Tag: 2024

Love Lies Bleeding

  By

★★★
“‘Roids and rage.”

In a trans-continental coincidence, both Dieter and I ended up watching and writing our own, independent reviews of this. At least we agreed on the three-star rating!

Well, you might or might not like the way this ends… However, you certainly will remember it. Credit director/co-writer Glass for apparently deciding to live (or die) by the mantra, “Go big or go home.” Literally. It’s in line with a general feeling she doesn’t want to take the easy options at any point here. It doesn’t always work. Boy, does it not. However, I respect the approach. It takes place in a small New Mexico town towards the end of the eighties, where Lou (Stewart) is a gym manager, a lesbian and the estranged daughter of Lou Sr. (Harris). He is a gun-range owner with a very shady sideline in arms dealing, and a desert ravine into which his enemies vanish.

Things are upset by the arrival in town of Jackie Cleaver (O’Brien), a bodybuilder on her way to Vegas for a contest. The two begin a passionate affair, in which Lou also introduces Jackie to the dubious joys of steroid use (though I’m fairly certain these do not work in quite the way depicted here). Lou has another situation, in that her sister Beth is trapped in an abusive relationship with her husband. Jackie decides to take care of this problem for Lou. However, doing so causes more issues than it resolves, not least in that it brings down law enforcement heat on Lou Sr. as the most obvious suspect. Dad demands his daughter fix things, causing Lou to threaten to expose her father to authorities.

It’s all a very grubby take on the lesbian-noir genre, whose best-known example is probably Bound. Stewart seems consciously to be trying to break out of her Twilight reputation, though results so far have been mixed. At least this isn’t the Charlie’s Angels reboot, so for that, we thank her. It is not exactly subtle in its gender depictions: every single male depicted here is violent, though it’s interesting how Glass embraces the view that violence is the only solution, too. Though it’s complex: Jackie declines a gun, saying “Anyone can feel strong hiding behind a piece of metal. I prefer to know my own strength.” Let’s say, that’s not a position she maintains throughout.

O’Brian, who was a bodybuilder before turning to acting, and has a black belt in hapkido, certainly has the physical presence needed for the role. I was less convinced by Stewart, feeling as if her character was stuck in a permanent sulk. The failure to establish her as likeable leaves the relationship with Jackie feeling implausible: if Lou has hidden depths of appeal, they’re apparently buried at the bottom of the Marianas Trench. The decision to wander off, on a number of occasions, into territory closer to David Lynch than the Coen Brothers is one I would not have made, personally, and is likely to alienate a significant number of viewers. A straight (pun not intended) telling of the story would have been preferred. But you do you, Rose. You do you.

[Jim McLennan]

Today on the menu: Lesbian thrillers! Somehow this seems to become the new “trend-du-jour” as a new sub-genre. This year already saw the Ethan Coen-directed lesbian crime comedy Drive Away Dolls and the novel adaptation Eileen with Anne Hathaway. Lesbian-themed movies seem to have come a long way since movies such as Desert Hearts (1985), Thelma & Louise (1991; hey, stop, were these two actually lesbians?) or Fried Green Tomatoes (1991). The difference today is that films can be more direct in their depiction of whatever they want to show. Whether this is really an advantage, is up to the individual viewer. Rose Glass (Saint Maud) shows in her second theatrical movie that she can keep up with male directors of bloody thrillers. The film was a co-operation of British TV Channel 4 and American studio A24, which seems to be building a reputation for slow-burn horror movies.

Principally, the movie is a modern film noir (think Coen brother movies minus the humor). But it also could be called a film soleil, like the French 1980s subgenre of film noir, with most of the story playing in broad daylight. O’Brian and Stewart give good performances, which is satisfying because my usual problem with Stewart is that in most of her films, she almost seems like she is sleepwalking. But not here. I don’t have much to say about Ed Harris who is great and convincing in anything he plays. For me the secret star of the movie is Anna Baryshnikov (yes, the daughter of ballet dancer Mikhail) as the ill-fated ex lover of Stewart’s character.

The film has a strong sense of style, though for me it felt more like the mid-80s than the end-80s. A feeling of unhealthiness permeates the whole film, be it Stewart’s constant smoking (while listening to tapes telling her how unhealthy cigarettes are), the use of drugs to build up muscle tissue, or Ed Harris growing caterpillars and beetles. The relationships of the characters here, be they familiar or otherwise, also feel rotten. It’s definitely not the ideal family promoted by the Reagan administration in the 1980s (But then, in 1989 Bush Sr. was president).

It seeks to comment on the abnormal body cult of the eighties, the decade where hypertrophic heroes like Arnie, Sly and Dolph became big stars – though female bodybuilding is still a thing today (Julian Sands’ last movie before his untimely death dealt with the subject). Also, the characters here seem weird and far from sympathetic: everyone is sweating all the time, Harris with his long hair, Stewart looking as if she is permanently on drugs. They all look like people one wouldn’t necessarily want to meet. Then there is Jackie: while never directly said, it’s implied her erratic behavior is the result of the drugs that Lou gave her.

