a turn-off for some, because it's a much slower-paced Saw film than any of the others.  The normal plot-structure for a Saw movie is to jump into its main players during the game and discover just how awful these people are as it goes.  Saw X takes a different approach in showing us their cruelty in an extended prologue, so the audience member knows why these people are in Jigsaw's clutches.  It might feel a tad wonky in the context of this particular series, but it gives us an outlook through John Kramer's eye, shows us what he sees and how he runs his show.  It's the most interesting a Saw film has been in quite a long while.  One could probably argue that it's even the best one.  It probably depends on why you're here.  If you want deathtrap creativity, Saw X will likely leave you cold, but as a constructed movie, Saw X is heads and shoulders above the rest.

Art Attack


Flora and Son
⭐⭐⭐1/2
Genre:  Comedy, Drama
Director:  John Carney
Starring:  Eve Hewson, Jack Reynor, Orion Kinlan, Joseph Gordon-Levitt


Flora and Son is also readily available on AppleTV, so if it's not playing in your area, you can watch it at home.  My indie cinema was able to pick it up for the big screen, where I watched it with a bunch of folks much older than I am who were no doubt uncomfortable with the several scenes of graphic sexual talk involving blowjobs and ejaculation.  Or maybe they weren't.  Maybe they were like "Giggity."

Flora and Son is about a 30-year-old Irish woman with an audacious personality who had a son very young in life.  Now with her son a troubled teenager and her past her roaring 20s and without anything stable in her life, she fetches a guitar out of the garbage and decides to commit to learning how to play it, taking online lessons from a man in America who she has a flirtatious relationship with.  As she starts to mold a musical identity through it, she finds that creating music strengthens her relationship with her son.  The film's subject probably won't surprise fans of director John Carney, who has made a living off of dramas based around music.  I'm not familiar with his work (I've heard of the movie Once but I haven't seen it), so I came into Flora and Son without knowing a whole lot about it.  I rather enjoyed the film's message of passion, and how our deep interests can connect us and build bridges where that might have burned down, demonstrated by Flora's rather invigorating interest in helping her son develop his own music.  The romance between her and Cobra Commander himself, Joseph Gordon-Levitt, is probably less interesting, but it's a sweet portrayal of artistic collaboration and finding the partner that you can work harmoniously with.  A lot of the charm has to do with Flora herself, who is a colorful character played with fire by Eve Hewson, whose interactions with those around her are never boring because she keeps them flavorful.  With that key central performance nailed down and the film's grounded themes of frustrations with unfulfilled potential and personal (and distant) connection with the people who can bring that potential to the surface make the film a funny and touching must-see.

Netflix & Chill


Nightmare
⭐⭐
Streaming On:  Shudder
Genre:  Horror
Director:  Kjersti Helen Ramussen
Starring:  Eili Harbor, Herman Tømmeraas


Hello, Norway!  It's your turn to give Shudder a horror movie, which sees a woman moving in with her boyfriend to potentially start a family, only to suffer unbearable night terrors every time she falls asleep.  Nightmare is one of those horror movies that exists when you watch it just barely enough for you to realize you're watching something, then you'll likely never think of it again.  There's nothing wrong with it.  It's solidly made and it plays with some interesting ideas, but there's nothing that jumps out at me as particularly noteworthy about it.  A horror movie about dreams is always going to have a rough go, because you're going to have that benchmark of Nightmare on Elm Street looming over you.  Nightmare even plays with a premise from one of the Elm Street sequels, which also involved dream hauntings and unborn child possession.  Nightmare at the very least is a better movie than that particular Elm Street movie, and it doesn't try to ape anything else from the Elm Street franchise, attempting to be its own dreary beast.  It's hard to be enthusiastic about a movie that is about as energetic as a sleepwalker, though, which makes it an easy thing to just click over to the next program on with your Shudder app.

Movies Still Playing At My Theater
Barbie ⭐⭐⭐1/2
Blue Beetle ⭐⭐⭐
Dumb Money ⭐⭐⭐
The Equalizer 3 ⭐⭐⭐
It Lives Inside ⭐⭐⭐1/2
The Nun II ⭐1/2
Oppenheimer ⭐⭐⭐
Talk to Me ⭐⭐⭐⭐

New To Digital
Blue Beetle ⭐⭐⭐
Gran Turismo ⭐⭐1/2

New To Physical
Elemental ⭐⭐⭐
A Thousand and One ⭐⭐⭐1/2

Coming Soon!