Multiplex Madness
Blink
⭐️⭐️⭐️
Genre: Documentary
Director: Daniel Roher, Edmund Stenson
Starring: Édith Lemay, Sébastien Pelletier, Mia Pelletier, Léo Pelletier, Colin Pelletier, Laurent Pelletier
The director of the Oscar-winning documentary Navalny goes for something a little less dark, but steering away from Russian politics in general is likely to achieve that. This documentary follows the French-Canadian Pelletier family, who has learned that three of their four children have a genetic disease that will cause them to gradually go blind as they age. Wanting to give their children images to remember, they travel the globe to give them sights to see while they still can. The movie's lack of a full narrative weighs it down, though not fatally. A good amount of this movie is devoted to the family acting like a family, with all the moments beautiful and messy that happen along the way. There are a couple of moments that are filmed that are poignant, such as the youngest child coming to terms with what it means to become blind and struggle to accept it. There is also a point where they get stuck in a cable car for several hours, where several of the children have a meltdown. The talking heads try to associate this with the children's fear of going blind, which feels like it's stretching it. It's more likely that they were upset because they were children stuck in a confined space for an ungodly amount of time. But the movie is a good-natured and interesting watch, while not exactly as life-affirming as it believes it is.
A Different Man
⭐️⭐️⭐️
Genre: Drama
Director: Aaron Schimberg
Starring: Sebastian Stan, Renate Reinsve, Adam Pearson
A curious psychological drama sees Sebastian Stan playing a man with neurofibromitosis who undergoes an experimental procedure that makes him look normal, which he then decides to fake his own death and rebuild his life. Years later, he discovers the former neighbor he longed for has turned his life into a stage play, and he auditions for the lead role. A Different Man has interesting ambitions, initially presenting itself as the story of a man who is seen as a monster desiring a different life. As the film goes on, it becomes clear that this isn't the story at all, wishing to analyze personality and how physical alteration doesn't change who you fundamentally are. That may sound a bit cheesy, but the film's dark presentation allows it to maintain a fresh perspective. The movie isn't a schmaltzy fell-good inspirational movie, choosing instead to be a psychological mindfuck instead, while also tearing down the tropes of a "Beauty & the Beast" narrative in a pretty savage way. Stan's introverted character has more light shed on him when Adam Pearson's character comes into the story, who also has neurofibromitosis, yet displays more extroverted traits and seems to achieve many things that Stan could not. Stan's reactions to this are the theme of the film that has proved evasive so far, providing a mixed reaction to a man that has mastered his life compared to Stan's own internal misery. The film is a tale of change being skin-deep, but our own demons being the real challenge. It doesn't have an answer to overcome that challenge, choosing instead to point out that some things just are and that one physical change might not bring the joy you hope for. Sometimes the gray morality of the film gets in its way, and I find myself hesitant with fully embracing the movie because its message comes dangerously close to being "your mental health is your own fucking fault, you piece of shit," making the movie come off less as tough love than just cruelty. But it's worth sticking with if its setup intrigues you.
Joker: Folie à Deux
⭐️1/2
Genre: Drama, Thriller, Superhero, Musical
Director: Todd Phillips
Starring: Joaquin Phoenix, Lady Gaga, Brendan Gleeson, Catherine Keener, Zazie Beetz, Steve Coogan, Harry Lawtey
Joaquin Phoenix reprises his Oscar-winning role (the same role that won Heath Ledger a posthumous Oscar, Jack Nicholson a nomination, and Jared Leto jack squat) in this follow-up, which takes place two years later, where Arthur Fleck is on trial for murder. He also meets Harleen Quinzel, a fellow patient that he forms a relationship with and ecourages his worst attributes. To put it quite bluntly, Folie á Deux doesn't work. I feel miserable saying that, because I think the first one is a very good movie. A psychological drama about the origin of the Joker, a character who is more compelling when he's not explained, worked better than it should have. In trying to push its own limits, the sequel winds up breaking itself. It's a movie that is built on the wrong foundation, fundamentally misunderstanding the character of Harley Quinn and her relationship to the Joker, while also cowering back on the Joker himself, not wanting to tell a story about the Joker but rather his iconography. The latter probably seems like an idea with temptation, but I'd argue that the character isn't suited for such a story. Hell, the version of the character introduced in the previous Joker movie isn't suited for it either.
To start on the first point, one thing needs to be immediately clear about Harley Quinn if you're going to try and portray her: the woman is as much a victim as she is a villain. She believes she's in love, but the Joker views her as a trophy and not a love interest. She's what happens when he corrupts a pure soul and breaks it. The Harley in this movie is a groupie. She sees the Joker on TV and falls for his image. Arthur Fleck's incel Joker is excited because she lets him into her pants, and she's the only woman who has ever thought of him sexually. This is still a toxic romance, but it's toxic in a way that's not true to the characters its portraying. Building off of this, Arthur Fleck builds back into his Joker persona, but the image of the Joker is proving to be bigger than the man. Is this a meta commentary on the toxic masculine hero worship that the previous film produced getting away from the filmmakers? Maybe. I'm not so sure that the movie is that smart. If it is, it's an interesting ambition, though it crosses the line so carelessly that it becomes the antithesis to the aspects of that film that are admirable. The theme doubles down until a misfire of a climax, which is an ending so bad that it just might make the original's biggest fans hate the previous film in retrospect. But I've never been a fan of that particular take on the Joker in question, which is mostly ripped straight from a bullshit plot turn from the Gotham TV series. I'm more in tune with the idea of the Joker being a unique being of chaos, rather than a source of inspiration and aspiration for someone else. The Joker is not one who enjoys sharing the spotlight.
