Multiplex Madness
The Holdovers
⭐⭐⭐
Genre: Comedy
Director: Alexander Payne
Starring: Paul Giamatti, Dominic Sessa, Da'Vine Joy Randolph
It's a Wonderful Knife
Journey to Bethlehem
This is not a recommendation for general movie-goers, but given what this movie is, if you're on the market for faith movies in general, then I'd say this is probably a must-see (unless you need the dramatic preaching to the choir, then you'd probably be better off seeing Jesus Revolution). I've seen quite a few faith movies with this cursed movie pass that I have that allows these blog entries to be possible, and a lot of them are complete garbage. Many of them I don't know what they are going in. Some are more obvious, and I don't always see because some week's I'm like "I just can't." Journey to Bethlehem is a title that had full clarity to what audience it was made for, and I did give it a little consideration to...just not. While I, personally, probably would have treasured sleeping in more than seeing this movie, I'm a little glad I did give this movie a chance during the same year I saw a dumpster fire like Southern Gospel, because if I am going to see a faith movie, I'd much rather it be this.
The Marvels
Entertaining but slight offering from the usual banger tentpole machine at Marvel Studios (I will not apologize for liking the delightfully weird Quantumania, thank you) sees Carol "Captain Marvel" Danvers' powers get entangled with Kamala "Ms. Marvel" Khan and Monica "Insert Superhero Name Here" Rambeau, causing them to switch places whenever they use them. Things go from bad to worse as the Kree begin to plunder other planets for resources, causing the three to somehow figure out a way to work in unison. Energy is high in The Marvels, which gets by with loads of charisma from its three charming leads, but that energy also leads to a certain hectic plotting, which makes the film come off more like clumsy chaos. The film isn't broken because of it, but it does feel like its lacking details that would allow more clarity. Plot points are brushed past (it almost feels as if there was a Captain Marvel sequel that wasn't made that we missed that was supposed to set this movie up), while the switching mechanic that the movie sells itself on doesn't help, as it becomes difficult to keep track of who is where and where the stakes are at because of it. But it's a fun idea, and there's a wild movie at its core. It feels compromised away from the movie it should have been, though.
Netflix & Chill
The Killer
"If I'm effective, it's because of one simple fact: I. Don't. Give. A. Fuck."
Painstakingly stylized like a high school comedy straight out of the 1970's (right down to ensuring the trailer held the same aesthetic as trailers of the period), The Holdovers sees Paul Giamatti playing a hardass teacher at a prep school tasked with looking over the group of students who are unable to return home for the holidays. The film is a more interesting creative exorcise than it is a story, as director Alexander Payne recreates a lot of flourishes with a fine attention to detail. Even the script evokes the feel of a film from the period, including their faults. The screenplay works as a bit of an allegory for holiday depression, taking a look at characters who are all feeling some lonesome blues due to one circumstance or another and coping with it however they can. But for a movie called The Holdovers, they abandon the plural of the concept quite early on to focus on bonding Giamatti with only one of his students. This is either smart, because it simplifies the film's focus, or a missed opportunity, because so many characters are dropped so suddenly that one wonders if they could have been made similar mentor connections and had made the film richer. Given what the movie did decide to go with, the movie works some successful stabs at comedy and even pretty sweet at times. Giamatti also does great work to hold this movie on his shoulders, trusting Payne to construct the rest around him. If nothing else, they're the perfect pairing for this.
It's a Wonderful Knife
⭐⭐
Genre: Horror, Comedy
Director: Tyler MacEntyre
Starring: Jane Widdop, Jess McLeod, Joel McHale, Justin Long, Katherine Isabelle, Cassandra Naud
Last month we checked Back to the Future off of the "classic movie slasher remake fad" list, and just in time for the holidays, we have one for It's a Wonderful Life. Merry Christmas, Bedford Falls!
This flick sees a teenage girl stop a masked killer one fateful Christmas Eve, then finding her a year later with her life worse for the wear. Thinking she's at the end of her rope, she makes that Jimmy Stewart wish of wanting to never be born, only to find it granted instantly. Now she's trapped in an alternate reality where she doesn't exist, and a serial killer has been roaming free for the past year. Clever ideas are implemented, but to cut to the chase, this movie isn't very good. It's script feels rough around the edges, with plot points that are clumsily executed to make the movie move faster. The movie also struggles with budget limitations, and it does the best it can with what it has to work with, though the suspense scenes suffer for the sake of keeping the movie a lighthearted goof. The thing that makes this movie worth a watch, especially if you love doofy little horror movies that lack logic, is that all of the performers are all-in on this movie. We even have some seasoned horror veterans hamming it up to give the movie some charisma, including Ginger Snaps' Katherine Isabelle, Influencer's Cassandra Naud, and Jeepers Creepers/Tusk/Barbarian's king of weird, Justin Long, giving the most off-putting performance of his career, aided by a spray-on tan, blue contact lenses, false teeth, and a bad wig. That's not even mentioning the lesser known actresses at its center. Jane Widdop is an excellent lead that works in the movie's favor even when it's at its most absurd, and even better is Jess McLeod as the town outcast who is the only one who believes her story. Widdop and McLeod's relationship in the film is the most driven aspect of it, and through them the movie builds on It's a Wonderful Life's "one life can influence everyone around them" in cute and surprisingly touching ways. The duo puts out two lovely performances that keep the movie's heart beating. I wish they were in a better movie, but it was worth the sit-down just to watch them shine.
