The Film Snob

A source of film reviews, film discussion and other oddities. It has been formed out of the desperate need to share my opinions. I am a film snob.

[thefilmsnob]

Glen Coco’s Top 10 Films of 2025

There will be no intro. I've had it up to here with intros. Let's just get on with it; it's May, for crying out loud. Here are my picks for the top 10 films of 2025…after the runners-up and the standard bonus track…there’s always a bonus track.

RUNNERS-UP

-28 Years Later

-Christy

-Eddington

-F1

-If I Had Legs I'd Kick You

-Roofman

#10b. (Bonus Track) Springsteen: Deliver Me From Nowhere

Director: Scott Cooper

Starring: Jeremy Allen White, Jeremy Strong, Odessa Young

Deliver Me From Nowhere isn't a standard cradle-to-grave biopic; instead, it wisely focuses on a particularly fascinating point in the life of rock legend Bruce Springsteen. In 1981, at the peak of his success, the singer chooses to forgo releasing another mainstream album full of hits, instead opting for a darkly personal and minimalist sound, baffling those around him who must walk a fine line between guiding him toward more lucrative choices and accommodating the artistic integrity of such a respected and humble individual. Jeremy Allen White may not resemble the Boss perfectly, but he's a surprisingly good singer, is able to exude that working-class image and has an uncanny ability to convey internal struggle, especially with those big, expressive eyes. They're invaluable to a film that shrewdly exhibits an artist's restlessness and inability to let go of certain ideas, even at great personal and professional costs. Art is not science; it's often messy and illogical, a fact of which the film makers are fully aware.

#10. Black Bag

Director: Steven Soderbergh

Starring: Cate Blanchett, Michael Fassbender

A film that deserved a larger audience, Black Bag is a tight spy thriller, both in plotting and dialogue, which is expected from director Steven Soderbergh. Cate Blanchett and Michael Fassbender assume roles that fit them like a glove, playing British National Cyber Security Centre intelligence officers who are childless and married to their careers as much as each other. Residing in a chic London home afforded to them by their high-stakes jobs, their personal lives often clash with their duty to matters of great importance. The film takes this idea to the extreme when Fassbender's George is given one week by his superior to investigate the leak of a top-secret software program, and one of the five suspects working for NCSC happens to be his wife. That's an appealing hook, but what keeps this movie so thrilling is George's engrossing and meticulous investigation as well as the fascinating interplay amongst the suspects who are highly intelligent, resourceful and played by a group of exceptional actors. Like most films in the genre, there are several twists and turns, but the story never becomes convoluted, allowing for a greater appreciation of the core themes regarding conflicting loyalties.

#9. Frankenstein

Director: Guillermo del Toro

Starring: Oscar Isaac, Jacob Elordi, Mia Goth

We're not hurting for adaptations of Mary Shelley's iconic Gothic horror novel about the titular mad scientist creating new life in the form of a monstrous creature, yet the idea of Guillermo del Toro putting his own imprint on it makes too much sense to dismiss. The master of dark fantasy and science fiction breaths new life into the familiar material and creates a world that's at once beautiful and haunting, telling a seemingly horrific tale about an inhuman being that celebrates humanity, thanks in part to Jacob Elordi's menacing yet sympathetic performance as the creature. The production design is especially exquisite, utilizing elaborate, awe-inspiring sets and some of the sharpest cinematography you'll see in a film. At a time when dictatorships are on the rise and fear of technology like AI is mounting, resurrecting a story that highlights the unchecked decisions of a man with daddy issues and a God Complex may be more appropriate than ever.

#8. Marty Supreme

Director: Josh Safdie

Starring: Timothée Chalamet, Gwyneth Paltrow, Odessa A'zion, Kevin O'Leary

Like many Safdie bros. films, Marty Supreme starts in top gear and doesn't let up, even if Josh is riding solo on this project. And like Robert Pattinson in Good Time or Adam Sandler in Uncut Gems, Timothée Chalamet's Marty is in constant motion, with bold aspirations and questionable morals, relentlessly pursuing his goal of becoming the world's top table tennis player, no matter how many laws he breaks or relationships he ruins. What stops us from detesting him is Chalamet's propulsive performance, imbuing Marty with magnetic charisma and determination as he overcomes countless obstacles, often in the form of even shadier people; it's easy to root for him when the antagonist is Kevin O'Leary's Milton Rockwell, one asshole perfectly playing another. It's also just pleasing to watch someone excel at their craft, as seen in the many table tennis matches in which Marty competes, astonishing scenes that must've been near-impossible to film and edit. You may question why Safdie goes so easy on this character, but that's probably beside the point. The United States was built--and continues to be run--by people like this. Perhaps he'd rather merely reveal truth than judge it. Or, perhaps we're the ones being judged.

#7. Thunderbolts*

Director: Jake Schreier

Starring: Florence Pugh, Sebastian Stan, Julia Louis-Dreyfus, Lewis Pullman, David Harbour, Wyatt Russell, Hannah John-Kamen

It's shocking that, after several years of mostly mediocre projects and endless talk of super hero fatigue, Marvel Studios can still produce a film that's not only thoroughly entertaining but somehow feels fresh, as if it wasn’t the 36th feature within the Marvel Cinematic Universe. It even works despite--or maybe because of--a cast of previously supporting characters from disparate Marvel projects of varying success who still aren't household names. But, maybe tempered expectations have worked in its favour, not to mention the caliber of actors. Julia Louis-Dreyfus has been invaluable to these projects with her priceless snark and cynicism as the deceitful Valentina, and Florence Pugh returns as a killing machine with a heart and impeccable comedic timing, delivered with a deadpan Russian accent. The turbulent dynamic amongst these jaded anti-heroes is amusing, as are the clever set pieces, especially one involving an escape from a covert facility through a seemingly endless vertical shaft. Of course, it culminates in a supervillain showdown, but Sentry is quite fascinating with his haunting vacancy and embodiment of trauma, a refreshingly complex antagonist requiring a refreshingly unorthodox means of neutralization. It's really quite touching.

#6. Bugonia

Director: Yorgos Lanthimos

Starring: Emma Stone, Jesse Plemons, Aidan Delbis

By now, it should be clear that Yorgos Lanthimos is one of our most unique storytellers. With Bugonia, he spins a tale of a conspiracy theorist and his autistic cousin who abduct the CEO of a pharmaceutical conglomerate who they believe is a member of an alien species trying to force humans into subservience, among other nefarious schemes. You know, that old story! It all sounds bizarre until you think about the crazy rabbit holes people go down in our post-truth society. Most of the film takes place in one location, involving only three actors, but Lanthimos's signature use of unorthodox camera lenses and framing methods combined with Jerskin Fendrix's beautifully eerie score keeps it engaging and adds to the tension that increases steadily until the very end. Of course, it also benefits from Lanthimos's perennial collaborator Emma Stone and her worthy foil Jesse Plemons, both giving award-caliber performances. It’s a treat watching Stone as the stoic captive trying to reason with her delusional yet completely believable captor who's far beyond reason. This culminates in a bonkers ending that might seem counterproductive to the film’s messaging when in reality it’s just about perfect.

#5. Warfare

Directors: Alex Garland and Ray Mendoza

Starring: D'Pharaoh Woon-A-Tai, Will Poulter, Cosmo Jarvis, Charles Melton, Joseph Quinn

Calling a film ‘the most realistic depiction of war' has become cliché, but Warfare warrants that cliché. I’m thankful for having no firsthand knowledge to verify that, but Alex Garland, who specializes in grounding the extraordinary, is accompanied behind the camera by Ray Mendoza, a former Navy SEAL who was deployed to Iraq, providing invaluable credibility. Yet, the movie starts away from combat as the soldiers watch the music video for ‘Call on Me', popular at that time for featuring an aerobics class full of gorgeous, scantily-clad women thrusting and gyrating. The scene isn’t gratuitous because it humanizes these soldiers who aren’t just cogs in a machine but young men who have interests like any other yet would experience things no one should. This is followed by a routine assignment that's shockingly mundane with the soldiers hunkering down, taking notes, doing recon, telling a joke or two. It feels so authentic and does so even when all hell breaks loose. Some of our finest young actors disappear into these roles as if they were actual soldiers ducking for cover or shouting for help, adding to the documentary-like quality that gives the brutal violence a sobering immediacy. To be clear, Warfare is not an easy watch. But, witnessing the worst parts of humanity should never be easy. Sometimes there’s value in discomfort.

