Tag Archives: RLJE Films

Movie Review ~ The Dive

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The Facts:

Synopsis: A deep-sea dive at one of the world’s most remote spots becomes a fight for survival for sisters Drew and May when a landslide sends rocks tumbling into the sea, trapping May in the depths. As their oxygen runs low, Drew must make life-and-death decisions with no outside help in sight…
Stars: Louisa Krause, Sophie Lowe
Director: Maximilian Erlenwein
Rated: NR
Running Length: 91 minutes
TMMM Score: (5.5/10)
Review: A year ago, Lionsgate scored a low-boil hit with Fall, which found two unlucky female friends with a love of heights stranded on top of an abandoned radio tower. Battling brutal weather conditions and other frightening natural elements, not to mention the rusty dilapidated structure breaking apart beneath them, it was a high-wire thriller that played well with convention and sold a few tickets in its limited theatrical release.

Now we have Lionsgate taking The Dive, a remake of the 2020 Swedish thriller Breaking Surface, and you can see how the studio is trying to find similar success with a set formula, but this time with less buoyant results. While Fall found believable ways to stretch out its conceit, The Dive strains to get there. It rarely descended far enough with simple tension to eventually graduate into complete, breathless suspense. What begins as an exciting premise for survival quickly runs out of air long before our lead characters search for their source of oxygen.

It’s a tradition for sisters Drew (Sophie Low, Above Suspicion) and May (Louisa Krause, Young Adult) to take a yearly deep-sea dive together in an exotic locale. Though they may live in separate parts of the world and lead different lives, it’s an unspoken agreement that this is an event neither will miss. Though clearly harboring issues from growing up with a father tough on them both, the sister’s bond is evident, with May emerging early as the more dominant of the two. Of course, this means that when a rockslide interrupts their voyage underwater and traps one of the sisters, guess which one has to step, er, swim up to the plate, and take charge?

Had The Dive been filmed as a tight, taut, 45-minute race to the finish push to save May, it could have been a corker of a nail-biter. Instead, it’s 90 minutes long and reaches the first of its many climaxes around the fifty-minute mark, with director Maximilian Erlenwein’s adaptation of the original script forcing Drew out of the water numerous times. This could have been a cost-saving measure to avoid filming underwater, but it robs the movie of sustained pressure, and we leave poor May stranded on the ocean floor too often.

Eventually, the action picks up for a finale that fails to muster many surprises…at least not the same level of unconventional diversions that helped Fall set itself apart from other drama in real-life survival tales. Had The Dive stayed in the water longer and worried less about being on dry land, Lionsgate could have proven they had an intriguing genre to exploit.

Now Available On Demand

Movie Review ~ The Angry Black Girl and Her Monster

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The Facts:

Synopsis: Vicaria is a brilliant teenager who believes death is a disease that can be cured. After the brutal and sudden murder of her brother, she embarks on a dangerous journey to bring him back to life.
Stars: Laya DeLeon Hayes, Denzel Whitaker, Chad L. Coleman, Reilly Brooke Stith, Keith Holliday
Director: Bomani J. Story
Rated: NR
Running Length: 92 minutes
TMMM Score: (5.5/10)
Review: To properly access a modern retelling of a classic, a filmmaker must approach it with caution. There needs to be a modicum of respect for the source material but enough chutzpah to blaze their trail and make the necessary updates to tailor the work to their interpretation. The best of these can make you forget by the end that you’re watching a re-working of an existing story altogether. This has resulted in several stellar updates, with Amy Heckerling’s 1995 high-school comedy Clueless as an update of Jane Austen’s ‘Emma’ remaining one of the best examples of how to do it right.

You could pencil in writer/director Bomani J. Story’s The Angry Black Girl and Her Monster on the list of reasonable attempts, even if I wouldn’t place it relatively as high. Story has used Mary Shelley’s ‘Frankenstein’ as inspiration for his debut feature, an urban horror tale that blends in sci-fi elements and social justice messages to shape it into a hulking beast that resembles Shelley’s 1818 masterpiece but only just. Filling out the narrative with issues that haunt our world today, Story gives his movie new terrors to deal with on top of the gruesome creation his well-intentioned pseudo-heroine cobbles together.

Living in a constant shadow of violence, Vicaria (Laya DeLeon Hayes) experiences loss at an early age when she witnesses her mother gunned down, an unintended victim in the wrong place at the wrong time. Vicaria’s voiceover tells us this is just one of the many incidents she’s observed that fueled her need to “cure death” and pressed her to read up on the science behind mortality. This poses trouble at school, where her brilliant mind puts her at odds with a teacher unwilling to let her ask difficult questions (or pronounce her name right), and at home, where they’ve never fully dealt with the violence creeping closer to their front door.

Eventually, that danger does strike, and takes her older brother with it. Refusing to let another family member fall, Vicaria takes his body back to a makeshift workshop near her neighborhood housing and carries out an experiment long in the planning. It involves body parts she’s gathered, some wires, a dash of science, and a major amount of electricity. You can guess what will happen next. Yet the silent darkness she brings back isn’t whom she intended, and things quickly get out of control, forcing Vicaria to protect her remaining loved ones from a seemingly unstoppable creation.