Journey to Bethlehem
⭐⭐⭐
Genre: Faith, Musical
Director: Adam Anders
Starring: Antonio Banderas, Fiona Palomo, Milo Manheim
The film is the story of Mary and Joseph's romance and the Nativity told as a pop artist Christian Rock opera. And if it weren't already clear enough, the movie is a total cornball. It's drama can be hammy and its comedy broad and silly. I feel in my gut that the intent of the movie was to tell this story like a 90's Disney Renaissance flick. At least, to the best of their ability. There are limits to what they can do, and it's hard to do catchy musical numbers through gospel. They give it their best go, though, even if it results in anachronistic silliness most of the time. It's a movie that takes its knocks on the chin, but stands proudly with its faults without care of being judged. It just wants to exist as a wholesome entertainer for Christian families. If your Christian faith is an important part of your life and are looking for something faith-affirming to watch with your kids (who aren't ready to see how brutally this child is going to get killed in the gritty sequel, Passion of the Christ), this is probably going to be your favorite movie of the year.
The Marvels
⭐⭐1/2
Genre: Superhero, Action, Adventure, Science Fiction
Director: Nia DaCosta
Starring: Brie Larson, Teyonah Parris, Oman Vellani, Samuel L. Jackson, Zawe Ashton
Entertaining but slight offering from the usual banger tentpole machine at Marvel Studios (I will not apologize for liking the delightfully weird Quantumania, thank you) sees Carol "Captain Marvel" Danvers' powers get entangled with Kamala "Ms. Marvel" Khan and Monica "Insert Superhero Name Here" Rambeau, causing them to switch places whenever they use them. Things go from bad to worse as the Kree begin to plunder other planets for resources, causing the three to somehow figure out a way to work in unison. Energy is high in The Marvels, which gets by with loads of charisma from its three charming leads, but that energy also leads to a certain hectic plotting, which makes the film come off more like clumsy chaos. The film isn't broken because of it, but it does feel like its lacking details that would allow more clarity. Plot points are brushed past (it almost feels as if there was a Captain Marvel sequel that wasn't made that we missed that was supposed to set this movie up), while the switching mechanic that the movie sells itself on doesn't help, as it becomes difficult to keep track of who is where and where the stakes are at because of it. But it's a fun idea, and there's a wild movie at its core. It feels compromised away from the movie it should have been, though.
Netflix & Chill
The Killer
⭐⭐
Streaming On: Netflix
Genre: Thriller
Director: David Fincher
Starring: Michael Fassbender, Tilda Swinton, Charles Parnell
"If I'm effective, it's because of one simple fact: I. Don't. Give. A. Fuck."
Well, that makes two of us.
David Fincher's latest sees Michael Fassbender play an assassin who goes on a revenge-spree after a botched job where, after his lengthy preparation method, he accidentally shoots a dominatrix in the ass. Which is actually a really funny plot point if you think about it. What kills me in particular is that it takes twenty minutes leading up to that point, where we just watch him wait, while he drives us mad with psychobabble narration, then the whole thing is spoiled by a booty in latex. That's very much intentional, because the entire point of the sequence is to envelope the audience in Fassbender's patent method. That's fine and dandy. It's not interesting though. It's derivative and dull. He's a perfectionist. I get it. I don't need to hear his repetitive thought-mumble saying the same thing in different variations for a full third of an hour. And some of it is just nonsense as well. One of his first thoughts after his plan goes wrong is "What would John Wilkes Booth do?" He'd scream "Sic semper tyrannis!" to a room full of people anyway? The man wasn't a professional assassin, he was someone who busted in and created a scene to make a political statement. Why is he this guy's measuring stick? The movie just kind of trudges along from there, always trying to play it cool, but never actually doing anything worth watching. I assume we're supposed to be invested in the calculated method in which Fassbender does his business, but it all just feels like variations on scenes we've already seen earlier in the film. And even still, he has several methods that are just eye-rolling. He goes by several obvious aliases that are derivative of classic sitcom characters, which I think is supposed to be humorous but just kind of sucks. A man who is supposed to be a ghost using names from pop culture is a method of standing out when his effort is trying to lie low. It's the sign of a carefree uncreative mind when he's supposed to be meticulous and careful. David Fincher knows how to make a solid thriller; he has many under his belt, and I have no doubt he'll have more in the future. While The Killer has that Fincher flair, it's not exciting and there is nothing to latch onto. Like the main character of the film, he just had a misfire. Something that went wrong. He'll probably bounce back.
Movies Still Playing At My Theater
Anatomy of a Fall ⭐⭐⭐1/2
The Creator ⭐⭐⭐1/2
Killers of the Flower Moon ⭐⭐⭐1/2
Priscilla ⭐⭐⭐
Taylor Swift: The Eras Tour ⭐⭐⭐⭐ (probably)
New To Digital
Dicks: The Musical ⭐⭐1/2
Dumb Money ⭐⭐⭐
New To Physical
Gran Turismo ⭐⭐1/2
The Miracle Club ⭐⭐1/2
Coming Soon!
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