#4. Blue Moon

Director: Richard Linklater

Starring: Ethan Hawke, Andrew Scott, Margaret Qualley

Whenever Richard Linklater and Ethan Hawke team up, they create something special. The writer/director’s knack for churning out pages of engrossing dialogue compliments Hawke who excels in talkative roles. It's an invaluable pairing for a film that takes place almost entirely in one location. That would be the iconic Sardi's restaurant where famous Broadway lyricist Lorenz Hart arrives after leaving halfway through opening night of Oklahoma!, a musical he declined to write with his former creative partner Richard Rodgers, who then wrote it with Oscar Hammerstein II. This drama combined with the wild success of their show causes the jealous Hart to unravel, resulting in a wonderful character study and simmering tension, since Sardi's is also the venue for Oklahoma’s opening night celebration. Through Hart’s conversations with patrons and staff, which often become navel-gazing monologues, we learn about this complex man’s life through topics like art, passion, regret, jealousy and unrequited love. The supporting cast, especially Andrew Scott as Rodgers, is superb, but Hawke does the heavy lifting as Hart, mustering empathy for a deeply flawed individual in one of his greatest performances to date. The interactions between these men are the film’s high points. Rodgers tepidly suggests a new collaboration with his friend as a lifeline, remaining skeptical of Hart's alcoholism, ambitious ideas and hints of desperation. The actors navigate these scenes with extraordinary nuance. The result is amusingly awkward and a sight to behold.

#3. One Battle After Another

Director: Paul Thomas Anderson

Starring: Leonardo DiCaprio, Chase Infiniti, Teyana Taylor, Sean Penn, Benicio del Toro

It must be nice to make a movie so brilliant that it could dethrone the magnum opus you've already made. The opus in question is There Will Be Blood and even though it remains Paul Thomas Anderson's greatest work, One Battle After Another comes awfully close. This is a movie that transcends labels--it's at once a drama, comedy, action/adventure, political thriller, western--but, what's certain is that every aspect, from the stellar performances to the masterful direction and cinematography, is near-perfect. That it's incredibly topical is just a nice bonus, albeit a somewhat unfortunate one. It’s sad that a story about a group of revolutionaries defending immigrants while fleeing corrupt militants and a laughable secret society of white supremacists is somehow an accurate depiction of contemporary America. The story itself isn't groundbreaking, but the execution is exquisite, incorporating a myriad of aspects destined to become iconic like Bob's zany sunglasses & robe combo, or his priceless arguments with fellow revolutionaries over forgotten call signs, or the exhilarating car chase on a long, hilly rode with potential danger beyond every summit. This is a work that’s both wildly entertaining and exceedingly important, and finally essential viewing.

#2. Hamnet

Director: Chloé Zhao

Starring: Jessie Buckley, Paul Mescal

Hamnet explores a common theme among many of 2025’s best films concerning the power of art and, more specifically, the blurring of the line between performance and reality. That's natural for a movie featuring William Shakespeare as a main character. But, this isn't a typical biopic about the master playwright; it focuses more on his wife, Agnes, and their family life before and after a tragedy. For a while, we enjoy this beautiful family’s fairy tale life full of laughter and love, a level of harmony so enviable that when tragedy strikes, it’s a crushing blow and we mourn with these shattered souls as if members of the family. It's the kind of plot point that's a gift for actors, and Jessie Buckley and Paul Mescal respond in award-worthy ways, her in an understandably primal fashion full of agony and tears, him with internalized torture that's less apparent but just as heartbreaking. That difference forms an emotional chasm between the lovers and the main conflict of this film, directed with optimal grace and compassion by Oscar-winner Chloé Zhao, which she co-wrote with Maggie O’Farrell. Fittingly, the final sequence takes place at the iconic Globe Theatre and culminates in a single physical gesture from Agnes that sparks an instance of breathtaking tenderness that will wreck you in the best possible way. What Buckley achieves in this moment is nothing short of miraculous, telling an entire story of metamorphosis and empathy with a series of subtle expressions, all while making a case for art as an existential necessity.

#1. SINNERS

Director: Ryan Coogler

Starring: Michael B. Jordan, Hailee Steinfeld, Miles Caton, Wunmi Mosaku, Delroy Lindo, Jack O'Connell

It's rare enough for a big-budget action film to be both commercially and critically successful. When you consider that Sinners is an original story unassociated with established intellectual property and actually has something to say, well, that’s almost unheard of. Oh, and it involves vampires. But, if you think this is just a typical vampire film or rip off of From Dusk till Dawn, your analytical skills need some work. Sure, on the surface it’s about WW1 veterans, former mobsters and identical twins ‘Smoke’ and ‘Stack’ Moore returning to their roots in Clarksdale, Mississippi in 1932 to open a juke joint for the local Black community, only for white vampires to come and crash the party. It’s easy to admire the intense climax, invigorating blues score and Jordan’s brilliant work in distinct duel roles as the twins, but beneath that surface are profound themes about cultural appropriation, the power of expression, and generational trauma that are cleverly woven into the narrative. It’s a remarkable achievement from the bold mind of writer/director Ryan Coogler, who’s turned a simple ‘vampire flick’ into a near-masterpiece. He can make a shot of someone walking across a small-town road from one store to another look downright entrancing. But, the most spellbinding scene—maybe the best of the year—is the sublime dance sequence in which the spirits of performers from disparate eras and cultures somehow join the festivities at the honky tonk, seamlessly connecting a myriad of artists through time and space. And all you have to do is sit back and be thankful for the magic of movies that still endures.

[thefilmsnob]

Hamnet: ****1/2 out of 5

There’s a common theme among many of 2025’s best films that relates to the power of art and, more specifically, the blurring of the line between performance and reality. We see this in Sentimental Value, Jay Kelly,and Springsteen: Deliver Me from Nowhere. The most striking example occurs in Sinners during the sublime dance sequence in which the spirits of performers from disparate eras and cultures somehow join in the festivities, seamlessly connecting a myriad of artists through time and space.

Hamnet follows suit. It’s become a cliché, but one of William Shakespeare’s most quoted lines goes, “All the world’s a stage/ And all the men and women merely players.” This idea’s explored in the aforementioned films, but perhaps it’s most prominent in this one, directed and co-written with optimal grace and compassion by Oscar-winner Chloe Zhao. Two obvious reasons are that it features both Shakespeare himself as a main character and a literal stage that’s crucial to the film’s narrative, part of a sequence that could make or break this film for you, though you’d have to be made of stone for the latter to be true.

Mainly, it depends on how fully you’re invested in these characters, which should be easy with Zhao at the helm and with the help of Maggie O’Farrell, whose 2020 novel is the movie’s source material. They’ve made a film of exquisite beauty and feeling, from the loving family at its center to the lush vegetation of a forest that features prominently. This is where the film begins and where we first meet Agnes (a sensational Jessie Buckley). Shakespeare’s a central figure, but Agnes is the true protagonist of this film that blends historical record with fiction. She spends much of her time in the woods, gathering herbs for medicinal use and summoning hawks with her falconry glove. She’s a tad eccentric and a bit of a recluse, said to be the daughter of a forest witch, a rumour William’s mother, Mary (Emily Watson), shares with him.