Enough good ideas are happening in The Angry Black Girl and Her Monster to give audiences a sharp electrical jolt throughout, with all the traditional horror boxes being checked. It’s most efficient with its pacing, creatively proactive with its plot (the sly ties to Shelley’s story require careful attention), and features a fantastic leading performance from DeLeon Hayes. Still, it has trouble when it comes to threading its horror norms with the social ideology that, while essential and well-intentioned, comes off as inconsistent with other aspects of the film. Vicaria’s creation is born out of a desire to cure death, yet she knowingly stays silent as it rampages around her community with increasingly horrific consequences.

While I wanted The Angry Black Girl and Her Monster to be a smoother assembly of the retold plot, Story aptly plays with Shelley’s original outline. For better or worse, it’s brought to the present with a vision and voice that I’d be interested in keeping an eye on for the future. Story has found a massive talent in DeLeon Hayes, and if the rest of the cast doesn’t quite rise to her same level, her central performance drives the final output almost completely. 

THE ANGRY BLACK GIRL AND HER MONSTER is now in theaters.
It will be on Demand and on Digital on June 23, 2023.
It will stream on ALLBlk and on Shudder at a later date.

Movie Review ~ The Apology

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The Facts:

Synopsis: Twenty years after the disappearance of her daughter, recovering alcoholic Darlene Hagen is preparing to host her family’s Christmas celebration when her estranged ex-brother-in-law arrives unannounced, bearing nostalgic gifts and a heavy secret.
Stars: Anna Gunn, Linus Roache, Janeane Garofalo
Director: Alison Star Locke
Rated: NR
Running Length: 91 minutes
TMMM Score: (2/10)
Review:  For me, the biggest test of a mystery or high-tension thriller is how well it holds up once it starts to reveal its secrets.  If it’s a corker, it can keep going on the built-up strength of the steel trap it set for its audience, refusing to let go.  The weaker ones only show they were merely treading water from the beginning and quickly find they can’t keep their head above the waves they created, eventually drowning under the weight of a back half they can’t support.    

Written and directed by Alison Star Locke, The Apology might be one of the most disappointing thrillers I’ve seen lately, primarily because there is so much promise in the premise.  Here we have an isolated home on a snowy night before Christmas when evil tidings from the past come to haunt a woman (Anna Gunn, Sully) continuing to grieve her daughter’s disappearance two decades before.  Her long-absent brother-in-law (Linus Roache, Non-Stop) unexpectedly turns up bearing wrapped gifts and offering a present for her, a present involving information she’s been waiting years to receive.

I’ll let you guess what he might have to share, but I bet you can discern that it sets into motion a battle of wills between the two that occupies much of the 91-minute run time.  Unfortunately, while Locke was lucky to nab the underappreciated Gunn for the lead, she’s paired her with the less intriguing Roache for an overly talky two-hander that goes nowhere fast.  Despite having a best friend played by an oddly muted Janeane Garofalo (The God Committee), a hop, skip, and a jump away, most of The Apology is just Gunn and Roache trading power positions.  And it’s sadly weak.

Letting the cat out of the bag so early damages what little goodwill The Apology had going for it.  Despite the ideal locale and major potential for something special, this is a present you’ll want to re-wrap and pass along to someone else.

Movie Review ~ Christmas with the Campbells

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The Facts:

Synopsis: When Jesse gets dumped right before the holidays by her boyfriend Shawn, his parents convince her to still spend Christmas with them and Shawn’s handsome cousin while Shawn is away.
Stars: Justin Long, Brittany Snow, JoAnna Garcia Swisher, Julia Duffy, George Wendt, Alex Moffat
Director: Clare Niederpruem
Rated: NR
Running Length: 88 minutes
TMMM Score: (7/10)
Review:  As the season’s change, weather-wise, so do they shift for films in our household as well. January through March are often “Happy Hibernate Days,” where the awards contenders get watched, and the epics from the classic cinema I’ve long neglected get caught up on. April and May are “Spring Cleaning” to tie up any loose ends of binged TV/limited series you may not have finished. Then coming out of “summer movie time” from June to August, a brief free period in September before October’s “scary movie season” fills my horror cup. On November 1 and through the end of the year, Christmas/holiday fare keeps us entertained.

During the pandemic, I went all-in on the Hallmark/Lifetime channel Christmas movies which followed the same formula and have been the target of many jokes over the years. Yes, they make these films on an endless assembly line, shifting the same actors and plot details around. You’re going to experience the most minimal of stakes, and rarely will any movie produced deviate from the ordained protocol (seriously, I’ve read articles that confirm there are network-mandated do’s and don’ts down to clothing), so there’s an element of comfort when you tune in…if that’s your bag. It wasn’t my bag for many years but cooped up with nothing to do and running out of options, I learned to appreciate these minor distractions for the major entertainment possibilities they could offer.

Fortunately, films are back in a relatively decent swing now, so I can afford to be a bit more discerning with what I watch, so I’m always on the lookout for a Christmas/holiday movie that takes a different approach. I’ll sit through a charming one like the Lindsay Lohan starring Falling for Christmas on Netflix, but Christmas with You, starring Freddie Prinze Jr. as week later on the same service, felt sugary by comparison. Now, we have Christmas with the Campbells, premiering on AMC+ and co-written by Vince Vaughn (The Cell), which aims to add a little salty spiked spice to the usual sugar concoction we’re used to. The result is an unusually entertaining comedy that lays on the ribald laughs just enough not to be exasperating, taking an adults-only approach to holiday cheer.