Glass doesn’t shy away from the ugly or disgusting. One of the first scenes show us Stewart cleaning a clogged toilet (remember the scandal when Hitchcock showed us a clean toilet in Psycho!). Later, we see a body whose jaw is broken into pieces, O’Brian vomiting up Stewart in a hallucination scene and Harris eating a horned beetle. If you are a fan of beautiful pictures this movie might not be for you! Some scenes reference typical Hitchcock or classical thriller suspense scenes, like Harris looking for his son-in-law in his flat while Stewart hides in the closet, or FBI agents interrogating Stewart, when there’s a corpse behind her couch

But not everything works: for example, Lou and Jackie hooking up so quickly was not very believable. But what do I know? I’m neither American nor was I out of puberty in 1989. At the same time I never thought that Jackie might be using Lou for her own advantage, as the movie wants me to believe. So, yes: the characters in the script needed more effort to work. Glass uses some interesting techniques to enhance the creepy atmosphere. Some scenes have a distortion effect with slow motion, very bright lights, coloring e.g. Harris filmed with a red light, and disturbing sound effects. Unfortunately, she spoils otherwise competent work with a final scene which feels as if it would fit better in a fifties sci-fi film than a thriller? Whose perspective is it supposed to be? It might have been meant as a feminist or lesbian empowerment message, but logically makes zero sense.

For me the big deal breaker is the end scene: After telling her father she is nothing like him, Lou completes a murder Jackie didn’t finish. In a way, she is indeed like her father: The same way he tried to protect her out of love, she protects her new found love. Not long ago The Marsh King’s Daughter showed a similar “like father like daughter” scenario. Not that I liked Lou much before: she appeared constantly angry, snappy, possessive, vindictive and irrational. But when she kills a virtually innocent person to secure her relationship, she becomes totally unsympathetic. Probably a great role for an actress but you cannot expect an audience to sympathize or even identify with such a character.

In classic Hollywood noirs, dark-hearted anti-heroes would pay for their crimes. Among many examples, Fred MacMurray getting shot for his sins by femme fatale Barbara Stanwyck in Billy Wilder’s classic Double Indemnity (1944). Heck, even Thelma and Louise paid with their lives for a more or less accidental killing. In modern films it seems if evil is done by women, film makers are reluctant to give them the punishment they deserve, and let them off the hook. I find such story-telling hypocritical and highly questionable: what message is being sent to an audience?

It is okay to commit crimes if you don’t get caught? Killing an innocent is justified in the name of love? Female characters should get off for crimes every man in every movie would be killed for? It seems to be a double standard – I just call it inequality. If you want equal treatment, take it all, including the negatives. No, cherry-picking allowed. Please don’t call me morally sour: I had for example no problem with that famed lesbian noir, Bound (1996), a film where “Love Lies Bleeding” stole some of its ideas from, directed by the Wachowskis. There, the two heroines got away with a murder and theft but they had to defend themselves from a mad angry mafioso. This is different and feels different.

Ah, you want to know about the sex scene? Unfortunately, there is hardly anything mentionable to see here. The short scene is quickly cut and over before you can blink. Audiences are better served erotically either with the aforementioned and superior, though less stylized Bound, or Italian giallo films of the 1970s which seemed more open to  showing sexuality or nudity than modern American movies. But what can you expect, with the new guidelines in movies which require “intimacy coordinators”, primarily so the production won’t be sued. I now feel a great need to watch Basic Instinct again!

So, what’s my conclusion? Well, the film is definitely watchable, a very stylish modern bloody film noir. And if you want to see a movie with lesbians or involving bodybuilding, you might not want to skip it. But its unsympathetic characters prohibit a second viewing or a whole-hearted recommendation from me.

[Dieter]

Dir: Rose Glass
Star: Kristen Stewart, Katy O’Brian, Ed Harris, Anna Baryshnikov

The Killer

  By

★★★
“All killer, some filler.”

Back in 1990, I saw the original version of The Killer at the ICA in London. I’d never seen anything like it, and didn’t quite know what to think. But it kindled a deep fondness for Hong Kong cinema, and it’s also likely one of the most influential action films of the decade, whose impact is still being felt today. I wasn’t sure what to think about a remake, especially a gender-swapped one. These rarely work – hello, Ghostbusters. But at least this one was going to be done by the original director. Especially after having enjoyed his Violent Night, if there was anyone whom I’d trust not to screw up a John Woo film, it’s probably going to be John Woo.

He doesn’t. Oh, it’s not as good as the original, or even Violent Night. However, it’s perfectly serviceable, especially if you haven’t seen the original. Woo treats his own material with respect. While there are differences, none feel forced for the sake of it. I was quite surprised to see Woo go with a female lead, because his films tend to be pure, undiluted masculinity. I’m hard-pushed to think of a decent, well-written female character in any of them. To be honest, I still am. For Zee (Emmanuel) is just your typical assassin with a conscience, who refuses to kill innocent civilian Jenn (Silvers), after accidentally blinding her during a mission. This brings her the enmity of her handler, Finn (Worthington), but eventually, the support of dogged cop Sey (Sy).