Considering what we know about Will and his art, it’s natural that these details would only intrigue him. He’s a man of considerable imagination and intellect who’s underachieving as a tutor to help pay his family’s debts, so when he catches a glimpse of Agnes, it’s no surprise when he leaves his students to go meet her. She fascinates him with her connection to the natural world, and he wins her over with his mastery of the fictional one, recounting the legend of Orpheus and Eurydice in her forest of solitude, the scene playing out like a passage from a fairy tale.

If the story ended here, they’d live happily ever after; the two fall in love, get married and have children, one of whom is the titular character played by Jacobi Jupe. And for a while, it’s an incredibly happy tale. The love and joy that the writers bestow on this idyllic family is invigorating. Hamnet and twin sister, Judith (Olivia Lynes), often prank their family by wearing each other’s clothes. The children put on productions for their parents and act out humorous sword fights. It’s behaviour you’d assume authority figures in a period piece might discourage—William’s own father (David Wilmot) chastises his son for his ‘frivolous’ interests—but, it’s nonetheless celebrated by William and Agnes. The latter even encourages William to pursue a theatre career in London, empathizing with the restlessly unfulfilled artist.

It’s a level of harmony so enviable that when tragedy strikes, it’s a crushing blow and we mourn with these shattered souls as if part the family. Plot points like this are an actor’s dream, rich sources of emotional fuel for powerful performances, certainly not squandered by Buckley and Mescal, two of our finest emerging actors. Her screams of agony are heart-wrenching, an understandably primal response. William’s reaction upon returning from London is more internalized but no less convincing. It numbs him; he’s an empty shell. The audience might even mistake this for indifference. It certainly confounds Agnes and the tension is only exacerbated by his constant trips to London. His pain surfaces in these scenes, manifesting as he snaps at his performers for their lack of passion or steals away to a spot looking over the Thames where he recites the iconic ‘To be, or not to be’ speech, a rare moment of indulgence on the writers’ part that hinders our immersion ever so slightly.

Otherwise, they show impressive restraint, like eschewing an obvious shouting match. “You weren’t here for your son! Why aren’t you more upset?!” Agnes could shout. “Why did you let this happen?! Why don’t you let me grieve in my own way?!” William might respond. These are real feelings they have, but they’re expressed through telling looks, painful silences, and complex mannerisms rather than unfettered rage and the film is richer for it. There’s also an instance in which Agnes gets physical with William, and he has to restrain her; intentional or not, it’s a bit of welcome levity.

All the love, loss, pain, and joy of this stunning film culminate in a sequence at the iconic Globe Theatre. It’s a climax that could’ve been so corny, and perhaps it will be to some. But, if you’ve been completely swept away by this engrossing family drama, which is likely, the final minutes should wreck you in the best way possible. The catalyst is a single physical gesture from Agnes, an unorthodox but entirely understandable one, forming a moment of extraordinary tenderness that will catch you completely off guard.

The film benefits from several great performances, but what Buckley achieves in these moments is nothing short of miraculous, telling an entire story of metamorphosis and empathy through a series of subtle facial expressions. Throughout the film, we witness the actor pour her heart out in intense moments of joy and sorrow, but it’s this scene that cements her performance as one of the best of the year, and art itself as an existential necessity.

[thefilmsnob]

Springsteen: Deliver Me from Nowhere: ***1/2 out of 5

By Glen Ilnicki, a real human being

During one of several effective flashbacks in Springsteen: Deliver Me from Nowhere, we see Bruce Springsteen’s hostile yet occasionally sympathetic father (Stephen Graham) take his children to a spot outside a mansion on a large plot of land. He watches Bruce and his sister run around the premises as he reflects on how idyllic life would be with a massive house like this and the wealth that goes with it. It’s the natural yearning of a blue-collar alcoholic but a sentiment that works in stark contrast to the film’s protagonist, a man who, as both the film and his real-life persona suggest, isn’t motivated by fame or fortune.

Springsteen, the legendary singer/songwriter, has gained a reputation as a humble man with a working-class image and unassuming demeanor. He presents himself as a man of the people, making music inspired by these people and for these people. Of course, you never know what’s going on in a person’s head or their true priorities, but if I were a betting man, I’d wager things like material goods aren’t at the top of the list.

After all, when the film opens, Bruce has already released five acclaimed albums, had his first top 10 song with ‘Hungry Heart’, concluded his latest sold-out concert tour and is three years away from releasing ‘Born in the U.S.A.’, one of the best-selling albums of all time. Yet, these achievements aren’t on his mind, nor are they a major concern of Scott Cooper, the film’s writer and director. What’s examined is much more interesting, elusive, perhaps even undefinable.

Based on the 2023 book of the same name by Warren Zanes, the film takes an unconventional approach by examining the making of the album ‘Nebraska’, also an unconventional project and a much darker, more subdued and deeply personal departure from Bruce’s catalogue up to that point. Cooper stays laser focused on this specific moment in the entertainer’s storied career, refusing to somehow synthesize decades of triumph and struggle into a cogent narrative. Biopics that use this strategy are almost always more compelling.

That might be hard to believe considering this presentation that’s decidedly uncinematic and deals so heavily with internal struggle, apart from a few thunderous musical showcases that reinforce why the talented New Jersey native became known as The Boss.

Following the film’s opening in which a profusely sweaty and impassioned Jeremy Allen White as Springsteen belts out the exhilarating ‘Born to Run’ before a screaming audience, the movie settles into its primary lower key while Bruce settles into a cozy and secluded rental house in Colts Neck, NJ close to where he grew up. He needs respite from the chaos of celebrity life. His manager and producer, Jon Landau (a nicely calibrated Jeremy Strong), and his record label hope to capitalize on Bruce’s momentum and release another lively hit album, but Bruce is preoccupied with memories of a troubled childhood involving his abusive father and inspired by the works of Flannery O’Connor and the film Badlands which he catches on TV while alone and depressed. So, he makes the unorthodox decision to record a demo by himself, using a makeshift studio in his bedroom without the accompaniment of the E Street Band, embracing a raw, imperfect sound.

The film relies heavily on the reactions to these choices. Strong expertly straddles the line between respecting Bruce’s artistic vision and worrying about business matters as well as his friend’s mental wellbeing. He walks on eggshells at times, trying to appease all parties involved. The scenes in which he confides in his wife (Grace Gummer), however, are awkwardly literal as he spells out the film’s dilemmas for the audience and provides a level of insight reserved for a psychiatrist.

Rare moments like this are unfortunate in an otherwise nuanced film that focuses on deep internal conflict. White, then, is a great pick for the lead role. Just like he’s perfected on the The Bear, a series that also features a tortured artist of sorts, White conveys this anguish convincingly with intense stares and those big, bright eyes gazing into the distance, searching for something even he can’t fully identify. His mind is elsewhere during most interactions, a chronic preoccupation suggesting a man consumed by uncertainty and restlessness.

As the film suggests, art is not a science; it’s often messy, illogical, and difficult to verbalize. This confounds the people in Bruce’s orbit who try to make sense of things with numbers and charts while Bruce is working with pure feeling. There’s a surprisingly measured scene in which Jon explains Bruce’s vision for ‘Nebraska’ to a Columbia record executive played by the reliable David Krumholtz. Jon shares the unglamorous feel of the album and explains how his client wants neither a promotional tour nor his picture on the album cover. Lesser films would show an enraged businessman fuming at Jon, acting like a soulless caricature spouting off concerns about profit and ‘the bottom line.’ Here, Krumholtz reacts like a human being. Bewildered? Sure. Even annoyed. But, he’s willing to give the benefit of the doubt to Bruce, a highly respectable man with a great track record.

Bruce’s peculiar mood also takes a toll on his social life. He starts a relationship with Faye Romano (Odessa Young) and, since this is a musical biopic where a relationship’s cause of death is usually drugs, jealousy, or the art itself, it’s less than ideal. It’s also the least interesting part of the film. And, as you’d expect, Young’s role is underwritten, Faye being only slightly more developed than Jon’s wife who’s a mere plot device.

