Tag: movie review

Movie Review – ‘TENET’ – “Does your head hurt yet?”

Written and Directed by Christopher Nolan
Cast: John David Washington, Robert Pattinson, Elizabeth Debicki, Kenneth Branagh, Aaron Taylor-Johnson, Clémence Poésy, Fiona Dourif, Himesh Patel, Dimple Kapadia, Martin Donovan, Michael Caine
Soundtrack: Ludwig Göransson

Let me start with the elephant in the room.

No, not coronavirus. The sound mix.

No doubt, part of my experience may have been due to some venue-specific subwoofer issues, but I’ve seen other complaints about not being able to make out the dialogue, so this appears to be something of a baked-in problem. Even going in armed with this information, and prepared to listen well, it was still a major struggle. I’m guessing TENET didn’t get much audience testing, because, frankly, much of it is as bad or even worse than Bane’s original mix in The Dark Knight Rises. Perhaps it’s not as pronounced of an issue in a regular theater with an unenhanced speaker system (if I see the movie again, it’ll probably be in a smaller venue), but who knows? I wouldn’t mind some subtitles, to be honest.

Thankfully though, Christopher Nolan has enough silent film sensibility that, even without getting a large chunk of the dialogue, I still never felt utterly lost; though I can’t say I have a complete understanding of the film. However, I’d say I have a better handle on TENET after one viewing than I did on Dunkirk after the first time, though I don’t think it’s quite as good.

Before we even get there though, from the jump, people have been comparing TENET to James Bond, but having now seen the movie, I find this argument specious, if not downright lazy. For one thing, most Nolan movies are influenced by Bond, no matter the subject matter, but second, I think Nolan very specifically didn’t want this to be a Bond film (if anything, I’d say the action in this movie is far more Bourne-influenced, just, you know, not awful). In fact, there’s one specific film, that’s not even really a spy movie, that I would compare TENET to (“[title redacted] on steroids” you might say), but to name it outright would be too much of a spoiler (hint: a major player in that movie is related to a major player in TENET).

But enough criticism. Let’s get to the good stuff.

As we’ve some to expect, if nothing else, I appreciate Nolan’s effort to capturing things in the camera lens as much as humanly possible. Someone else could have made this movie, no doubt for a lot cheaper, and filled in scenes with CGI rather than real extras and practical effects, but it just would not have looked the same. We’ve become so accustomed to computer generated sets and people that simply seeing dozens of actual humans on screen, in a real location, is visually striking (not unlike Once Upon a Time…in Hollywood).

And speaking of humans, there are actually multiple performances worth mentioning here. For one, John David Washington. If he didn’t already win you over in BlacKKKlansman, he’s officially putting you on notice now that he is a S-T-A-R. I seriously could not get enough of him. Also, Robert Pattinson, as I’ve come to expect, turns in another compelling performance (and I’m guessing he got to have even more fun than usual, not having to deal with the extra layer of an American accent [not that he isn’t great at those]). And, finally, Kenneth Branagh gives the movie some real weight; I mean, I loved him for his five-or-so minutes in Dunkirk, but this is the best acting work I’ve seen from him in years.

Overall, I guess I have paradoxical thoughts on TENET, which is somewhat appropriate. On the one hand, it doesn’t feel like the most original Nolan movie, because it’s kind of a spiritual sequel to Inception the way The Fury is to Carrie for Brian De Palma; and yet, there are elements of it that still feel, if not groundbreaking, at least new for Nolan.

It’s a lot, it’ll overwhelm many, but, despite the runtime, I was never bored, and that pays off many debts.

Rating: ★★★★☆

Movie Review – ‘Emma.’ – Cozy On Up

Directed by Autumn de Wilde
Written by Eleanor Catton, based on the novel by Jane Austen
Cast: Anya Taylor-Joy, Johnny Flynn, Bill Nighy, Mia Goth, Miranda Hart, Josh O’Connor, Callum Turner, Rupert Graves, Gemma Whelan, Amber Anderson, Tanya Reynolds, Connor Swindells, Angus Imrie
Soundtrack: David Schweitzer & Isobel Waller-Bridge

I don’t know if I’d say that I feel “unqualified” to review Emma. After all, I’ve had my fair share of, perhaps, unexpected reviews, but this is my first experience with anything Jane Austen-related (whose work has been put to screen since the dawn of television), so I can make no comment on the fidelity of the adaptation.

