Tag: film review

Film Review: “Novocaine”

Novocaine delivers a funny dose of violent shenanigans

Nate (Jack Quaid) dangles unfeelingly in “Novocaine.”

Novocaine opens with a needle drop that signifies a level of spot-on self-awareness that perfectly sets up the tone of the film, as if the filmmakers are telling us, “Hey, our film is gonna be ridiculous, melodramatic, and won’t pull any punches, so just sit back and enjoy!” Using Jack Quaid’s everyman charm and a central conceit that allows for an abundance of inventive comedic violence, Novocaine fulfills its goal of delivering preposterous hard-hitting entertainment. Continue reading “Film Review: “Novocaine””

Film Review: “On Becoming a Guinea Fowl”

Humor and tragedy converge in the brilliant and disquieting On Becoming a Guinea Fowl

Shula (Susan Chardy) wears a guinea fowl costume to begin “On Becoming a Guinea Fowl.”

With the release of On Becoming a Guinea Fowl, writer/director Rungano Nyoni’s first feature film since her 2017 indie darling, I Am Not a Witch, the Zambian born British filmmaker has once again proven her unique talent for depicting tribal traditions through a modern lens. Guinea Fowl is simultaneously tragic and comically disquieting, venturing in and out of surreality within its otherwise grounded character-driven narrative. Kudos to A24 and a few UK and European studios for producing and distributing Guinea Fowl, since the film is not an easy sell. Guinea Fowl should be seen; its tightly controlled narrative, powerful performances, and artistic risk-taking make it one of the first must-see films of the year. Continue reading “Film Review: “On Becoming a Guinea Fowl””

Film Review: “Cleaner”

Cleaner is an unassuming Die Hard copy with B-movie energy

Daisey Ridley has a stellar view of London and the unfolding hostage crisis.

Cleaner is the type of B-movie matinee you watch while getting ready to meet friends for dinner, or a mysterious title on your streaming platform’s home page that you indifferently hit ‘play’ as you finish the NY Times crossword before heading to bed, only to find yourself having not solved a single clue ninety-five minutes later. You’ll rarely seek the film out, but you’ll welcome its breezy distraction. Cleaner is co-directed by executive producer Sébastien Raybaud (Femme) and Martin Campbell, but the latter’s surefootedness as an action director enables Cleaner to rise above its ham-fisted script. Campbell’s filmography includes iconic brand re-launches like The Mask of Zorro, Goldeneye, and Casino Royale, silly B-movie spectacles like Vertical Limit and The Foreigner, and a few cringe-y flops like Beyond Borders and The Green Lantern. Cleaner fits within the second grouping: a silly actioner with its entertainment value and narrative absurdity evenly matched. Continue reading “Film Review: “Cleaner””

Film Review: “Love Hurts”

What hurts more… Love? Or watching this movie?

Marvin (Ke Huy Quan) wants a home for you!

Ke Huy Quan and Ariana DeBose deserve better. The two Supporting Actor Oscar winners, for Everything Everywhere All At Once and West Side Story, respectively, can tackle dramatic and comedic material while holding an audience’s most focused attention. When used right, Quan and DeBose can elevate a film from good to great. Unfortunately, Love Hurts isn’t good. Instead, Love Hurts results from an inexperienced filmmaker who doesn’t understand how to utilize the valuable toys he has to play with. The film is excruciatingly overwritten and poorly edited, with Quan’s inherent charm as its sole saving grace. Continue reading “Film Review: “Love Hurts””

Film Review: “You’re Cordially Invited”

Cordially uninvite yourself from seeing this unfunny clamor

Jim (Will Ferrell) and Margot (Reese Witherspoon) feign politeness.