Photographer and Christmas enthusiast Jesse (Brittany Snow, X) is looking forward to another holiday spent with her boyfriend’s parents in Ketchum, Idaho. Apparently, without a family or any friends of her own (typical for these types of set-ups), Jessie is stunned when Shawn (Alex Moffat, The Opening Act) up and dumps her right before they are set to leave. He’s off to NYC for a job interview that will put him on the fast track, and he doesn’t feel Jesse is the right fit for his desired jet-set lifestyle. Further, Shawn doesn’t plan on going home for the holidays, and Jesse already has a non-refundable ticket…so his mom (Julia Duffy, Butcher, Baker, Nightmare Maker) tells her to keep her plans and come to Idaho for Christmas anyway.

Arriving at the home of her ex-almost-in-laws, Jesse quickly feels right at home, though it’s hard not to have someone to bounce off the thinly veiled raunchy behavior between Shawn’s mom and dad (George Wendt, Gung Ho). As Christmas gets closer, Jesse catches the eye of Shawn’s visiting cousin, David (Justin Long, Barbarian), and develops a little rivalry for his attention with a local vixen (JoAnna Garcia Swisher, The Internship). When Shawn shows up unexpectedly, plans for a simple holiday get thrown into chaos, giving Jesse second thoughts over her plans for the future and questioning her present choices.

Strangely, I started watching another holiday film directed by Clare Niedepruem the same day I watched her Christmas with the Campbells. A Royal Corgi Christmas was touted as a big film for Hallmark and, do keep this between us, I had to turn it off before the first commercial break because I knew it was going to be a dog. Given more of a runway to have fun (and inject R-rated humor throughout), Niedepruem can let her actors run free, which makes Christmas with the Campbells consistently surprising. It’s not astounding work, but if you’ve watched enough of these movies at any point, you’ll appreciate how the formula is given a sanguine pinch in all the right places.

You could see how this potentially started as a project intended for the big screen. That’s perhaps why there’s an overall sense the film wants to be bigger than it wound up being. The three principal members of the love triangle (Jesse/Shawn/David) could have been played by any combo of A-list stars, not that the cast here doesn’t play their parts with skill. Snow, in particular, is terrific. Resisting the urge to over/underplay the role, she finds the balance immediately, which makes the character one to root for and side with. Moffat draws on his “Guy Who Just Bought a Boat” character from SNL a bit too much but clearly should be working in film more. Long has had a big year already (catch House of Darkness for a chilly shiver), and while his role is a bit weird (the accent!), it’s appropriately charming. The MVP here is Duffy, a 7-time Emmy nominee for Newhart; she’s excelled in bit parts over the past three decades but is handed a swell role and runs with it. 

A Christmas movie you can watch after you finish decorating and while you’re enjoying your third or fourth glass of eggnog, Christmas with the Campbells does set out to break the mold of your traditional holiday fare. It pushes the boundaries of the format by being a little more vulgar than you’re used to but not skimping on the usual elements you’re expecting. The performances are on the mark, as is the message and heart. Check it out and be prepared to find a surprise or two while you’re at it.

Movie Review ~ Nocebo

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The Facts:

Synopsis: A fashion designer suffers from a mysterious illness that confounds her doctors and frustrates her husband – until help arrives in the form of a Filipino nanny who uses traditional folk healing to reveal a horrifying truth.
Stars: Eva Green, Mark Strong, Chai Fonacier, Billie Gadsdon
Director: Lorcan Finnegan
Rated: NR
Running Length: 96 minutes
TMMM Score: (7/10)
Review:  A lament I’ve plunked out here quite often is the downfall of the mid-range thrillers that were so easy to churn out in the late ‘80s through the mid-2000s.  Produced on a modest budget with dependable actors, these were popcorn-chomping date night fare that was good for a weekend or two in theaters before heating up the video store shelves months later.  With the advent of streaming services and more franchise-based entertainment, these one-shot efforts were pushed to the side when studios focused all their time and money on making their blockbusters break the bank.  It’s a bummer because we’ve seen in recent years filmmakers and screenwriters that know their damsel in distress from their woman fights back scenario and their nightmare stalkers from their killer nannies. 

The new Irish-Filipino psychological thriller Nocebo is just that kind of easy-to-digest thriller that you can imagine would play as well in 1997, starring Kim Basinger as it does in 2022 with Eva Green (Cracks) in the lead.  Directed by Lorcan Finnegan (Vivarium) from a script by Garret Shanley, it’s solid entertainment that may have shocks up its sleeve but has more on its mind than cheap tricks and sordid plot details.  Nocebo has a rather intriguing thread to follow along with, and it rewards those who stick close and will keep its secrets until the end.

Children’s fashion designer Christine (Green) has a good thing going with a busy life in Ireland.  Her home is desirable, her husband Felix (Mark Strong, The Imitation Game) is successful in his own business, and her daughter Roberta “Bobs” (Billie Gadson, Cruella) is at that pre-adolescent phase where she’s coming into her own.  On the eve of her latest launch at a tony shopping center, a mysterious phone call brings terrible news that we won’t know the full details until later.  At the same time, a ghostly mutt appears riddled with ticks in the pristine shop, and one winds up burrowing into Christine’s neck.  It’s the start of months of debilitating sickness and night terrors for Christine, leaving her incapacitated and unable to work.