Throughout the film, Bruce travels to some appropriately rustic, lived-in locales, especially when he returns to his roots in small-town New Jersey. It’s like we’re journeying through a visual representation of his music and experiencing the origins of those beloved lyrics and melodies. It’s music that White sings with an intensity that’s sure to make the real Springsteen proud. Apparently, White sang all the songs himself, and he nails Bruce’s gravely, soulful voice, an auditory likeness that’s not quite matched by White’s physical one.

That’s okay. The movie isn’t an official document. It’s a piece of art, which is also about art. It’s supposed to make us feel something, and in that sense, it’s done its job.

[thefilmsnob]

Glen Coco's Top 10 Films of 2024

Since the dawn of mankind, there have been movies that have made us laugh and made us cry, and I really hope you don’t fact-check me on that and ruin this beautiful intro. Here are my picks for the top ten films of 2024…after the runners-up and the standard bonus track…there’s always a bonus track.

RUNNERS-UP

-A Complete Unknown

-Civil War

-Saturday Night

-Sing Sing

-Speak No Evil

-The Substance

(Apparently, 'S' films just can't make the cut.)

#10b. (Bonus Track) The Apprentice

Director: Ali Abbasi

Starring: Sebastian Stan, Jeremy Strong, Maria Bakalova

In no way is this an endorsement of The Apprentice’s protagonist but, rather, a solid motion picture. Outside a team of highly qualified psychologists, it would be impossible to determine how Donald Trump became the ruthless, heartless, soulless sociopath he is today, but director Ali Abbasi and writer Gabriel Sherman at least try to examine the people and situations he’s encountered in life that’ve certainly added fuel to a fire that has spread continuously to this day, especially his mentor Roy Cohn who taught Donald several shady tactics he’s utilized for his own benefit at the expense of nearly everyone else. Jeremy Strong is predictably great in this role opposite an exceptional Sebastian Stan who nails Trump's verbal and physical mannerisms while avoiding the standard side splitting caricature that should be reserved for SNL’s master impressionist James Austin Johnson. Besides, an unembellished take on the man is much more disturbing.

#10. Conclave

Director: Edward Berger

Starring: Ralph Fiennes, Stanley Tucci, John Lithgow, Isabella Rossellini

Conclave depicts the chaotic search for the next pope, but its themes extend way beyond the boundaries of the Vatican. An undoubtedly timely thriller, it's a thinly veiled microcosm of modern politics, specifically the madness that's engulfed The United States. Within the confines of the Sistine Chapel and its adjacent labyrinthine corridors, expertly reproduced by the talented production designers, various cardinals scurry about and scheme, trying to elect a pope who will satisfy political purposes and personal agendas rather than someone who will most responsibly lead the Catholic Church. These cardinals are played by a virtuoso group of veteran actors led by Ralph Fiennes, utterly convincing as they whisper about the candidates' politics, scandals and grievances. So much palace intrigue and controversy emerges that it requires considerable suspension of disbelief, but it all makes for some delicious drama, especially the shocking ending that is sure to enrage countless devotees.

#9. Nosferatu

Director: Robert Eggers

Starring: Lily-Rose Depp, Nicholas Hoult, Bill Skarsgård, Willem Dafoe

Having made a name for himself in the genre with the highly original horror films The Witch and The Lighthouse, Robert Eggers takes on a classic this time with his remake of Nosferatu. Based on the 1922 film, itself inspired by the 1897 novel Dracula, this version sees Eggers deploy more traditional scares from his previous work while still showcasing his singular style. Psychological dread still blankets the story, but there's also a more literal threat in the form of vampire Count Orlok, brought to menacing life by Bill Skarsgård, a cinematic shape shifter whose angular visage and bulging eyes lend themselves to the macabre. His performance, along with the other actors, is appropriately theatrical, making you recoil even as it's impossible to look away. The story may be old, but it's revitalized by sensational production design and cinematography, exploiting shadows, sharp lines and a muted colour palette to transform an already chilling 19th century German town or castle in the hills into nightmarish locales. A scene showing the giant shadow of a hand slowly engulfing that town says it all: there's no escaping the evil within this cursed land.

#8. Furiosa: A Mad Max Saga

Director: George Miller

Starring: Anya Taylor-Joy, Chris Hemsworth, Tom Burke

I hate to admit this, but I wasn't very fond of Mad Max: Fury Road, a movie that’s often considered one of the greatest films of the 2010s. Maybe I thought it was narratively simplistic, or I just wasn't ready for the pure lunacy of it all. This time, I came prepared for Furiosa and was absolutely engrossed in the bonkers prequel to the 2015 film. I'm finally sold on the universe that George Miller birthed decades ago with all its bat shit craziness, fetishistic costumes and psychotic characters. You’ll root for Furiosa immediately, though, thanks to Anya Taylor-Joy who, with only about 30 lines of dialogue, becomes the epitome of resilience in this epic saga that details the character’s tragic childhood, transformation into a lethal force of nature and quest for vengeance, all while enduring a brutal world that tries to break her at every turn. Miller populates this unforgiving world with several communities that are socially and geographically fascinating while paradoxically filling a grungy wasteland with some of the most cleanly shot, beautifully choreographed and wonderfully inventive action sequences you’ll ever see on film.

#7. The Wild Robot

Director: Chris Sanders

Starring: Lupita Nyong'o, Kit Connor, Pedro Pascal

An immensely heartwarming tale, The Wild Robot tells the story of a helper robot called ROZZUM unit 7134 (Roz for short) who washes up on a forest island containing no humans to help, leaving her without purpose. This changes after she finds a goose egg whose resident gosling soon hatches and imprints on Roz, making her an unlikely mother while giving her a renewed purpose. Besides caring for the gosling, Brightbill, and ensuring he can fly before migration season, Roz helps the other animals, even natural enemies, live in harmony in this beautiful story that shows how we can thrive if we learn to co-exist with those who are different and also utilize technology responsibly. Considering the latter point, it’s surprising yet refreshing that the film eschews the overly polished, sterile animation style typical of modern features in exchange for a rougher, more naturalistic look that may recall an impressionist painting. Supporting the gorgeous visuals is a breathtaking score that reaches its zenith during the inspirational scenes of Brightbill learning to fly. If this film doesn't move you, you might want to consider the possibility that you're a robot.

#6. Dune: Part Two

Director: Denis Villeneuve

Starring: Timothée Chalamet, Zendaya, Rebecca Ferguson, Austin Butler, Josh Brolin, Florence Pugh, Stellan Skarsgård

It seems every year my list contains the names Villeneuve, Chalamet, Pugh and Brolin. Lucky for us, they’ve assembled in the follow-up to 2021's Dune, based on novels many thought unfilmable. Continuing a story that’s far too intricate to summarize here, the sequel expands on the theme of false prophets, an idea that’s inconveniently topical. This creates a complex dynamic in that we route for Paul Atreides and his gradual influence over the desert world of Arrakis and its evil rulers while also remaining skeptical of his ascendancy. These intriguing moral dilemmas once again play out in a fantastical world that Villeneuve has impressively recreated, populating an otherwise simplistic landscape with wondrous machines, settlements, mysticism and, of course, giant earthworms. As is customary with a blockbuster franchise’s second chapter, there's more action and elaborate set pieces, but it never gets so indulgent as to become numbing. The images on screen are vivid and awe-inspiring. The movie’s all-star cast is uniformly fantastic, including newcomer Austin Butler, the charming heartthrob who plays a sadistic, deadly Harkonnen warrior named Feyd-Rautha, a casting choice that's as ambitious as the franchise itself.