All I know is that I was expecting an English period piece comedy, and that’s exactly what I got; and I rather enjoyed it, too.

Not to say that the film lacks dramatic stakes, but it’s the sort of thing that feels light and breezy in all the right ways without feeling just empty.

To put it another way, as someone who’s not necessarily in the target demographic for rom-coms, Emma. is the kind of romantic comedy-drama I can get behind, because: for one thing, it makes me laugh; it’s not dumb; and I can actually empathize with the characters. In fact, despite the exotic nature of the setting (in both time and place), it’s rather amazing how much of the story feels relatable to life in the 21st Century.

Of course, it always helps to have a good cast, which is the case here. I’ll admit, my main gateway into this film was my love of Bill Nighy, who totally delivers in every scene he’s in, but I’d be remiss if I didn’t give due credit to Anya Taylor-Joy and Johnny Flynn as the leads.

All-in-all, Emma. is a tremendous debut feature for director Autumn de Wilde and writer Eleanor Catton. It’s a good-looking, smartly-written, well-executed film. Perhaps not quite the cinematic triumph of Greta Gerwig’s Little Women (which, really, I only mention because I regret not writing a proper review; I loved it), but solidly worthy of a theatrical experience.

Rating: ★★★★☆

Movie Review – ‘The Invisible Man’ – Blending In With The Air

Written and Directed by Leigh Whannell
Based on the novel by H.G. Wells
Cast: Elisabeth Moss, Oliver Jackson-Cohen, Aldis Hodge, Storm Reid, Harriet Dyer, Michael Dorman, Benedict Hardie,
Anthony Brandon Wong
Soundtrack: Benjamin Wallfisch

One of the joys of seeing as many films as I do is that every so often a movie will come along from an as yet unknown filmmaker, and after seeing it I get to say to myself, “I can’t wait to see what’s next.”

In the spring of 2018, one such experience was Upgrade, written and directed by Leigh Whannell.

Thanks to Universal’s scuttling of its “Dark Universe” after just one movie (or was it two?), and going the smarter route of individual films with modest budgets and young auteurs at the helm (rather than trying to turn a bunch of monsters into The Goth Avengers or whatever), Whannell got the the opportunity to turn H.G. Wells’ classic story into a 21st century thriller.

Now, based on Upgrade, I would have been perfectly happy if his Invisible Man was a lean, mean, 90-minute piece of genre cinema, and certainly the spine of the movie is very much that (it does have a similar visual flair as well), but he also lets it breathe in a way that I wasn’t expecting, but is totally right for the story he tells.

Obviously with a smaller budget comes a smaller cast, and the need for everybody to be on their game, which they are, especially Elisabeth Moss, on whom the bulk of the movie rests. From the very beginning it’s her story, and she certainly gets put through the wringer emotionally. It’s a heck of a performance, and thankfully the movie is worthy of it.

Of course, this being a sci-fi-horror-thriller, you’d think the music would play an important role, and it does. It’s not necessarily the most ground-breaking thing I’ve ever heard, but Benjamin Wallflisch’s score unquestionably contributes to the breathless tension that makes up much of the film.

Having said all that though, The Invisible Man is still Leigh Whannell’s baby, and I have to give him due credit. As early in the year as it may be, it’s the best 2020 film I’ve seen so far, and despite the modest budget it’s worth seeing on the biggest screen.

Check it out.

Rating: ★★★★☆

Creepy Treble – ‘Come to Daddy’ ‘Color Out of Space’ ‘The Lodge’ – Darkness Crawls


Suffice it to say, none of the following three films are what I’d call general audience fare (there’s a reason why they all played at last year’s Fantastic Fest, although so did Knives Out, so, who knows?), and that’s okay, but if you don’t have any sort of stomach/appreciation for things with a darker twist (albeit still humorous at times), then I wouldn’t blame you if you stopped reading now (even if I hope you keep reading anyway).