The biggest issue here is simple: Emmanuel isn’t Chow Yun-Fat. Not even close, in terms of charisma, and that renders this a disposable trifle. The rest of the cast fares better, including former football player Eric Cantona as an irascible gangster (he was irascible on the football field too). Quite why Worthington sports an Oirish accent and spouts Oirish phrases escapes me. But I’ll forgive it, given his two-pack of sidekicks. The pick of whom is played by Aurélia Agel, who was Karen Gillan’s stunt double in Gunpowder Milkshake. She gets an impressive fight against the heroine at the end. In a church, naturally. A good drinking game there: take a swig for each Woo cliché: birds, slow-mo diving, guns in each hand, etc.

It runs a good twenty minutes longer than the original and, while it doesn’t often drag, I’d be hard-pushed to say this extra length adds much extra value. Probably best not to think about any of this too much, such as how Zee’s decision to protect Jenn, without knowing the facts, actually leads to far more deaths, of far more innocent victims. Or the dubious, Looney Tunes-like medicine, where a whack on the head can only be remedied by another whack on the head. Mind you, it’s not as if the original stands up to close scrutiny either. Where Woo led thirty-five years ago, many have since followed – and some, gone further. Yet I’d still rather see him at play, than a lot of his successors.

Dir: John Woo
Star: Nathalie Emmanuel, Omar Sy, Sam Worthington, Diana Silvers

Kiss of Death

  By

★★½
“Issues of trust”

The relationship between Mykah (Leason) and Jameson (Chandler) is quickly heading for the rocks, as the honesty between them has evaporated. He suspects her of lying to him and having an affair: and he’s half-right. For Mykah is misleading him about the reason for her odd hours, though it is work-related as she claims. It’s just that her job is as an assassin, who kills the husbands of battered women, assisted by family friend Lady (Frazier). After successfully offing a prospective politician, Mykah’s next job is Dyson (Jackson), after his wife Chantelle tearfully tells her story of abuse, and offers to pay half a million dollars for a job well done. 

Mykah is initially not keen on accepting the offer, partly because she’s trying to fix her marriage, partly because Dyson is a notorious crime boss. But it turns out Chantelle has incriminating footage of Mykah’s last hit, giving the assassin no option. As she gets closer to her target, things begin to get murkier. Dyson reveals he knows about Mykah’s early family life, which ended when her parents died in a murder-suicide. Or was that actually what happened? In addition, are Chantelle’s motives justice and escape, or are they considerably more mercenary? And will Mykah be able to get to the bottom of all this before Jameson stumbles to the entirely wrong conclusion and crashes the situation? It’s a lot of questions, and I did like the script here, which manages to keep a complex story clear.

However, it is fair to say that it does take way too long to get to the interesting stuff, with the first half being populated largely be banal chit-chat between Mykah and either Jameson or Dyson. Throw in a teenage daughter, and the soap-opera elements are in danger of toppling this over before it can get going. There’s definitely a shortage of action, between the opening murder and the final confronatation when the truth gets revealed. Virtually all we get is a brief fight between Mykah and a pair of Dyson’s minions, after he begins to suspects she is not what she seems to be. It’s okay: I liked Mykah pausing to remove her heels before going into battle. It just needs more.

Director Sesma has a fairly long track record of low-budget action, and technically it’s competent enough. That’s particularly true, when compared so some of the other urban genre entries we’ve seen here, and at least he avoids the obvious cliches of drugs and gangs. But if you compare this to, say, the Thai TV movies we’re previously reviewed, such as The Secret Weapon, also about an assassin, the gap in energy and action becomes inescapable. Perhaps it’s a budgetary thing. If this had not apparently been so reliant on the mantra that “talk is cheap,” then it could have been more than just an acceptable time-passer overall, with only the last third measuring up to scratch.

Dir: Christian Sesma
Star: Sheila Leason, Kevin Blake Chandler, Dontelle Jackson, Cheryl Frazier

Ebony Hustle 2: Ballistic Protection

  By

★★
“A slight improvement.”

There are times when I end up asking myself deep philosophical questions, like “Why am I doing this?” or “Isn’t there something else on which I can use my time?” In this case it, was “Who thought a sequel to the painful exercise which was Ebony Hustle was necessary?” To be fair though, this is an improvement. A half-star might be pushing it, to the point I did wonder about introducing a ★¾ rating. Or possibly a ★ and 11/16. It’s not good, to be clear. But it’s definitely less aggressively incompetent, with some of the most annoying rough edges smoothed down. For example, the audio this time mostly (although not entirely) lives around the same level, and there’s only one Facetime scene.

We are once more in the world of Ebony Howard (Lamb), a private eye who still doesn’t appear to be much private eye-ing. Of the three strands in this story, just one involves paying work, Ebony seeking to serve papers on a baby daddy to compel him to take a paternity test. There is also her investigation into the unexplained disappearance of Onyx, a friend from her strip-club days. This gets kicked up after she discovers Onyx’s phone with a video on it. Just do not expect closure for this thread, because the film ends in a way suggesting it will be a key element of Ebony Hustle 3: This Time We’re Semi-Competent, no doubt coming soon to a low-rent streaming service near you.