#5. Flow

Director: Gints Zilbalodis

Starring: Some brave and resourceful critters

Making a cat your story’s protagonist should be considered cheating. There’s a built-in audience of fiercely loyal cat lovers and for those whose opinions of cats are negative (ie. wrong), they’re still left with a tiny creature who’s vulnerable yet independent and downright ferocious at times. Now, that’s an enticing character. In the animated feature from Latvia, Gints Zilbalodis, who did almost every job on Flow, places the cat in a breathtaking and lush world that feels at once life-like yet surreal, crafted with a uniquely rustic animation style. In a rare turn, the cat hasn’t been anthropomorphized; it’s a simple, dark grey cat with large, expressive yellow eyes which are integral for a story featuring animals who can't speak and are unable to communicate verbally. Our little feline finds itself on a boat, trying to survive a flood with a variety of fascinating animals. The lesson in teamwork for survival benefits children but is essential for adults who are more cognizant of our fractured world and who have a greater responsibility for both its causes and, hopefully, solutions. This is a story about animals, but human activity can be felt on the periphery in all the stone structures scattered across the land. We’re left to contemplate the identity of these builders, the effect they had on their surroundings and, finally, existential ideas like climate change. Did these hypothetical beings doom this beautiful land and its diverse wildlife? Are we doing the same thing to our world?

Full Review

#4. The Brutalist

Director: Brady Corbet

Starring: Adrien Brody, Felicity Jones, Guy Pearce, Joe Alwyn

There's no shortage of films that romanticize the immigrant experience, especially the so-called American Dream. The Brutalist is an epic story of Holocaust survivor and architect László Tóth, detailing his struggle as a poor immigrant in America, ascent in the world of architecture and abuse at the hands of the wealthy elite, and though it hits similar beats as other immigrant narratives, it often subverts them, exposing the American Dream as just that for many people, a mere dream. But, it's also a story about an artist and his monumental contributions to architecture and to a country that won’t fully reciprocate. For a film that's three and a half hours long, it never drags thanks in large part to the fascinating performances, specifically that of Brody who’s required to convey the plethora of emotions an immigrant might experience and makes every one utterly convincing. Writer/director Corbet reinforces the grand scope of his work with stunning wide shots and a thunderous score reminiscent of a summer blockbuster whose primary leitmotif feels appropriately urgent and makes an immediate impact. Like László’s brutalist art style, the film isn't overly fanciful, indulgent or abstract, but it's as solid and imposing as a giant slab of concrete.

#3. Anora

Director: Sean Baker

Starring: Mikey Madison, Mark Eydelshteyn, Yura Borisov

Sean Baker, who wrote, directed and edited Anora, has no interest in exploring typical film subjects: lawyers, spies, superheroes, etc. Instead, he tells the stories of strippers, porn stars and prostitutes, humanizing those who’re too often seen as less than human. Here, a star is born in Mikey Madison who plays the titular character in a brave and fiery performance, baring her body and soul as a stripper who's paid $15 000 to play 'girlfriend' to a Russian oligarch's son for a week of sex, drugs and partying that culminates in an impulsive Vegas wedding. You may doubt the longevity of their union even while routing for these kids with their joie de vivre who seem to make each other happy, so much so that you might become defensive when his parents try to get the marriage annulled immediately. This is where the film transforms into something much different and continues to take unexpected yet satisfying turns, starting with a quasi-home invasion sequence that's at once devastating and hilarious. People show their true colours, motivations shift, enemies become friends and vice versa, and our fierce heroine learns some nasty truths about life, specifically the gross inequality among classes vis-à-vis privilege and consequences. The movie ends with a beautifully honest moment that's heartbreaking and also essential.

#2. A Real Pain

Director: Jesse Eisenberg

Starring: Jesse Eisenberg, Kieran Culkin

As its title suggests, A Real Pain is absolutely about pain despite its disarmingly light tone and, frankly, hilarious moments. David might also call his cousin Benji a real pain due to his unfiltered behaviour and frequent outbursts. David's reserved, organized and adheres to etiquette while Benji's more carefree and either overshares or is overly inquisitive, yet this transparency is oddly endearing. This leads to growing tension as they travel to Poland to connect with their Jewish heritage following their grandmother's death and though this dynamic might seem familiar, Eisenberg is too attuned to the complexities of human nature to churn out what could’ve been a simplistic ‘odd couple’ premise. He also takes a type of character he’s played so often like David and imbues him with a more prominent vulnerability that takes him to emotional depths Eisenberg’s seldom explored. A Real Pain is full of difficult conversations, hard truths and necessary catharsis. Eisenberg knows that trauma must be confronted directly. The cousins confront their generational trauma while in Poland, but they also address the pain that each of them has inflicted on the other. Neither one is the person the other wishes they were, and the acceptance of this requires deep empathy and communication. The actors, especially Culkin as Benji, give Oscar-worthy performances that feel completely authentic, with telling looks, pauses and mannerisms that speak volumes in between the meticulously crafted dialogue that’s as easy on the ears as the delightful piano notes that play throughout. Like most honest films, nothing here is ‘solved’, but there are signs of progress and maturity. And that’s usually the best we humans can muster.

Full Review

#1. CHALLENGERS

Director: Luca Guadagnino

Starring: Zendaya, Josh O'Connor, Mike Faist

Luca Guadagnino’s made some of the most daring love stories of the last decade including the coming-of-age romance between the son and male student of a professor in Call Me by Your Name which put Timothée Chalamet on the map or the road trip love story between two cannibals--yes cannibals--that's surprisingly touching and grounded. However, neither of these films, nor most others, match the sheer kineticism of Challengers, a film that came out of nowhere, made a huge impression, then was foolishly deprived of any Oscar nominations. It features a complex love triangle involving a former-tennis-prodigy-turned-coach named Tashi, her tennis player ex-boyfriend Patrick and her tennis champion husband Art who was once Patrick's best friend. Like the brilliantly staged and absurdly entertaining tennis sequences (often filmed from the tennis ball’s perspective!) the narrative bounces back and forth in time over the 13 years of their relationship in which we see a constant shift in its dynamic, a fluctuation of winners and losers, and ‘points’ scored and forfeited. Yet, in such a fast-paced film with all its rapid cuts and an irresistibly frenetic score by the geniuses Trent Reznor and Atticus Ross, Guadagnino and writer Justin Kuritzkes still give these fine actors room to connect in smaller, intimate scenes, often in extreme close-up for optimal sexual tension. This is, after all, a very sexual film; we see the muscular bodies, taut skin and dripping sweat of these young, beautiful people at peak athleticism. The prospect of sex is teased throughout. Yet, it never feels exploitative or gratuitous. Every moment is earned. This is an irresistible film that examines how love, attraction and competitiveness all interact in explosive ways, culminating in a pitch-perfect ending that aces its thematic serve.

[thefilmsnob]

Flow: ****1/2 out of 5

Making a cat your story’s protagonist really should be considered cheating. Never mind that there’s a built-in audience of fiercely loyal cat lovers who will devour anything involving these cute little fluff balls. But, even if you’re trying to entice those whose opinions of cats are less than flattering (ie. wrong), you’re still left with a tiny creature who’s vulnerable yet incredibly independent and downright ferocious at times. In other words: a routinely proven formula for fascinating characters.

Of course, writer/director Gints Zilbalodis doesn’t solely rely on feline virtues to make a compelling story, as easy as that would be. With Flow, a new animated feature from Latvia, Zilbalodis creates a breathtaking world that’s lush, serene, and populated by an array of diverse animals. It’s a world that feels at once familiar and foreign, life-like yet surreal. Crafted with a uniquely rustic animation style, it recalls the video games Ico and Shadow of the Colossus, two masterpieces that often emerge in debates regarding the artistic merit of video games. Whichever side you land in that debate, you certainly can’t deny the artistry on screen here.

At the center of this story, paradoxically, is a rather nondescript cat. It’s not an exaggerated cat nor an anthropomorphic one who cracks jokes but a simple, dark grey cat whose distinctive physical feature is its deeply expressive large yellow eyes. These bright orbs are integral for a story featuring an animal who can’t speak, thus unable to express itself verbally.