When she does decide to muster all her strength and rise above the illness her doctors can’t pinpoint, she finds that she still doesn’t yet have the stamina.  A knock on the door reveals Diana (Chai Fonacier), sent from the agency at Christine’s request (she can’t remember calling, but…her memory has been spotty), who quickly takes control of the household and Christine’s well-being.  Tossing out the mountain of medications prescribed by her doctors in favor of remedies she’s brought from her homeland, Diana can help Christine into health.  Her husband isn’t convinced Diana is the saint she wants them to think she is, and the more they rely on her, the stronger her influence becomes. 

Finnegan and Shanley expertly keep Diana’s secrets hidden just out of sight for much of Nocebo’s swift running time, almost until the final scene when all is revealed.  It’s a satisfying response to the questions we’ve been jotting down throughout.  Helping to sell it is the terrific performance of Fonacier as a maybe villain with her side of the story to tell before the night is through.  It may become apparent what’s happening and why early on.  Still, try to keep the advanced puzzler in your mind at bay and enjoy how it all develops. I promise there’s something interesting happening that has some decent stakes for everyone involved.  When you’re working with a small cast like this, and they are giving it their dazzling all (Green, as usual, approaches Christine in an atypical fashion), it’s exciting to witness.

Movie Review ~ Old Man

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The Facts:

Synopsis: When a lost hiker stumbles upon an erratic older man living in the woods, he could never have imagined the nightmare that awaits.
Stars: Stephen Lang, Marc Senter, Liana Wright-Mark, Patch Darragh
Director: Lucky McKee
Rated: NR
Running Length: 97 minutes
TMMM Score: (6/10)
Review:  There was a time when my hometown was known for its thriving arts community and for having the most theater seats outside of NYC. With the recession, a pandemic, and a long-time coming cultural reckoning, the past decade has seen a shift in attention to the performing arts. With it, many of the theaters and theater companies have dwindled. While I understand and support the need for change to bring about equity and inclusion for all, I mourn the loss of the smaller theaters that produced tiny shows where you were often lucky enough to snag a seat. Now, you usually have to travel to other metropolitan locations like Chicago if you want that type of experience. Even there, it’s tough to find.

I mention that at the top of my review for director Lucky McKee’s Old Man because it’s essentially a two-person play filmed as a movie. Oh, it’s fully a movie with the expected production design and composition necessary to make dialogue and performances come to life for home viewing. Still, I’d be intrigued if writer Joel Veach originally intended his script for the stage instead of the screen. Either way, it has a plum role for an older character actor with a sneaky arc that provides fantastic opportunities to show off without going overboard. Find the right actor to complement, but not overshadow, the lead, and you’ve solved half your battle.

The good news is that Old Man is a more engaging and entertaining piece than it starts as. I was nervous I wasn’t going to be able to get through it at all because the opening ten minutes had the kind of hokey, sub-level acting you’d expect to see onstage in an amateur production but not a feature film. Set in the middle of the woods in freezing temperatures, it turns out everyone only needs a little time to warm up because once actor Stephen Lang (Don’t Breathe) settles in (and settles down), things start to take shape. 

Waking up alone and confused in a lonely cabin looking for his companion Rascal, the Old Man (Lang) bumbles his way around the compact area, talking to himself with reassurances his friend will return, and all will be well. He doesn’t see the small amounts of blood on his head and hands at first, and if he does, he shrugs them off quickly. He’s distracted anyway by an unexpected knock at the door. When he opens it, he finds mild-mannered Joe (Marc Senter, Starry Eyes), who speaks in a soft ‘indoor voice’ and tells the Old Man he has gotten turned around in the large forest and can’t find his way back out. 

Suspicious of the newcomer (his first guest in a long while, we gather), the Old Man lets Joe come in, but before he allows him to call for assistance, he grills him on why he was in the forest in the first place. Through these direct conversations, we discover that Joe may be hiding facts about his day from the Old Man, just as the Old Man withholds crucial information from Joe. Are they both sizing each other up as prey, keeping their secrets until the bitter end? Or will truths come to light faster than either intended, requiring a battle of wills in a slinky game of cat and mouse where neither is aware of what role the other is playing?

McKee is a director that’s had an interesting career path after gaining a cult following with his 2002 sophomore feature, May. Following that up with the spooky mystery The Woods in 2006, he’s been a bit all over the map in the years following, directing for TV and the occasional film. None have been as big of a calling card as May, and with good reason, not one of them had that same hunger and was fueled by indie spirit creativity. He gets some back with Old Man, but it takes a while. Once you figure out what’s happening in Veach’s script (and it doesn’t take long), you wonder how McKee will assemble the puzzle. It’s not exactly as you would think…which makes the watch much more enjoyable.

Senter supports his lead, giving a Crispin Glover-esque performance of carefully chosen words and deliberate movements. It’s all in service to the rug pull McKee/Veach have waiting in the wings, and thankfully neither Senter nor Lang tip their hat to a late-in-the-game reveal that starts to hang heavy over them. Thankfully, Lang is capable of shouldering some extra weight and carrying much of the film. Despite those rough first few scenes, he’s spot-on for the remainder, especially a pivotal final act. By chance, I caught Lang’s performance in Avatar several days later and was impressed by how much Lang (always a fine performer) has evolved as an actor over the past years. If possible, there’s even more of the grizzled grunt to him here.