The bulk of it is, again, Ebony’ relationship drama. In this case, it’s with Mac (Howard), a promising basketball prospect who is being pressured to take performance-enhancing drugs by his manager, Bryan Calvin (Polo). This makes him become highly irritable, and causes Ebony so start digging into what’s going on, and Calvin does not take kindly to this interference with his meal ticket. With the help of her former strip-club boss, who is now a health guru, Ebony finds out the truth about what Mac is taking, and confronts Calvin. This is likely the only scene in which the film’s subtitle comes close to being relevant, as it’s the only time where the heroine wields a gun, or even gets physical.

The movie does a reasonably good job of managing the story, though the Onyx plot-line is largely ignored in the second half, until a late text message for sequel purposes. Lamb and Howard are not painful to watch, the latter being quite credible as a baller (though I notice the gender-neutral league he’s trying out for doesn’t appear to extend its equality to white women…). But there are way too many false steps, such as the lengthy scene which feels more like a presentation for a health supplement MLM, and the film remains in desperate need of more action and less dialogue.  At least you can now probably see Foxy Brown from here, though you remain in need of a telescope for that.

Dir: John Wayne S. III
Star: Michelle l Lamb, Jessica Mitchell, Jahaziel Howard, Polo

Hard Home

  By

★★★
“Home not alone”

Mary (Kessell) has a grudge, and probably with good reason, I’d say. Because the serial killer known as Diablo killed her daughter, Kelly, in a particularly brutal manner – finishing his victim off by burning her alive. With the help of information provided by FBI Agent Selena Wall (Adedeji), Mary puts the pieces of the case together, and eventually lures Diablo (Howard) into attacking her, then brings him back to her house. This has been turned into a hi-tech, maze-like warren designed to force Diablo to confront all his crimes, and in particular his murder of Kelly. Naturally, things don’t quite go as intended. Expecting rational, predictable behaviour from a serial killer was probably a mistake by Mary, despite her technological advantages.

This is certainly a novel take on the themes here: part serial-killer film, part vengeful mother flick. The script generally does a good job of dispensing information at a pace that keeps the viewer’s interest, without revealing everything up front. For example, after Mary gets injected with Diablo’s chosen paralytic drug, there’s a flashback which shows her injecting herself with the same stuff, in order to build up her tolerance, and use this to future advantage. It is a bit of a stretch that she has the perfect set of skills necessary for her task: home improvement, dark web knowledge, twelve years of Brazilian jiu-jitsu, etc. The agent funneling information to Mary is also just a little too convenient. 

If you can overlook these speed-bumps though – and I didn’t find them too problematic – there is still a good amount to enjoy. This starts with Kessell, who comes over as a significantly more credible bad-ass than Jessica Alba in Trigger Warning. She has one mission, and is absolutely not going to let anything or anyone (be they Diablo, her husband, a nosy neighbour or the authorities) get in the way of it. In the early stages after capturing Diablo, she becomes somewhat passive, sitting in her control centre and pushing buttons. But once things go off-track, she is forced into more reactive and pro-active behaviour, the film gradually picking up steam until an impressively grim ending (albeit with a rather odd coda, one I don’t quite get).

Bamford showed up here earlier this year with another film, Air Force One Down. Although this is a little lower on the action scale, up until the end where Diablo and Mary go toe-to-toe, it is balanced out by Home Hard working better in terms of plotting. If flashbacks are sometimes used as a crutch for weak writing, here they are well integrated and move the plot forward. Among the cast, in addition to Kessell, praise is also due to Howard. He doesn’t get a single line over the course of the movie, yet still manages to portray a creepy and despicable villain. However, Diablo might not be as frightening as Mary, who feels the very embodiment of irresistible force.

Dir: James Bamford
Star: Simone Kessell, Andrew Howard, Rachel Adedeji, Joseph Millson

Republic Pictures will release the film digitally on June 25. 

Trigger Warning

  By

★½
“May contain boredom, stupidity and poor action.”

There’s an old joke about bad movies: “This film wasn’t released, it escaped.” It seems disturbingly appropriate here, however, considering the shooting of this finished in October 2021, and it has been part of our annual previews for 2022, 2023 and 2024. Quite why Netflix sat on the end product close to three years, I don’t know. But having watched it, I can confidently say: it wasn’t long enough. This is the kind of movie that left me feeling actively more stupid by the end of it. Alba plays Parker, a soldier who returns to her hometown in rural New Mexico after her father is killed in a mile accident. Only, of course [and that whirring sound is my eyes rolling], it turns out not to be an accident.

From here spirals off a ludicrous plot in which local ne’er-do-well Elvis (Weary) is selling heavy armaments,  include machine guns and RPGs, to domestic terrorists. His family basically runs the town: brother, Jesse (Webber), is the town sheriff, and his father is Senator Ezekiel Swann (Hall), an obviously Republican politician running for re-election. It’s up to Parker to stop the bad guys, who are so evil, they burn down the bar which is Parker’s inheritance from her father. Named after her grandmother, he apparently built it when he wasn’t busy being a miner. Or a Green Beret. It’s all a bit vague. This is as authentic a portrayal of Hispanic culture as you’d expect, given a script written by three white people, which unironically uses the word “Latinx”.