The musical element is dry and tacked on. The best musicals have a sense of hyper-reality to them, something Folie à Deux tries to commit to by making this aspect something that's happening in Arthur's head rather than what's actually going on in the story. It seems utterly flummoxed as to how to make it meaningful, though. Instead, it comes off as something bewildering that barges in on the narrative. It also doesn't help that Joaquin Phoenix isn't a very good singer. That might be intentional, because Arthur's not very good at anything he does, so why would he be any better at this?
Part of me wants to say this movie isn't as bad as I'm making it out to be. After all, it's okay enough for a good long while, and it even starts with a cute little Joker cartoon that emphasizes the movie's attempted theme. It's a steamroll of irritation though, a movie that gets gradually worse as its ambition gets away from the storytelling. It's a movie that feels like it was made by people who resent the fact that they were roped into doing a sequel, tossing in experimental ideas in the hope that they can make it interesting, and when they don't work, they botch the climax in retribution. I entered the theater hopeful and I left it miserable.
Monster Summer
⭐️⭐️
Genre: Horror, Adventure, Comedy
Director: David Henrie
Starring: Mel Gibson, Mason Thames, Julian Lerner, Abby James Witherspoon, Noah Cottrell, Nora Zehetner, Patrick Renna, Lorraine Bracco, Kevin James
Schoolchildren begin popping up in a small town acting differently, and a young boy begins to suspect that there is a witch in the population that is preying upon them. Monster Summer is an earnest, yet dysfunctional, macabre misfits misadventure throwback, made by someone who probably grew up on The Goonies, The Sandlot, Gremlins, Eerie Indiana, Are You Afraid of the Dark?, the Disney Channel, and a whole lot of Goosebumps books. If one has fondness for those kinds of rambunctious grade school stories, then Monster Summer is worth spending ninety minutes with. It even has a decent scare or two, but as far as Scooby-Doo adventures go, there aren't enough jeepers from the creepers. The movie is a bit of a flat experience, with some crude effects and a mystery that lacks momentum. Also, Mel Gibson is in this movie for some reason. I don't know why, and his character only serves to pad out the film and give the kids an adult to talk to. It's not the best plotted movie, but kids looking for Halloween spookums will probably get a kick out of it.
White Bird
⭐️⭐️⭐️
Genre: Drama
Director: Marc Forster
Starring: Helen Mirren, Ariella Glaser, Orlando Schwerdt, Bryce Gheiser, Gillian Anderson
I'm not entirely sure why the author of Wonder, a story about a deformed boy fitting in at grade school, looked at it and said "Let's do a Holocaust-themed prequel." Anyway, I haven't seen nor read Wonder, so maybe this makes more sense to people versed in that rich Wonder lore. Based on a graphic novel follow-up to a regular novel, White Bird sees Helen Mirren reminiscing with her grandson about escaping Nazis in World War II and hiding in the barn belonging to the family of a crippled boy. White Bird is a tale of two clashing tones, one of schmaltzy feel-good optimism and the other...Nazis doing the Nazi thing and everything that comes with that. Zone of Interest and Schindler's List this is not. It even leans more into theatricality than last year's One Life. If you desire your Holocaust tales to lack the relentless bleakness and wish them to have hope in them, White Bird isn't a terrible option. It's melodramatic, sentimental and has strangely absurd third act plot twists, but it's also a warm presentation of a lovely childhood romance set among a dark backdrop. It's one of those movies where you'll either be focused on its worst aspects or its best, and your opinion will differ based on that glass-half-full mentality. The audience it's aimed at will likely think of it as a yearly favorite, so stick that in your pipe and smoke it.
Netflix & Chill
'Salem's Lot
⭐️⭐️1/2
Streaming On: Max
Genre: Horror
Director: Gary Dauberman
Starring: Lewis Pullman, Makenzie Leigh, Alfre Woodard, John Benjamin Hickey, Bill Camp, Jordan Preston Carter, Nicholas Corvetti, Spencer Treat Clark, William Sadler, Pilou Asbæk
Based on the Stephen King novel, which has already been adapted into two previous television miniseries, 'Salem's Lot is a town in Maine that finds itself in the middle of a vampire outbreak. The movie was filmed years ago, riding the tidal wave of Stephen King adaptations that resulted from It's popularity, but after production, the film almost disappeared into the night. It was almost believed to be one of Warner Brothers' now infamous "tax write-offs," like Batgirl or Coyote vs. Acme, but was eventually dumped on streaming for Halloween season. Compared to adaptations that have come before it, this version of 'Salem's Lot is tight, running over an hour shorter than miniseries prior, making it feel hectic. It's a blessing and a curse, as the original Tobe Hooper version of Salem's Lot has many iconic imagery and scenes in it, but they're interspersed in a narrative that takes forever. This new film, directed by Annabelle Comes Home director Gary Dauberman, is more fog machine atmosphere than terror, and while it's narratively jumpy, at least it gets to the point. It's hard to say if seasoned King fanatics will think highly of it, but it's certainly an exorcise in gothic theatrics set to flash and noise. I find its sillier aspect forgivable in that it keeps them fun.