Directed by Ant Timpson
Written by Toby Harvard, based on an idea by Ant Timpson
Cast: Elijah Wood, Stephen McHattie, Garfield Wilson, Madeleine Sami, Martin Donovan, Michael Smiley, Simon Chin, Ona Grauer, Ryan Beil
Soundtrack: Karl Steven

If you’re not familiar with Kiwi writer/director Ant Timpson, don’t feel bad, as Come to Daddy is his debut feature, though he has been a producer of genre cinema for over a decade.

Even as someone who writes spoiler-free reviews, some movies are particularly challenging to talk about without tipping any hands, and Come to Daddy is definitely one of those films.

One thing I can say for certain is that the first act is something of a crucible (it’s a bit of a harsh tone), and there were key points in the story where I worried the movie was going to recede into garbage territory, but in my opinion it never did, and in the end I felt rewarded for the journey.

The cast does quality work given the off-beat nature of the material (love that Kiwi sense of humor), especially Elijah Wood in the lead, and at 93 minutes the movie knows well enough to not overstay its welcome.

It’s not for everyone (obviously), but I believe Ant Timpson was successful in making a film for he and his late father to enjoy together, and for me it’s one of the best genre surprises I’ve had in a while.

Rating: ★★★★☆



Directed by Richard Stanley
Written by Richard Stanley and Scarlett Amaris, based on the short story “The Colour Out of Space” by H.P. Lovecraft
Cast: Nicolas Cage, Joely Richardson, Madeleine Arthur, Elliot Knight, Tommy Chong, Brendan Meyer, Julian Hilliard, Josh C. Waller, Q’orianka Kilcher, Melissa Nearman, Amanda Booth, Keith Harle
Soundtrack: Colin Stetson

I’ll say this for Richard Stanley: he did not come back to kiss Hollywood’s feet.

If you’re unfamiliar with his journey, there’s a whole documentary about it that’s probably better than anything he’s actually directed, which is not to say that Color Out of Space is bad, but it’s certainly no Mandy (although, despite the superficial similarities, I think it’s a bit unfair to draw that comparison, even if the marketing team thought it was okay, as they are different animals).

In fact, whereas Mandy feels like an alt-reality fever dream from start to finish, Color Out of Space feels downright Spielbergian (or at least Amblin-esque) for much of its runtime (although, as you can imagine, it doesn’t end that way). The trouble is that for as much as the writing is clever about delivering exposition, there’s also one character’s decision that almost made me yell at the screen in frustration, so, it’s a mixed bag.

As far as the performers, if you were expecting full gonzo Nic Cage (I certainly was), it’s a far cry from that, but he and Joely Richardson (in a role that really feels like it should have been Barbara Crampton, but perhaps that would have been too wink/nudge) are clearly the pros on set, though I have to admit I think Tommy Chong stole every scene he was in.

All-in-all, Color Out of Space is an okay movie. If nothing else it deserves credit for adroitly bringing a Lovecraft story into the 21st Century.

Rating: ★★★☆☆



Directed by Veronika Franz & Severin Fiala
Written by Sergio Casci, Veronika Franz & Severin Fiala
Cast: Richard Armitage, Riley Keough, Alicia Silverstone, Jaeden Martell, Lia McHugh
Soundtrack: Danny Bensi & Saunder Jurriaans

You know, I don’t relish taking potshots at other people’s hard work, but the only thing that frightened me about The Lodge was how bored I was.

It starts out promising enough, with a quality first act that had me thinking it would actually make a good follow-up to Hereditary, but after that it simply fails to deliver anything. You’re not made to really care about any of the characters, and whatever punches the story has are well-telegraphed (not to mention there’s a scene where characters are watching John Carpenter’s The Thing, which is, to put it gently, not a favorable comparison).

To put it another way, there’s nothing about this movie that hasn’t been done better before, which I could forgive if it wasn’t trying to be so thematic, but the whole thing just feels fugazi to me, wanting to be deep but really just swimming in the shallows.

And it’s a shame, too, because the assembled cast is really good and their performances are not bad, but it’s in service of nothing.

Really, this movie just made me wish I was watching The House That Jack Built, not that I even thought it was great, but it’s something.

Rating: ★★☆☆☆