It’s also directed by an Indonesian which, in a nod to the politics criticized by the movie, makes me want to go on a rant about foreigners coming over here and takin’ er jerbs. For, after all, there are plenty of American directors who are perfectly capable of making shitty action films with ham-handed social commentary. We do not need to be outsourcing this work. However, we maybe should look at outsourcing Jessica Alba. Possibly replacing her with a stick insect, since she is among the least convincing soldiers I’ve seen. The action is equally dumb: it’s the kind of movie where a bad guy picks up a chainsaw in a hardware store fight, and it starts, apparently being fully fuelled.

The whole thing is littered with similar elements which had me shaking my head. Parker can waltz into any location at will, such as finding the exact file she needs in the police station within ten seconds. While most recent Netflix action heroine films have been forgettably acceptable ways to pass a couple of hours, this one probably competes with Interceptor over the coveted crown of Worst Netflix Original. It’s amazing to think how far Alba has fallen from the glory days of work like Sin City. For Jessica’s sake, I hope her cosmetics company endeavour is working out. Because she seriously needs to rethink this whole acting thing.

Dir: Mouly Surya
Star: Jessica Alba, Mark Webber, Anthony Michael Hall, Jake Weary

Furiosa: A Mad Max Saga

  By

★★★★½
“The Fast and the Furiosa”

It was a good run. There was a point, not long ago, when action heroines could do no wrong. In hindsight, the golden era may have started in 2012 when the Hunger Games franchise began, along with Brave. Summers which followed brought us blockbusters such as Gravity, Maleficent and Lucy. Subsequent years covered the entire run of the Hunger Games and the end of the Resident Evil franchises (or, at least, phase 1 for them), and things probably peaked with Wonder Woman in 2017. Thereafter things began to decline, though I’d say returns remained strong through much of 2019. That’s when Maleficent: Mistress of Evil and Alita: Battle Angel each made over $400 million worldwide, finishing in the top 25 movies of the year.

The cracks began to show with Captain Marvel, odd though it is to say, given it made over a billion. But to a large extent I suspect it mostly surfed on the success of Avengers: Endgame. Thereafter, Wonder Woman: 1984 flopped just before the pandemic hit, Black Widow underperformed, and since then it’s been almost entirely a series of failures, with only the arguable Hunger Games reboot reaching even $250 million worldwide over almost three years since. Instead, we had one of the biggest bombs of all time in the The Marvels, followed up by the disastrous box-office of Madame Web. And now the prequel to Mad Max: Fury Road, managed an opening weekend in North America of only $26.3 million. That’s forty-two percent below its predecessor’s opening, excluding nine years of inflation.

It’s not all action heroines’ fault (though some on social media are claiming so). This year has been dismal in general. With three midweek days left on the month at time of writing, box-office for May is down 36% on May 2023 – and even that was the lowest non-pandemic May since 2001, again without adjusting for inflation. People just aren’t going to the movies in anything like the same numbers. I can’t say I blame them, when films appear on streaming services as little as three weeks after their theatrical release. Going to the pictures is expensive, and especially with the improvements in home theatre, the overall experience can end up being worse than staying at home, between travel, over-priced concessions, idiots talking on their phones, etc. Why not wait?

The counterpoint is experiences like this, a full-on, bombastic, in your face event that made full use of everything IMAX has in its locker, and surpassed anything I could get at home. Now, your mileage may vary. Poor Chris, in particular, found it too overwhelming, triggering motion sickness which forced her to close her eyes any time things got too kinetic – which was a lot of the time. We probably will not be IMAXing again in future. But the only recent comparable experience for me was Godzilla: Minus One. Re-reading my review of Fury Road, I’m a bit surprised I only gave it four stars. I’ve seen it again since, and I’ve just upgraded it an extra half-star. Put another way, Furiosa is every bit its equal. Different, but equal.

It’s a direct prequel, ending at the point when Furiosa (Taylor-Joy) leads the wives to escape from The Citadel. It begins with a much younger Furiosa (Browne) living in the Green Place, a rare place of plenty in the post-apocalyptic hell which Australia has become, along with the rest of the world. She’s kidnapped from there by minions of Dr. Dementus (Hemsworth), leader of the Biker Horde. Her mother is killed trying to rescue her, and Furiosa becomes the little, mute pet of Dementus, until he trades her to Immortan Joe, who runs the Citadel. Over the subsequent years, she becomes a key part of operations, becoming the partner of Praetorian Jack (Burke), who trains Furiosa and falls in love with her.

Dementus, meanwhile, is working to become the wasteland’s supreme ruler by taking over the Citadel, Gastown and the Bullet Farm. In an ambush at the last-named, Jack is captured and tortured to death, while Furiosa escapes only by tearing off her own arm. She returns to the Citadel, providing key advice to Joe in the ensuing war. But she never loses sight of her final goal: to make Dementus pay for what he did to her and her mother. Given she appears in Fury Road and Dementus does not… Well, you can probably figure out how this is going to end. Though the reported final nature of her revenge is not what you might expect, and has a certain poetic resonance, given what happened previously.