They spring into action almost immediately; as the cat goes about its day doing typical cat stuff like snatching a fish from a group of dogs, its beautiful forest home is suddenly threatened by onrushing water that begins to consume it. The animals cease their petty squabbles to reach higher ground with the cat taking refuge in an abandoned cabin, presumably belonging to a former owner, curling up into a ball for a cozy slumber as cats are wont to do.

It’s a short reprieve as the water continues to rise, submerging the cabin and forcing the cat onto the highest point in the vicinity, a giant cat statue, an image that cleverly portrays humanity’s adoration of certain animals as merely performative, relinquishing accountability when our poor little friends need us most. It’s a harrowing sequence and our hearts break for this furry creature whose eyes and panicked movements project so much fear as the water reaches the top of the statue…until a sailboat approaches, helmed by none other than a pudgy, mild-mannered capybara of all things. The rodent saves the day.

Aside from our relief about the last-minute rescue, it’s just delightful seeing a cat hop aboard a capybara’s boat, a heartwarming image of one creature helping another. They sail on, saving and recruiting a variety of other animals like a ring-tailed lemur, a secretarybird and a Labrador Retriever. It’s a work of fiction and some liberties are taken, such as imbuing the animals with somewhat heightened intelligence, but generally they act how you’d expect; the cat is skittish, the capybara is calm, and the lemur is a ball of energy. The expected disputes occur, but at the heart of this story is a group of disparate beings cooperating for their survival. Our little kitty cat benefits from this newfound safety net since it finds itself immersed in the raging water several times and although the underwater views and plethora of colourful fish are breathtaking, these moments give both the cat and the audience quite a scare.

This lesson in teamwork is an added benefit for the children already being swept away by this wondrous spectacle, but it’s essential for adult viewers who are more cognizant of our fractured world and who have a greater responsibility for both its causes and, hopefully, solutions.

This is a story about the plight of animals, but human activity can be felt consistently on the periphery. During their travels, the animals pass stone structures and find themselves traversing a half-submerged city, relics of a bygone civilization or perhaps a flourishing city just recently abandoned. It’s not clear. We’re also not told whether this is our world or one very similar.

Regardless—and partly because this is a less manic film than most animated features nowadays--we’re left to contemplate the identity of these builders, the effect they had on this land and, finally, existential ideas such as climate change. Did these hypothetical beings doom this beautiful land and its diverse wildlife? Are we doing the same thing to our world?

[thefilmsnob]

A Real Pain: ****1/2 out of 5

This may be a truism, but here goes: the world is a mess. And our collective dread may’ve even worsened in the wake of an inconveniently consequential American election. The merits of a movie might seem trivial to some right now, but those people would be underestimating the power of film, a medium that can distract from the pain of reality while paradoxically forcing the viewer to face that reality head-on. Jesse Eisenberg’s new project, A Real Pain, which he wrote, directed and stars in, fits that description nicely.

As its title suggests, the film is absolutely about pain, yet despite its heavy subject matter, it has a surprisingly light tone and is frankly hilarious at times. However, most people would see the title—at least at first—as a description of a major character. That would be Benji, played by Kieran Culkin in a performance that rivals his masterful work on Succession. Benji’s cousin, David (Eisenberg), certainly considers him a real pain, due in part to his unfiltered behaviour including frequent outbursts, even if this is only a fraction of David’s complex feelings toward a person who seems like his polar opposite.

Eisenberg wastes no time distinguishing the two. Their grandmother has just died, so they’re traveling to Poland to see her childhood home and connect with their Jewish heritage. In a priceless opening sequence, David sends numerous unanswered voicemails to Benji on route to the airport to keep him updated on his whereabouts, perfectly introducing us to this tightly wound family man. When he finally reaches the airport, Benji surprises him with a big bear hug and warm salutations, completely oblivious to those messages. Curiously, though, he’s highly attentive during the in-flight emergency orientation, even guilting David into paying attention because, although he’s not too kind to himself, he has ample respect for his fellow human.

This is part of Benji’s charm, a quality even David would admit Benji possesses. Yet, he’s not charming in the stereotypical sense: eloquent, well-mannered, impeccably dressed, perfectly coiffed hair. As we see when the cousins meet their small tour group in a hotel lobby, Benji often monopolizes the conversation, whether he’s oversharing or being overly inquisitive, but this transparency can be oddly endearing. David’s reserved and adheres to etiquette, and Eisenberg makes his discomfort in this scene palpable, even interjecting a few times to relieve his embarrassment. A simmering tension has built to this point, and we can see clearly now where the movie is going.

The broad strokes of the plot are predictable, but Eisenberg is too attuned to human nature and its complexities to churn out what could’ve been a simplistic ‘odd couple’ premise. We see this in his rendering of Benji and their relationship but also his own character, adding layers to the type of role we’ve seen him play many times. He’s finicky and neurotic as usual but possesses a more prominent vulnerability that builds gradually and takes him to emotional depths Eisenberg’s seldom explored. Rarely has he allowed an audience to empathize with his pain as much as he does here.

Much of this pain derives from Benji, whose outwardly zest for life and social prowess mask his suffering. Sometimes that mask slips, though, as in a scene in which he has an outburst about a perceived tone-deaf act of riding first class on a train through Poland. This guilt about one’s privilege within a world full of pain is shared by some of the tour members—who get just enough attention as to seem like real humans as opposed to set dressing--who David challenges, opining that one needn’t feel guilty 24/7 even if the concerns are valid.

As the film progresses, there’s a sense that Benji’s outbursts might get old; that feeling peaks during a scene in a cemetery in which Benji, overcome with emotion brought on by the setting, lectures the tour guide, James (Will Sharpe, just right), about his over-reliance on stats and dates, which Benji finds insensitive, making James defensive and embarrassed. The poor guy must walk a fine line between maintaining control of his tour and deferring to its customers, especially since they are Jewish and he is not, a nice touch that adds even more friction to the story. It’s a moving scene, but any more like this would verge on overkill. Fortunately, Eisenberg has a shrewd artistic awareness and knows when to pump the breaks.

A Real Pain is full of difficult conversations, hard truths and at least some level of catharsis. Eisenberg understands that people carry trauma for a long time, and it must be confronted directly. The cousins confront their generational trauma through their trip to Poland, especially during a quietly powerful visit to the Majdanek Concentration Camp in which James, and the film itself, pauses for a bit and allows the tour group and audience to reflect on the tragic history in a beautiful and respectful sequence devoid of even music. They also confront the pain that each of them has inadvertently inflicted on the other. Neither one of them is the person the other wishes they were, or at least the person they used to be, and the acceptance of this requires deep empathy and communication.

Eisenberg and Culkin embrace this challenge and work wonders, giving Oscar-worthy performances that feel completely authentic, with telling looks, pauses and mannerisms that speak volumes in between the meticulously crafted dialogue that’s as easy on the ears as the delightful piano notes that help to alleviate the somber bits. Like most honest films, nothing here is ‘solved’ or wrapped up perfectly, but there are signs of progress and maturity. The film is about life, after all, and that’s usually the best we humans can muster.

[thefilmsnob]

Glen Coco's Top 10 Films of 2023

Hello, lovely reader. I had a really well-written intro about blockbusters and art house films, but the more I read it, the more I doubted its validity, and after spending hours writing the rest of this article, I couldn’t be bothered to do research to support it. And it’s already $&@%ing May 2024.

ANYWHO! 2023 was a great year for movies and you’ll also have a great time reading about my picks for the top 10 films of 2023...after the runners-up and the standard bonus track...there’s always a bonus track.

RUNNERS-UP

-Are You There God? It's Me, Margaret.