A decision on Old Man ultimately comes down to a few things. Are you in the mood for a talky piece that might not meet the bar as the thriller it markets itself as but remains an interesting acting exercise for its two leads, or do you require more bang for your buck? I think there is a time and place for Old Man, but you have to be in the right mood and forgiving enough to stick out that opening stretch with my assurances there’s more to it than meets the eye. Speaking of which, a word to the wise. Keep your eyes open throughout the film on the background. I won’t say more than that, but McKee positions his camera and framing of the actors for a specific reason.

Movie Review ~ Last Looks

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The Facts:

Synopsis: A disgraced ex-cop seeks solace by moving to the woods, but his quiet life comes to an end when a private eye recruits him to investigate a murder

Stars: Charlie Hunnam, Mel Gibson, Morena Baccarin, Rupert Friend, Lucy Fry, Clancy Brown, Dominic Monaghan, Cliff “Method Man” Smith

Director: Tim Kirkby

Rated: R

Running Length: 111 minutes

TMMM Score: (8/10)

Review:   Last Looks is a movie very much after its time.  Now, before you scroll past this review thinking this should be taken as a bad thing, let me explain.  Last Looks is the type of picture that would have played like gangbusters back in the mid to late ‘90s and will remind viewers of Hollywood insider crime romps like 1995’s Get Shorty.  True, even watching the original trailer for Last Looks (which I find to be quite bizarre, so…skip it) left me convinced it was another in the long line of adaptations of Elmore Leonard novels that explored organized crime infiltrating Tinsel Town.  Instead, this is based on the first of two books by television writer Howard Michael Gould, and he’s adapted his 2018 work as a star vehicle for Charlie Hunnam. 

As inferred above, a glance over the disjointed trailer didn’t inspire much hope for this one, and the opening moments might make you question if you’re even in the correct movie.  Hunnam (Pacific Rim) is former LAPD Charlie Waldo living a barebones lifestyle in Idlewild after leaving the force due to a botched investigation of a former case.  With a wild beard, un-showered appearance, and Zen attitude, he’s a man that appears content to be off the grid and solitary.  When former flame Lorena Nascimento (Morena Baccarin, Greenland) blazes in with her flashy car and proposition of an easy payday assignment back in Hollywood, which he politely declines, it invites a whole host of surly players into Waldo’s humble life who think he’s involved with either Lorena or the case.

All but forced to travel to Hollywood and clear up any confusion, it’s here that Last Looks catches its stride and sinks its hooks into viewers.  Famous actor Alastair Pinch (Mel Gibson, Boss Level) is the star of a popular television show and stands accused of murdering his wife. While it’s a boon in ratings the slimy studio executive (Rupert Friend, A Simple Favor) enjoys, no one wants to see the popular star thrown in jail for a crime he (maybe?) didn’t commit.  The trouble is, Pinch is a notorious temperamental boozer, and the live wire isn’t the easiest to warm to.  At first, Waldo is resolute against taking the case, but after meeting Pinch’s daughter and taking stock of the evidence against him, he’s inclined to stick around town and see what he can do to prove the innocence of his constantly inebriated client. 

Saying more about Waldo’s investigation or elaborating further on the various colorful people he encounters would muck up far too much of the enjoyment to be had in Last Looks.  Director Tim Kirkby is primarily a TV director, with episodes of Fleabag and Veep in his pocket, though he’s also credited with the 2018 Johnny Knoxville film Action Point.  That eclectic mix of style and mediums helps immeasurably in the timing of scenes (dialogue is fast, action sequences are swift but controlled) and keeping Last Looks light on its feet.  It’s often highly entertaining and connects the dots of its crisscrossing plot as it goes.  I’m always up for an insider-y look at Hollywood, and Gould inserts just enough gossipy talk into his efficient screenplay to satiate the cinephile needing a solid fix.

Even the best scripts and strong direction need a cast that can deliver, and Hunnam makes for a terrific leading man, and it’s a role he could parlay into an ongoing character (this is the first of two novels, after all) if he chooses.  I sure hope he’d be interested in continuing with Waldo because you can easily see a niche movie franchise or, better yet, a streaming TV series being crafted around the character.  The charisma factor is off the charts, and Hunnam is the kind of star who makes everyone around him look better, even the hard-to-write about Gibson.  It’s tough to know how to critique Gibson at this point because off-screen, he’s beating the same troublesome drum as ever, yet it’s impossible to deny how magnetic he is.  Like Hunnam, Gibson plays well with others (onscreen), and you crave more of him when he’s not there, and to be fair, his screen time in Last Looks is brief. 

Clever casting in the supporting roles gives Kirkby more room to score points with viewers.  Clancy Brown (Promising Young Woman) has a few nice scenes as Waldo’s former colleague, while Dominic Monaghan’s (Star Wars: Episode IX – The Rise of Skywalker) tiny cameo is well-executed.  Playing one of the shady sort more interested in Waldo’s ex than the murder case, Jacob Scipio (Bad Boys for Life) steals several scenes from his more notable co-stars, while Friend channels studio mogul Robert Evans just by donning a pair of oversized specs and questionably fashionable suits.  My nostalgia meter pinged seeing Robin Givens as a high-powered attorney defending Gibson’s character, and although Baccarin displays some nice heat with Hunnam, I’m glad her character is sidelined so Waldo can focus on the case.  The only bit of slightly akimbo casting might be Lucy Fry (Night Teeth), a little off-center as a schoolteacher who may know more than she’s letting on.  Perhaps it’s the Australian accent she’s working hard to cover up.