It isn’t quite the same relentless stream of action as Fury Road, and at almost half an hour longer, that’s no bad thing. There’s no shortage of action, but it tends to align with the way the story is broken into chapters. So you get a series of Drama-Action-pause segments – or occasionally for variety, Action-Drama-pause. There were concerns regarding the amount of CGI in the trailer, and I will say, it’s not as almost entirely physical as Fury Road either. However, what’s used is integrated very well, with only a couple of moment wheres the action momentarily seems obviously adjusted digitally. I suspect some of the landscapes were also enhanced: they and cinematographer John Seale’s work is so stunning, I don’t care there.

My other concern was having Taylor-Joy replace Charlize Theron, who simply has more presence. That does remain an issue, though to the new actress’s credit, to a lesser degree than I feared. It’s also countered by having much more of a real antagonist here in Dementus. The first film was mostly an extended chase sequence: Furiosa was running from Immortan Joe, after helping his wives escape, and they shared very few scenes together. Here, Dementus gives us a stronger “villain,” and the film as a whole is better for it. Hemsworth brings a charismatic power to his character, to the point where you can see why his henchmen follow him, unto death. Furiosa, in contrast, is really not much of a people person.

It’s difficult to pick out any one action highlight, because they are all very, very good. I think the ambush at the Bullet Farm might me the one which sticks most in my mind for now, though this may change on (the almost certain) re-viewing at home. It’s one which offers the most interesting environment, including buildings and smoke stacks, while the others are somewhat limited by operating in a desert. I mean, it is called “the Wasteland” for a reason. However, when Miller puts Jack and Furiosa in their rig, which is being stormed by almost endless waves of raiders, you really do not need a backdrop. Indeed, you could argue that any such would be at best irrelevant, and at worst a distraction.

You would be hard-pushed to argue that the $168 million budget is not up on screen. I lost count of the times when I wondered whether what I was looking at really existed in the physical world, or was matte paintings and CGI. Part of me wants to peer behind the curtain and watch the behind the scenes videos. However, part of me would prefer to sustain the illusion, which was a factor in the sense of wonder that often washed over me during the screening. It’s the quest for that sense of awe which keeps me going to cinemas, even if most of the time, I end up leaving disappointed [I’m looking at you, Godzilla X Kong…]

I also want to praise one other aspect, which may not transfer as well to my home environment (and I admit it is limited in this area): the audio. There are not many times when I can specifically point to this in particular as significantly enhancing the experience. I’m not an audiophile, and generally put what I see considerably ahead of what I hear. But in this case, Tom Holkenborg’s score and the rest of the sound elements were a notable and impressive component. From the rumblings of the engines through to the wind whipping across the Wasteland, the sonic design really worked, and allowed me to feel like I was being brought into the world of Furiosa. Well played

The problem from a business perspective is, it seems all but certain the makers are not going to recoup their investment, making it less likely you will see investments like this going forward. Fury Road probably just about broke even, so this was always going to be a gamble, especially without your leads. And, indeed, outside of the title, entirely without the character who has powered the franchise since its first installment, all the way back to forty-five years ago. In hindsight, a reaction of “What the hell were they thinking?” is probably understandable. But I am glad less-wise heads prevailed. If this is to be the end of the Mad Max universe, it goes out on another spectacular high, and not many franchises are able to say that.

Dir: George Miller
Star: Anya Taylor-Joy, Chris Hemsworth, Tom Burke, Alyla Browne

Atlas

  By

★★★
“Ripley from the block…”

This was watched, effectively as the B-feature before Furiosa, with expectations along appropriate lines, given that basis. And as such, this is fine. It’s glossy, shiny and well-crafted technically, albeit making little or no emotional impact. This is partly because, in the early going, it feels suspiciously like someone said, “Hey Siri! Rewrite the script for Aliens, replacing xenomorphs with bad AIs, and Sigourney Weaver with J-Lo.” She plays Atlas Shepherd, an AI expert, decades after a revolt of the robots killed millions before it was contained, with leader Harlan (Liu) vanished from Earth. Now he’s been tracked to a distant planet, and a military mission sent to capture Harlan. Atlas reluctantly goes along with the soldiers as an “advisor”.

Fortunately, on arrival, the story heads in its own direction. The force is ambushed and forced down, with Atlas and her AI-enabled mech, Smith (voiced by Cohan) as apparently the only survivor. She opts to forge on with reaching Harlan’s base, a choice which brings her into conflict with Smith, who insists on putting his pilot’s safety first. Complicating matters is the need for Atlas to allow a neural link from Smith into her mind, in order to complete the mission successfully. This is something which she is very loathe to allow. There’s more than paranoia here, with pretty good reasons for her reluctance, connected to Atlas’s past and how it was responsible for the previous AI rebellion. 

Topical for this to come out the week Google’s AI search results suggest using glue to stop cheese sliding off your pizza. Yet, despite the initial scenario, it ends up being rather – some might say, suspiciously – pro AI. Not quite, “I, for one, welcome our new AI overlords.” But definitely suggesting, even haters are going to have to bite the bullet and accept them into their lives. I will say, Smith ends up a likeable character, with an awareness of things like sarcasm, which make him approach human. Some might say, more so than Atlas, and certainly more than one of the other mechs, who insists on informing people of her preferred pronouns. I rolled my eyes hard at that.