-Bottoms

-The Holdovers

-Nyad

-Past Lives

#10b. (Bonus Track) The Zone of Interest

Director: Jonathan Glazer

Starring: Christian Friedel, Sandra Hüller

A film that's not exactly easy to recommend, The Zone of Interest follows Rudolf Höss, commandant of the Auschwitz concentration camp during WWII, and wife Hedwig, living with their five children on a property adjacent to the camp. And like the fence that divides the family's idyllic home from the very horrors of the camp which they enable, I'm still divided about the ethics of this production. Yet, there's no denying Glazer's boldness and craft, using simple yet crisp framing, mundane dialogue, sparse music and an aura of indifference to juxtapose the family's living conditions with those within the camp, whose faint sounds of screams, gunfire and hellish machinery may as well be the the chirping of birds and rustling of leaves to their ears. It's a rare film that's undeniably disturbing yet bereft of explicit violence, nudity or even harsh language, omissions that accentuate the chilling nonchalance of evil on display. What remains, especially the quietly profound finale, will surely stay with you and, considering the implications, it should.

#10. Maestro

Director: Bradley Cooper

Starring: Carey Mulligan, Bradley Cooper

Maestro follows the familiar biopic template about brilliant artists who excel professionally but struggle personally, yet writer/director/producer/star(!) Bradley Cooper has crafted a richer, more stately product than so many other paint-by-number biographies. Having already showcased his film making prowess with 2018's A Star is Born, a film that also explored the complex relationship among love, artistry and stardom, Cooper continues this analysis with his examination of iconic composer Leonard Bernstein. In the process, he stages some breathtaking scenes, especially one involving a heated argument between Cooper's Bernstein and wife, Felicia (Carey Mulligan), that's devoid of cuts and full of passion, or another in a grand cathedral where Bernstein triumphantly conducts his orchestra like a force of nature, sweat dripping down his feverish visage. Primarily, though, this is a vehicle for two sensational performances from Cooper and Mulligan who capture an enticingly complicated and fraught relationship in the shadow of a legendary career.

#9. Beau Is Afraid

Director: Ari Aster

Starring: Joaquin Phoenix

Wikipedia describes Beau Is Afraid as a 'surrealist tragicomedy horror film', so, if nothing else, it's...different. Some may find Ari Aster's film insufferable, but if you view it as one big, absurd metaphor for crippling anxiety (GAD, specifically) and familial guilt, it becomes a mesmerizing fever dream of a journey that will resonate with anxious people in general but also with certain ethno-religious groups who are inclined to satirize themselves (think Seinfeld and Curb). Here, Joaquin Phoenix plays Beau, a meek, neurotic soul, living alone in a dingy apartment on an impossibly dangerous street overrun with miscreants he must avoid at every turn just to go to the corner store. Sadly, he must travel farther than 50 feet to bury his mother while facing utterly bizarre threats and situations along the way, even venturing into a fantasy world made of felt at one point, concluding with one of the most outlandish yet oddly perfect endings you'll ever see. It's not quite on the level of Aster's milestone achievements Hereditary and Midsommar, but it's unquestionably original and a further sign of the film maker's boundless potential.

#8. Asteroid City

Director: Wes Anderson

Starring: Jason Schwartzman, Scarlett Johansson, Tom Hanks, Jeffrey Wright, Edward Norton, Bryan Cranston, about a dozen other actors you'll recognize

My description of Wes Anderson changes with every film he releases, oscillating between 'insufferable' and 'genius'. With Asteroid City, I lean toward the latter. His latest film is more fun and inviting, less fussy and pretentious. That's surprising for a film whose plot involves a retro-futuristic 1950s in which we're shown a documentary about the production of a play called 'Asteroid City', which actually is presented like a film and forms the majority of the narrative. The black & white, box-screened documentary contrasts the widescreen, brightly coloured 'play', which features a youth astronomy convention held in the titular desert town and the stories of its equally colourful attendees. It's a tad convoluted, but the final product is a visual and structural wonder, every scene composed of delectable sets filled with objects meticulously arranged and photographed to appear at once realistic and fantastical. And, though ample attention is placed on aesthetics, there’s plenty of room for the surprisingly touching story. Anderson also concocts one of the zaniest scenes you'll see, involving a surprise guest that, inexplicably...works.

#7. The Killer

Director: David Fincher

Starring: Michael Fassbender

On its surface, The Killer might seem unoriginal, superficial or repetitive, with the stereotypical soulless assassin routinely taking out one target after another. But, this deliberately crafted film from David Fincher challenges these perceptions in two major ways, one obvious, the other delightfully subtle. The first occurs at the end of the opening act in which Michael Fassbender’s Killer stakes out a hotel room, awaiting his target while describing the life of an assassin and his routine like an art in chilly voice-over, enlivening an otherwise inert sequence. But, when the time comes to take the shot…he misses. This is where the Killer goes into survival mode, hunting down his associates before they can get to him and 'clean up his mess'. What once seemed like a straightforward survival story, however, slowly reveals itself as an assassin's quest to prove to his employers that he is, indeed, the elite killer they hired. Fassbender’s deft performance is invaluable to this development within a broader story about humans' insatiable need for purpose.

#6. Air

Director: Ben Affleck

Starring: Matt Damon, Viola Davis, Ben Affleck

There's a quirky trend lately of making films based on popular products like Barbie dolls, Cheetos, Tetris, Pop-Tarts and, in the case of Air, Air Jordan sneakers. And, although the origins of a shoe may not seem like prime material for a feature length film, the result is both fascinating and exhilarating. It may also feel strange cheering for a corporate giant like Nike and one of its executives (Matt Damon) as if they were underdogs, but the veteran Damon, alongside co-star and director Ben Affleck, sells us on his effort to sign Michael Jordan as Nike’s new spokesman and save their basketball shoe division. Affleck wisely keeps the tone light, but the characters’ endeavors are still gripping as is the dialogue from this superb cast; they make shoes sound riveting, in the same way The Big Short did for credit default swaps. This is exemplified in the climactic negotiation between Damon’s character and Jordan’s mother, played by Viola Davis, who’s fiercely protective of her son's interests. Sure, capitalism drives this story, but scenes like this, a battle of wits and emotions between two acting greats alongside their industrious counterparts, remind us there are still human beings amidst all the bar graphs and quarterly reports.

#5. Poor Things

Director: Yorgos Lanthimos

Starring: Emma Stone, Mark Ruffalo, Willem Dafoe, Ramy Youssef

Director Yorgos Lanthimos has become one of the most unique cinematic voices of a generation. With Poor Things, his latest curiosity, he recalls elements of Frankenstein, breathing new life into those ideas to tell a modernized story about Bella Baxter (Emma Stone), who's resurrected by the eccentric Dr. Godwin Baxter (Willem Dafoe), replacing her brain with that of her fetus, creating a woman with an infant's mind. Within Lanthimos's wondrous re-imagining of the Victorian Era, Bella embarks on a journey to discover both the world at large and herself. As she travels from London to Lisbon, Alexandria to Paris, she's confounded by this augmented world's beauty--its unique colours, textures and geometry-- but also its cruelty, all facets that help form her character. These elements are produced with vivid digital and practical effects to create a dream-like, absurdist environment like something out of a children's book, ensuring the audience shares in Bella's astonishment. Stone's performance is equally astonishing, depicting a metamorphosis from awkward, naive, dependent child to assertive, autonomous, curious young woman, combating the pettiness and insecurities of overbearing men in the process. It's an empowering story as effective as the striking costumes, sets, score and every other element that floods our senses.

#4. Anatomy of a Fall

Director: Justine Triet

Starring: Sandra Hüller, Milo Machado-Graner

Anatomy of a Fall might seem like a conventional legal drama and therefore easy to overlook. The premise is simple: a boy (Milo Machado-Graner) finds his father dead below the attic window of their family’s French chalet. Sandra, (Sandra Hüller), the boy’s mother, is the prime suspect considering her turbulent relationship with the husband and the fact she was the only other person home. We see the responses to the death, the investigation and the trial while questioning if it was a murder, suicide or accident. It’s a basic procedural, but the execution by director Justine Triet and her incredible cast elevates this story immensely. Through the enthralling dialogue and gradual revelations, we learn things when the characters do; the audience isn’t omniscient like with similar films, even after the verdict. It’s also decidedly non-sensational which paradoxically piques our interest even more in this story that mirrors reality and a solid but imperfect legal system. Hüller’s performance is crucially ambiguous; there're no winks or telling looks at the audience. Essentially a prestige version of Law & Order, this is one of the strongest legal dramas you’ll see, demanding and earning your complete attention.