Back to what I said at the start, about how Last Looks is after its time.  I was recently remarking in a previous review how sad I was that the typical mid-budget film of an era long ago has seemed to vanish into the ether, replaced by either the franchise tentpole or quick glorified television movie.  Along comes Last Looks and restores my faith that there are filmmakers and studios out there fighting the good fight and delivering entertaining yarns reminding us how each ticket we buy doesn’t have to be for an established package.  It’s tremendous fun, the kind of film that for once actually deserves a sequel, and I think it would do quite well via word-of-mouth if enough people spread the news.

Movie Review ~ Silent Night

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The Facts:

Synopsis: Nell, Simon, and their boy Art are ready to welcome friends and family for what promises to be a perfect Christmas gathering. Perfect except for one thing: everyone is going to die.

Stars: Keira Knightley, Matthew Goode, Roman Griffin Davis, Annabelle Wallis, Lily-Rose Depp, Kirby Howell-Baptiste, Davida McKenzie, Rufus Jones, Ṣọpẹ Dìrísù, Lucy Punch, Holly Aird, Trudie Styler, Dora Davis, Gilby Griffin Davis, Hardy Griffin Davis

Director: Camille Griffin

Rated: NR

Running Length: 92 minutes

TMMM Score: (6.5/10)

Review:  Every now and then I find that I run into a bit of a crisis as a reviewer.  Here’s the situation I face.  There’s a movie I’ve seen which I know is worth a look, yet I have trouble with an outright recommendation because there’s something about it which could turn the viewer against it and, by proxy, me.  I don’t want you to end up hating me and “ghosting” my webpage in the future.  Obviously, if this was my full-time job and I was getting paid for my thoughts I would have less trouble just churning these musings out without worry but I sort of, y’know, care about you and your trust in me so I’m going to be always upfront. 

In the spirt of that message (and the season) I need to tell you the new Christmas-set UK film Silent Night is one of the most unrepentantly bleak movies you’ll encounter this year or any year in recent memory.  Dealing with a family that gathers at a secluded country estate for a yuletide celebration on the eve of a population-ending event, one they all know is coming, there’s an invisible ticking clock hanging over the ninety-minute film which makes it feel both too short and never ending at the same time.  Timed for release on the second Christmas the world is spending in the throes of the coronavirus pandemic, it’s a well-made but unsettling drama offering none of the easy-outs you may be expecting. 

For Christmas this year, everyone attending Nell and Simon’s gathering has been asked to bring one important item…their own suicide pills.  Due to an environmental catastrophe which has sent a cloud of toxic gas throughout the land, all humans will perish, and it’s set to hit British soil on Christmas.  This is known. There is no escape.  The most humane way to deal with it, and not suffer the horrific effects of dying by the gas, is to take the pills issued by the government with your loved one and die quickly rather than painfully.  First though, there’s a feast to be had and the guests are arriving.

In addition to Nell (Keira Knightley, A Dangerous Method), Simon (Matthew Goode, Stoker), their eldest son Art (Roman Griffin Davis, Jojo Rabbit) and their twin boys, the revelers include steely Sandra (Annabelle Wallis, Malignant) who is bringing her less than well-liked daughter, fun-loving lesbian Bella (Lucy Punch, Into the Woods) and her more button-downed wife (Alex Kirby Howell-Baptiste, Cruella), and reflective James (Sopé Dìrísù, His House) and his newly pregnant wife Sophie (Lily Rose-Depp, Wolf).  Not everyone is so sure about taking the pill, Sophie is about to bring new life into the world and maybe wants to wait to see if the gas is survivable, Art doesn’t want to have his parents decide his fate for him.  Various points throughout the night provoke stark questions about death, human rights, and who has the ultimate choice about existence.

Director Camille Griffin (mother of Roman who plays Art) makes a wonderful debut that’s as challenging to watch as it is interesting to debate. It’s meant to be a conversation starter and boy is it ever.  It’s certainly a well-made movie, just horribly sad and without much reprieve throughout.  I can’t lie and say it has the rosiest of endings but can offer a shred of light and say that in ending the way it does, there are lessons to be learned that we can all benefit from in some way.  Is Silent Night one to consider swapping out one of your Christmas favorites for?  Not a chance.  However, maybe you can wait until March or April to try this out one…unless you enjoy the sadness the holidays can bring.

Movie Review ~ South of Heaven

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The Facts:

Synopsis: After serving twelve years for armed robbery, Jimmy gets an early parole. Upon his release from prison, he vows to give Annie, his childhood love, now dying from cancer, the best year of her life. The best last year of her life. If only life were that simple.

Stars: Jason Sudeikis, Evangeline Lilly, Mike Colter, Shea Whigham

Director: Aharon Keshales

Rated: NR

Running Length: 120 minutes

TMMM Score: (7.5/10)

Review:  I don’t know about you, but it’s a little funny to me that the same weekend Jason Sudeikis closes out his second season playing the Emmy-winning title role of his multiple award lauded serio-comedy Ted Lasso, he’s also premiering a hard-nosed crime drama that at one point sees someone sliced in half.  That he pulls both off convincingly is a sure sign that Sudeikis is another SNL alum that was always meant for something more.  Up until now, Sudeikis has mostly thrived in comedic films but South of Heaven represents a gear shift that’s likely to feel jarring for many of his fans that have come to expect a lighthearted Sudeikis or, more recently, the Ted Lasso-y Sudeikis with a perennial good-nature we secretly all wish we could emulate more of.