Between this and The Mother, Lopez seems to be aiming to carve out a career as a Netflix action heroine. In both cases, the films work better on the action front than the dramatic (Lopez as a boffin is always a stretch). This has some nice examples of mechanized set pieces, as the Atlas/Smith partnership makes its way across a hostile planet towards their goal. It’s refreshingly free of any romance, being unexpectedly close to hard SF. Admittedly, this isn’t a film I’m probably ever going to revisit. But it provided a decent two hours of mindless entertainment, and let’s face it, that’s largely why we still have a Netflix subscription. If J-Lo wants to keep making this kind of thing, I’m happy to keep watching them. Just so long as she doesn’t start singing. 

Dir: Brad Peyton 
Star: Jennifer Lopez, Gregory James Cohan, Simu Liu, Sterling K. Brown

Abigail (2024)

  By

★★★
“And Then There Were None – with vampires”

SPOILER WARNING FOR THIS REVIEW: ESPECIALLY IF YOU HAVEN’T SEEN THE TRAILER!

Trailers can do a lot of damage to a movie’s impact, and is definitely the case here. If the trailer hasn’t outright told us the idiot gangsters had kidnapped a little vampire girl, the first third could have been very suspenseful. To elaborate: we witness the kidnap of an innocent little girl; normally our sympathies would immediately be with the victim, worrying about her well-being. We explore the setting and characters are more or less established. Then a gruesome murder happens and the gangsters wonder, “Who’s killing our people? Why? The girl’s father is big in the (criminal) underworld and has a mysterious henchman named Valdez. What’s his story? Is it all a reckoning for past misdeeds?”

This potential homage to Bryan Singer’s semi-classic The Usual Suspects falls flat, as anyone who saw the trailer (and posters) already knows it’s the little girl who is pulling the strings and will murder the gang of misfits. It’s a total fail by the marketing department responsible, though you understand a wish to signal to horror fans it’s something for them. I guess it will pay a dividend in the end – though will keep people away who are not horror fans and might have gone, expecting a crime thriller. In any case, the big surprise is ruined and you can’t help wonder if that was the best way to go.

When Hitchcock released Psycho in 1960, no people were allowed into the cinema after the movie had started, and the audience had no idea what awaited them. You thought it was about Marion Crane stealing money and going on the run… until she got stabbed in the shower. That was a real shock. You won’t experience that here, and no-one cares for the first victim (played by the unfortunately now deceased Angus Cloud). At one time, a plot with a group of people in an enclosed space and a killer amongst them, would have made for fine suspense. The film makes no secret about taking inspiration from Agatha Christie’s 1939 thriller And Then There Were None (originally known by another, non-PC title!), and the same concept works in Alien – a fine horror/thriller in space with as much focus on characters as on suspense.

Today, it doesn’t seem to be enough. You instead end up with superficially drawn characters, about whom you just get to know enough to understand where they come from, and then you blast in with the gory action scenes. Don’t get me wrong; I liked the movie. But I would have liked it more if I had cared for the characters fate. They die here and there, they twist and they turn – and I just don’t care for them at all. The movie just has not the time to build its characters, or doesn’t want to take the time for it. Which is a pity but perhaps a sign of our frantic, “more, more, more” times. I recently saw a new BBC version of Christie’s story; while they took the time to tell it, they overloaded the plot because simple, storytelling has gone out the window in today’s film narrative.

The big problem is, the moment the main characters are established as gangsters, you don’t really feel pity for them. Why should you? They are mean spirited people – bad guys – and that is a minor flaw in the concept. Having largely sympathetic space travellers finding an alien life form is quite the opposite. We are supposed to side with them because it’s a vampire. But the necessary character building hasn’t been done, and because one twist isn’t enough the movie gives us two or three more. At the end we are supposed to root for Abigail (Weir) and last surviving gangster Joey (Barrera), fighting one of her own who turned against them. Directors Bettinelli-Olpin and Gillett are asking too much of us emotionally. Should we always side with the underdog? Why? In the end they are all monsters, therefore equally unlikable, though the movie tries to make us pity the little vampire, that big daddy doesn’t really seem to care about, until he shows up at the end.

The same directors did much better with Ready or Not, where you constantly felt for Samara Weaving’s character, thrown into the pit with an insane, blood-thirsty family. It doesn’t work well here, due to the basic premise. The leads are hardly more than sketches and even Joey doesn’t get much more than being a junkie mom who cares for her little boy. It’s not enough in the development department, folks! The actors all do good work – as far as I can tell. In Germany, you get distracted by the choice of dubbing actors: the voice actor for Cloud is hardly bearable and Kevin Durand’s German voice sounds almost like Patrick from SpongeBob Squarepants which is… distracting! Also, I feel in the German version, a lot of humour is lost, I guess something to do with line delivery. I can imagine a line like “I hate ballet!” being hilarious in English, but in the German version it has no real effect.