You’re Cordially Invited is built around the sort of romantic-comedy conceit you’d find supporting a plethora of its ilk from the 1990s and early 2000s: a wedding venue is unknowingly double-booked by two eccentric families. This logline is a promising opportunity for comedic hijinks, set-pieces, and confrontations. Unfortunately, You’re Cordially Invited stumbles through its vignette-styled plot without a shred of consideration for how and why anything is happening. Despite noble attempts by the film’s two leads, Will Ferrell and Reese Witherspoon, to hold it afloat, You’re Cordially Invited is a middling straight-to-streaming title, destined to play unwatched in the background of more engaging home activities.  Continue reading “Film Review: “You’re Cordially Invited””

Film Review: “Wolf Man”

Wolf Man has a simplistic horror appeal, but is that enough?

Charlotte (Julia Garner) stares into the increasingly lupine eyes of Blake (Christopher Abbott) in ‘Wolf Man.’

From Leigh Whannell, the Australian director of Upgrade and the masterful modern-day reimagining of The Invisible Man, comes his new take on a Universal Monsters horror classic, Wolf Man. Distilling the werewolf mythos into a visceral it-all-happens-in-one-night movie, Wolf Man is efficient in its pacing and scares. However, the film lacks the emotional gravitas of a romantically strained family trying to reconnect during extreme circumstances. So, because Wolf Man clocks in at under two hours, is pleasantly ultra-predictable, and contains quality thrills, it’s a great choice for a frivolous movie night. Continue reading “Film Review: “Wolf Man””

Film Review: “Mufasa: The Lion King”

Mufasa is a princely improvement, but still no match for the original King

The 2019 photorealistic remake of the 1994 classic The Lion King was a global box office sensation, but lacked the joy, energy, and instantly-memorable character portrayals of the original. When Oscar winner Barry Jenkins (Moonlight) announced he’d be directing a follow-up to the 2019 film, the choice seemed a peculiar one for the accomplished filmmaker. Upon watching Mufasa: The Lion King, however, we can clearly see (and feel) that Jenkins cared passionately about the thematic elements of the proposed prequel. Combined with original songs by Lin-Manuel Miranda and improved character designs, Mufasa: The Lion King is a superior follow-up to the 2019 film, even if it still fails to break new ground in any meaningful way. Continue reading “Film Review: “Mufasa: The Lion King””

Film Review: “The Order”

Hoult and Law bolster The Order’s thrilling real-world drama

This has been a monumental year for Nicholas Hoult. He has starred in four films: The Garfield Movie, Juror #2, The Order, and the upcoming Nosferatu. It’s difficult to envision a wider-range of films for an actor in one year, and The Order may be his most consequential role. In The Order, Hoult shares the spotlight with Jude Law, who is also playing against type. The film follows a series of real-life events that took place in the Pacific Northwest in the 1980s, with themes that continue to be relevant given the U.S.’s turbulent state of current political affairs. Procedural and moody, The Order avoids preachiness in favor of character exploration and thrilling action set pieces. Continue reading “Film Review: “The Order””

Film Review: “Red One”

Red One is a cacophony of borrowed ideas and lazy jokes

Each year, movie lovers share a communal hope that a new holiday film will earn a spot among the pantheon of great holiday classics, becoming a new beloved title to watch annually with family and friends. This year, Red One isn’t it. Bloated with ideas borrowed from a wide range of superhero and other Christmas films, and prioritizing action above comedy or the Christmas spirit, Red One is simply a colorful distraction that fails to achieve emotional liftoff.  Continue reading “Film Review: “Red One””

Film Review: “We Live in Time”

We Live in Time rides out a thin, scattered story on the backs of its two leads

Somewhere between the time-jumping emotional cuteness of About Time and the grounded indieness of Like Crazy lives the new romantic drama We Live in Time from director John Crowley (Brooklyn). Many of the films within this genre tend to live or die according to the chemistry between their two leads. Whereas everything around the two leads – the jokes, the sub-plots, the meet-cute setups, the best friends – are truly secondary, unable to sway whether a film is considered effective. The chemistry between Florence Pugh (Little Women) and Andrew Garfield (The Social Network) in We Live in Time is the movie’s biggest strength, and raises the film’s level of emotional effectiveness. However, the secondary factors fail by comparison, leaving the film fizzling in its search for more laughs and more profound meaning within its vignette structure. Continue reading “Film Review: “We Live in Time””