The sunniness Sudeikis brings to that show on Apple TV+ is mostly cloudy in South of Heaven.  Right from the start when we see Jimmy Ray (Sudeikis, We’re the Millers) in front of a parole board being up front and honest that he should be released so he can spend as much time as he can with his terminally ill fiancé.  Yes, he committed a crime but it was a first offense and after 12 years, has his time been served?  He’s a middle-aged white guy so…of course he’s let out.  Waiting for him is Annie (Evangeline Lilly, Ant-Man and the Wasp) and with her pixie cut and glowing aura, she looks like she’s already practicing for her guardian angel gig she’s most certainly getting hired for.  The reunion between the two is sweet, bittersweet, and then ultimately tender as both realize how quickly they have to re-learn their old routines to maximize the time they have left with one another.

Not long after Jimmy Ray’s return, his rat-like parole officer (Shea Whigham, The Quarry, always on call when a weasely character is needed) makes sure Jimmy Ray knows that he’s under his thumb and even prompts him to get involved with under the table business on his behalf or risk being sent back to prison on trumped up charges he creates.  Unwilling to part from Annie again, Jimmy Ray agrees to retrieve a package for the parole officer and it’s on his way back that something happens which shifts the film from being one story to a different one in a similar vein.  It’s one of several adjustments director and co-screenwriter Aharon Keshales makes for the next 75 minutes which will keep the audiences on their toes, wondering where all of these tone shifts are going to lead.  Will they add up to beautiful music or is just all banging on a keyboard?

Working with fellow screenwriters Kai Mark and Navot Papushado, Keshales manages to make South of Heaven into that rare bird that refuses to stay in one place for too long but doesn’t feel too flighty at the same time.  The movie has about 5 endings as it nears its conclusion (and that was one too many for me) and with each progression to a new level the stakes are raised quite convincingly and, more importantly, with an entertainment value that works for nearly everyone involved. The only person it isn’t completely successful with is its leading man.

I’m not sure if it was Sudeikis now being so tied to the Ted Lasso of it all but it took a long time for me to lock into what he was doing here and go with it.  There was a dramatic side to him that he doesn’t wear totally convincingly in, oh, 78% of the movie and it’s only working with Lilly in some of the final scenes and in a climactic sequence near the end that it feels like the talented actor is working in a zone.  Yet you see the actor trying new things and new ideas as he journeys to get to that zone and you can’t fault someone that’s actively trying to make something work in what had to be a tight shooting schedule.  He’s got great support with, as mentioned, Lilly who is a real breath of fresh air here and Mike Colter (Girls Trip) as a soft-spoken crime boss that doesn’t like to have to ask for things twice.  I also got a kick out of seeing former C-movie action star Michael Paré as a mostly silent hired muscle for Colter, who isn’t too shabby in the bicep category himself.

If there’s one thing that might be problematic for viewers it’s that Keshales doesn’t seem to be able to settle on the mood of the film, shuffling the deck at random.  This tends to lessen the weight of heavier scenes and makes you wonder whether dialogue that is supposed to be dramatic is coming off just a tad phony.  In more than one scene, an actor is drawing from a deep well to convey emotion but the sincerity was so over emphasized that the effect is insincere.  Put all of these little moments in a line and it would result in an unconvincing watch but when they are peppered within the fabric of a film you can forgive it a little easier as a quirk the filmmaker is working through.

At this point, you have to be wondering what I’m even thinking about the film, right? It sounds like I’m down on it but I was way more into South of Heaven than I originally thought I would be, even when it overstays its welcome ambling toward one of its many endings.  For all its emotional ups and downs, I didn’t have a clear idea of where it was headed and that’s a refreshing feeling after sitting through countless tales that are sunk by predictability.  When it does get to its ending, it’s not what I expected (and probably not what I wanted) but I appreciated one final rug pull from a director that wasn’t afraid up until that point of shaking things up to keep the action interesting.

Movie Review ~ Prisoners of the Ghostland

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The Facts:

Synopsis: A notorious criminal must break an evil curse in order to rescue an abducted girl who has mysteriously disappeared.

Stars: Nicolas Cage, Sofia Boutella, Bill Moseley, Nick Cassavetes, Yuzuka Nakaya, Lorena Kotô, Canon Nawata, Charles Glover, Cici Zhou, Louis Kurihara

Director: Sion Sono

Rated: NR

Running Length: 103 minutes

TMMM Score: (6.5/10)

Review:  Here’s what we all need to realize about Nicolas Cage – he knows exactly what he’s doing.  Anytime a GIF or a meme is passed around with one of Cage’s signature crazy eye looks or classic freak out faces, it’s the result of a carefully calculated plan on the part of the actor to dig into whatever character he’s playing.  It gives the director something to work with, something to drive his fellow actors crazy, and it makes audiences nervously anticipate his next move/movie because you truly don’t know how he’ll pivot. 