I don’t know any of the actors save Durand and supporting actor Esposito, but the greatness of Weir’s performance can’t be stressed enough. I did believe her helpless girl – or would if I hadn’t been spoiled before – as well as the frightening vampire. How many people can scare a bunch of grown-ups? Though, of course, it’s not new ground. We saw how effective such casting can be when Kirsten Dunst did it thirty years ago in Interview with a Vampire. The trope of the “scary, evil kid” in general reaches back until at least the 1950s. The production design is beautiful and luxurious for the old villa with bar and billiard table, a kitchen (strangely situated in the cellar?), secret tunnels in a library, a computerized control room and a pool underground for corpse disposal. Similarly great is Brian Tyler’s effective score which I would really like on CD instead of the digital release.

I was less impressed by Barrera who plays the main gangster role. She is set-up as the intelligent, tough and strong woman, but her actions constantly contradict this, e. g. she can’t imagine a kid could be evil. Why? Because she has a child of her own? Everyone knows children are natural monsters and only by time, education and life experience become “human”. Her colleagues turn out partly smarter than her there. And when she, a normal mortal, tells a vampire, “I’m going to kill you now!” you wonder how delusional she can be. There’s a big goof at the end, when she gets her mobile out to call her son and say goodbye. Weren’t all cells collected early on by Esposito’s character? If she had another, wouldn’t she have been able to call help? Why didn’t she? Perhaps I missed how she got it back – maybe in the control room when the two vampires were fighting. Someone please enlighten me? [Jim. I think when she’s in the control room unlocking the house, she sees the bag of collected phones and takes one from it. Not exactly highlighted though!]

Strangely, the movie is claimed to “re-imagine” Universal’s Dracula’s Daughter from 1936. Having seen the classic movie, I can hardly see any similarities, save the main character is a female vampire, and daughter of a vampire. Her father turns up in a last minute surprise, effectively adding nothing except for re-establishing the classic Hammer vampire, of the Christopher Lee variety. Still, despite these flaws this is a good, entertaining horror movie. It’s not really suspenseful as the main characters are disposable and not developed enough to care about. And the trailer… (see previous rant!) It’s also surprisingly gory. I remember a time when such a movie would have been for 18+ audiences in Germany; this is 16+. Well, it’s not the 1980s anymore and Catholic priests aren’t sitting in German censorship board meetings anymore, so… enjoy!

Dir: Matt Bettinelli-Olpin, Tyler Gillett
Star: Melissa Barrera, Dan Stevens, Kathryn Newton, Will Catlett

Now, that trailer… Again: SPOILER WARNING!

Snatched

  By

★★½
“Everything comes to he who waits. Eventually.”

The title here seems quite deliberately a nod towards Taken, which similarly has an ex-government operative chewing up and spitting out bad guys, after they make the fatal mistake of abducting the operative’s child. In this case, it’s CIA operative Angela (Bozeman), who lost her husband Jason in murky circumstances, but subsequently put away Dmitri (Weber), the criminal mastermind responsible. Now, six years later, she can get on with living her life, bringing up son Jason Jr. (Cheatham), and hanging out with fellow agent Byron, who seems a possible husband replacement. Well, until Dmitri escapes from prison and starts killing off everyone he considers responsible for putting him behind bars.

Sooner or later – and as we’ll see, it’s not the former – that brings him into Angela’s circle, and ends up in him kidnapping Junior, with the aim of luring her into his (very well-appointed, it has to be said; I particularly liked the chandelier) lair. However, he doesn’t realize what he has done. Once this all gets going, it’s not bad. If hardly seeming an accurate portrayal of CIA practices, unless they’re utterly slipshot and incompetent, it’s kinda fun as long as you don’t ask awkward questions. Such as, where the heck does Angela get those groovy remote-controlled gun-toting little cars? Was Andy Sidaris having an estate sale? Dmitri also has a groovy bad-ass sidekick, Sophia (Camille Osborne), though her fight with Angela is disappointingly brief.

The problem is mostly the long, meandering, roundabout and largely uninteresting way in which the story gets to the amusing stuff. The first half or more is largely comprised of extremely conversational scenes of merely passing interest. In these, Angela talks to Byron about wanting to retire. Or talks to Junior about the realities of her career. Or talks to her mother, Carolyn (Hubert), about her not really a relationship with Byron. Dear lord, it’s far from the action-packed trailer, and you would certainly be forgiven if you gave up on all this soapy drama. Though I was eventually entertained by Carolyn’s ability to kick ass in a grandmotherly way, like Pam Grier on an AARP outing. At least until she encounters Sophia, anyway.

The score above is likely a composite, with two stars for the first half and three for the second, when things do reach an acceptable level of entertainment. Bozeman seems better known as a singer, but does a decent job of portraying the highly upset mother, and has a terse style of close-combat that is effective. On the plus side, it is quite gory, with a number of head-shots and other fairly graphic deaths. On the minus side, these are mostly CGI, as is apparent from the blood spray never landing on anything in the environment. You probably want to have something on hand for the sluggish early proceedings: either a good book, some snacks or an alcoholic beverage would all serve that purpose.

Dir: Chris Stokes
Star: Veronika Bozeman, Charlie Weber, Jered Cheatham, Janet Hubert