V/H/S/Beyond
⭐️⭐️⭐️
Streaming On: Shudder
Genre: Horror, Anthology
Director: Jordan Downey, Christian Long, Justin Long, Justin Martinez, Virat Pal, Kate Seigel, Jay Cheel
Starring: Dane DeLiegro, Alanah Pearce, Mitch Horowitz, Namrata Sheth, Bobby Slaski, Libby Letlow
V/H/S is going for broke in becoming the longest running found footage horror franchise, matching Paranormal Activity's mainline count with this entry. There is an asterisk next to that depending on whether or not you count Tokyo Night as an actual Paranormal Activity film of if you consider Siren and Kids vs. Aliens to be V/H/S films (those movies are not found footage, so that kinda defeats the purpose). But if we're talking meat-and-potatoes entries, Shudder's devotion to V/H/S seems to put it on track to taking the crown by next year. I admitted ignorance to the franchise when I went in blind on V/H/S/85 last year (also Kids vs. Aliens, but I didn't know that was a spin-off when I watched it), but since then I got to work and watched all the other entries in the franchise. I must say, it's pretty fun (except Viral), though I'll admit I enjoyed the spirit of the first two the most. Shudder's entries since taking over the franchise don't have the same gung-ho attitude. V/H/S/Beyond, however, is clearly the best since the second.
V/H/S/Beyond tries to stick the franchise in a sci-fi horror direction, mostly revolving around aliens. Not all segments commit to the bit, but most of them deal with invaders of some sort. Instantly recognizable directors are kept to a minimum for Beyond, with the biggest seasoned name being Radio Silence's Justin Martinez, who is unfortunately not a member who collaborated on Radio Silence's best/most well-known features (he helped with Devil's Due and Southbound, rather than Ready or Not, Abigail, or Scream 5 and 6), but he did work on the group's previous V/H/S collaboration in the first movie, and that segment was an anthology highlight. The best known names of the directing pool are actually actors Justin Long and Kate Siegel, each making their directorial debut here. Long's segment is a low point, which sees animal rights activists trying to expose a "Doggy Dream House" nanny for animal cruelty only to become trapped by her as pets. The segment rips its idea straight from Kevin Smith's Tusk, which I'm curious as to whether or not Long realizes this, because he starred in the fucking movie. The best segments belong to Martinez and Siegel. The former has a hectic story of a group of friends who are skydiving when an alien invasion hits, which is an energetic hit-and-run chase thriller that goes from the sky, to an orchard, and back into the sky. Seigel's segment was written by her husband, horror maestro Mike Flanagan (who directed her in Hush, Midnight Mass, and The Haunting of Hill House/Bly Manor), and is the most polished and expertly shot film of the lot. While the story is slight (a woman hunts UFOs and becomes trapped in one), the visuals Seigel accomplishes can probably be considered some of the finest work in the V/H/S franchise. Color me impressed.
Remainder segments include a segment about a police group searching a house for missing children, only to be attacked by undead corpses. It feels very video game inspired, especially by Doom and Resident Evil. There is also the trademark "mysterious hot girl is actually a terrifying monster" story that the V/H/S franchise has been fucking around with since its very first segment over a decade ago, only this time with a Bollywood flavor. The wraparound is a paranormal documentary about two VHS tapes that supposedly prove the existence of aliens, which is humdrum until the ending, where the contents of the tapes are actually seen and are suitably unnerving. If you enjoy the V/H/S franchise, Beyond won't turn you off. It's arguably the series back in top form. If nothing else, it's a hint that there is still gas in the tank, making one interested in seeing what Shudder cooks up with this franchise next year.
Movies Still Playing At My Theater
Alien: Romulus ⭐️⭐️1/2
Azrael ⭐️⭐️⭐️
Beetlejuice Beetlejuice ⭐️⭐️⭐️1/2
Deadpool & Wolverine ⭐️⭐️⭐️1/2
Megalopolis ⭐️⭐️
My Old Ass ⭐️⭐️⭐️
Speak No Evil ⭐️⭐️⭐️
Transformers One ⭐️⭐️
The Wild Robot ⭐️⭐️⭐️1/2
New To Digital
The 4:30 Movie ⭐️⭐️⭐️
Blink Twice ⭐️⭐️1/2
Deadpool & Wolverine ⭐️⭐️⭐️1/2
It Ends with Us ⭐️⭐️
The Killer's Game ⭐️⭐️1/2
Speak No Evil ⭐️⭐️⭐️
Strange Darling ⭐️⭐️⭐️⭐️
Coming Soon!
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