Once a mainstay on the Hollywood A-List, after Cage won his Oscar in 1995 he toiled about in various blockbusters until his star waned after one too many fails at the box office.  That’s when Cage started thinking in volume, not quality, and the sheer number of films he was in rose dramatically.  While lazy actors like Bruce Willis have taken over the mantle of this business model, Cage was king of making these random films that were almost indistinguishable from one another.  I’m not sure exactly when or how it happened, but I noticed Cage began to stretch again in 2018 with the release of Mandy, a well-received horror film that was often a nightmare to watch which genre fans went ape over.  Coming back a year later with Color Out of Space, an even more impressive blend of Cage-iness mixed with a trippy H.P. Lovecraft vibe, it was obvious the actor was finding his groove with projects and directors that spoke to him.

Continuing to star in the occasional quickie, Cage set the film community ablaze already twice this year with two different projects, the bizarre Willy’s Wonderland and one of his best performances to date, Pig.  Now, I’m still willing to work for Cage’s team to help them mount a campaign for him to get in the Best Actor race for his work in that excellent film but I’m thinking he won’t need much help getting there on his own.  The end of the year may be getting crowded but what he did with that film is still so fresh in my mind that I can imagine voters that saw it will be feeling the same way.  Perhaps it’s best to keep certain voters away from Cage’s latest movie, though.  It might undo some of that goodwill Pig served up.

Let me state for the record before we gain entry to Prisoners of the Ghostland that I found the first English-language film from director Sion Sono to be almost operatic in nature and often just as frustrating to sit through.  It has moments that are wildly creative, sucking you into its energy field with an enticing mythology and fringe characters that have you craning your neck to see more.  On the other hand, Sono displays his typical taste for excess and winds up almost choking the life out of the picture before anyone has a chance to get much of anything done.  The extreme director is a good match for Cage, and both know it, so it’s just a question of who wants to go bigger before going home. 

Set in a world undone by a nuclear catastrophe where scattered cultures have created a mishmash of design and community, Prisoners of the Ghostland drops us into Samurai Town, a brothel run by the smarmy Governor (Bill Moseley, Texas Chainsaw) who has lost something near and dear to him.  His adopted granddaughter Bernice (Sofia Boutella, Climax) has vanished, and the Governor needs a professional to travel to the dangerous Ghostland to find her.  The man for the job is, naturally, named Hero (Cage, Valley Girl) and to incentivize him to keep his cool in all matters he’s wired with explosives at particular points of his body. Think about hitting a woman?  Bye-bye arm.  The bombs on his nether regions are self-explanatory…there will be no unauthorized breeding in Ghostland.  Fail to find her, and that bomb around his neck will efficiently end his life.

With only a few short days to find Bernice and bring her back, he’ll have to work fast because while finding Bernice turns out to be easy, returning her isn’t a walk in the park.  As Hero learns more about the horrific conditions in Ghostland and its inhabitants, he plans a revenge plot to secure his freedom and the liberty of others.  Yet a memory from the past still plagues him, a memory that turns out to have a major impact on his current mission, throwing a significant wrench in the outcome of the plot to overthrow the powerful Governor and those that follow him. 

The screenplay from Aaron Hendry & Reza Sixo Safai is surprisingly original and not based off any previous work and both writers have given the dynamics of Ghostland some intriguing wrinkles.  In Sono’s visionary hand, the world creation is complete and so you have something that is marvelous to look at, if just a tad vacant overall.  It’s like those walls of a community theater production that look so impressive from the 12th row but once you get up close you see that it’s just a two-inch flimsy piece of painted plywood…but for a while, you were fooled.  This ruse is helped along by, no surprise here, Cage’s fully immersed performance that never comprises or belies any doubt in the material.  That’s the special sauce which keeps Cage operating so reliably at 120% from film to film.  Like him or loathe him, he believes in what he’s doing and that in turn creates an atmosphere where everything is possible, and anything can happen. 

In previous films, not everyone has been as game as Cage but Sono has surrounded his star with a roster of like-minded actors that go for broke and don’t care who’s watching.  Boutella is, in many ways, an actress after Cage’s heart that’s more than willing to go toe-to-toe for control of scenes.  Lithe in body and able to tap into relatable and raw emotions, she’s an interesting counterpart to Cage’s deep well of regret…both are individuals in pain that need saving and perhaps this journey will wind up benefitting both.  Moseley and a scary Nick Cassavetes (The Other Woman) as Cage’s former partner now mysterious rival, pop off the screen with appropriate villainy but watch out for Tak Sakaguchi silently stealing the movie as a cunning assassin who gets some ferociously fun fight sequences.  While the film is filled with several memorable performances for the right reasons, there’s a central character that’s so atrociously annoying it begins to cast the rest of the actors in a bad light.  I’m going to refrain from passing that name along but once you see the movie, you’ll know who she is.

Along with Mandy and Color of Space, Prisoner of the Ghostland feels like it’s completing a trilogy of interesting reaches by Cage into foreign territory.  Not only are they gambles that have by and large paid off for him creatively, but critically and commercially they’ve done well for his credibility…far more than his direct to video feed-trough junk he had been making.  Couple that with a quieter and more reflective role in Pig and you begin to see an actor coming into another stage of their career where box office isn’t key, but fulfillment of mind, body, and soul is.  Lucky for us, that desire also comes with an entertainment value as well.