#3. Killers of the Flower Moon

Director: Martin Scorsese

Starring: Leonardo DiCaprio, Lily Gladstone, Robert De Niro

At 81, the legendary Martin Scorsese is still churning out masterpieces like his historical epic Killers of the Flower Moon. With its grand scope, sweeping cinematography, heartbreaking but essential story and an eclectic score that infuses a variety of genres with Native American sounds, this is pure cinema. The criticized 206 minute runtime is necessary to do justice to the injustice suffered by the once prosperous Osage Nation at the hands of ingratiated white folks through a calculated, systematic and prolonged series of heinous acts. In 1920s Oklahoma, the despicable William Hale (Robert De Niro) instructs his nephew (Leonardo DiCaprio) to marry an Osage girl, Mollie, (Lily Gladstone) in order to inherit her wealth, and also kill her family members to maximize the payout. Scorsese's go-to leads give appropriately slimy performances, especially De Niro, but they don't overshadow the tragedy orchestrated by greedy, duplicitous, small men. The Osage people and their rich culture remain in the spotlight, especially Mollie who exudes a quiet dignity and stoicism, transcending the typical victim plot device. You may know how this story ends, but its presentation is completely unexpected with an inspired denouement that summarizes the unforgivably lenient consequences for those complicit in this very American nightmare.

#2. Oppenheimer

Director: Christopher Nolan

Starring: Cillian Murphy, Robert Downey Jr., Emily Blunt, Florence Pugh, Josh Hartnett, Matt Damon, and the rest of Hollywood

Following his rare misfire, the loud and grinding Tenet, Christopher Nolan’s back in top form with Oppenheimer, a perfectly balanced film that showcases his many strengths as he tempers his occasional indulgences and somehow turns a scientist’s biopic into a blockbuster that’s gained a Marvel-sized audience. That’s partly due to his propulsive style that pushes the story forward at a brisk pace despite the three-hour runtime, as well as his signature sharp cuts, short scenes, temporal shifts and layered narrative strands. But, it’s also due to a doomsday scenario not unlike those in comic book films, except grounded in reality and, thus, scarier. Specifically, it examines the man responsible for that potential scenario, J. Robert Oppenheimer: ‘Father of the Atomic Bomb’, played in a rare leading role by the underrated Cillian Murphy who crafts a complex portrait of a man whose ambition was often at odds with his conscience, a man who had to live with decisions that resulted in so much death in WWII and quite possibly beyond. Complicating the story and adding to its urgency are several tense hearings that underline the political ramifications of these actions and the motives behind some of the most important decisions in history. Yet, wisely, no one’s portrayed as simply good or evil, certainly not Oppenheimer; life’s too ambiguous for that. Essentially, the film is people talking in nondescript rooms, but with such a stellar cast realizing Nolan's singular vision, it's as exciting as any Avengers flick—hell, it even features Robert Downey Jr giving his career best!

#1. Barbie

Director: Greta Gerwig

Starring: Margot Robbie, Ryan Gosling, America Ferrera

This may surprise people since I don't include many comedies on these lists nor box office juggernauts; if you look back at my last two #1s, you'll understand. But, Barbie isn’t just a cultural phenomenon, it’s truly an extraordinary film. It says a lot about writer/director Greta Gerwig that my favourite movie of the year isn't even my favourite movie she's made. It also says a lot that she's turned a plastic doll into a coherent and wildly entertaining feature length story with sympathetic characters and profound themes, whose opening sequence alone defies expectations of what this film could be.

Possessing otherworldly beauty and exceptional acting skills, Margot Robbie is a no-brainer for the role of Stereotypical Barbie who lives in a hot pink utopian society where the Barbies, composed of various races, body types and gender identities, hold all positions of power while the Kens, including a priceless Ryan Gosling as Beach Ken, chill at the beach and try to woo the ladies. This occurs on a meticulously constructed set, built on a solid foundation of whimsy and completed mostly with stunning practical effects in place of tempting CGI, resembling a colourful diorama, at once fantastical and tactile just like the toys that inspired it. However, Barbie's sudden preoccupations with mortality lead her on a quest into the real world to find the girl who's controlling her and it’s around this point when the story shows it has more on its mind than just brand promotion, exploring a myriad of social issues with the same fervor used to entertain. Without tying up everything in a neat package, Gerwig's story has feminist underpinnings but a kind that is sympathetic to male struggles as well, even though the patriarchy and bro culture are rightly judged via the impressionable air head, Ken. There's even an admirable amount of criticism toward Mattel. We’re not only treated to hilarious, candy-coated entertainment but a smart film for adults that kids will also enjoy and whose insight will benefit both.

At the center is Robbie, whose role is deceptively complex, requiring an actor with more than just beauty to be at once effervescent and existentially preoccupied. Both her performance and the story are capped off with one final word that recalls—fittingly—the final word uttered by Nicole Kidman in Eyes Wide Shut, appropriate considering Barbie begins with an explicit reference to another Stanley Kubrick masterpiece. It’s a word that Robbie announces with aplomb when it would otherwise be whispered with embarrassment; a word she wields like a weapon, charging forward into a new life in the name of unapologetic femininity.

[thefilmsnob]

Leave the World Behind: *** out of 5

There’s been a steady fixation on end-of-the-world scenarios lately, both in the real world and in the stories we consume. Reasons abound for our pessimistic view of Earth’s future, so it’s not only understandable for our works of fiction to reflect this feeling but entirely expected. Leave the World Behind is the latest depiction of society’s increasing existential angst.

In Sam Esmail’s new psychological thriller, the writer/director wastes no time getting to these heavy themes. The very first scene sees protagonist Amanda Sandford (a weary Julia Roberts) spring it on her half-asleep husband, Clay (Ethan Hawke), that she’s arranged an impromptu weekend vacation for the family at a rental house on Long Island. Her frenzied spontaneity might suggest some sort of mental illness, but what she utters to cap off the scene indicates her problem is even worse: “I fucking hate people.” It’s a sentiment that’s at once a justifiable reaction to our world and a vital factor in how that very world came into being. What’s clear is that Amanda cares less about where they’re going than where they’re leaving, New York City, which happens to be brimming with people.

Upon arriving at their destination, it’s clear this won’t be an ideal vacation, despite the gigantic, modern home and picturesque surroundings. First, the TV and Wi-Fi stop working which, in today’s terms, is all but catastrophic. Also, Amanda notices someone (a sadly underused Kevin Bacon) at the grocery store stocking up on essentials while back at the house, deer show up in gradually larger numbers, an ominous and recurring element that otherwise never completely works. Then there’s the oil tanker that approaches the beach where the family’s trying to relax, causing confusion at first, then utter chaos as the vessel rams into shore. This scene, on the other hand, does work, a nerve-racking set piece that really cranks up the tension.

However, the most intriguing and morally ambiguous dilemma involves the unannounced arrival of George and his daughter Ruth (Mahershala Ali and Myha’la Herrold), who claim to be the homeowners. Apparently, they’ve returned seeking shelter due to a blackout in New York City, but whether that’s true is part of the mystery. The characters also happen to be black, a crucial detail for this story and one that challenges both the Sandfords and the audience to confront any prejudices they hold. The more affable Clay is willing to give the benefit of the doubt, but Amanda is skeptical, barely able to conceal her simmering bigotry.

Yet, the characters transcend oversimplified labels; they’re realistic, their behaviour nuanced. The actors involved are too experienced for one-dimensional performances. Indeed, it’s quite rare for such a distinguished cast to be in this kind of project, but it’s a welcome luxury and one that makes up for an underwhelming picture.

The actors hold our attention and pull us into this mayhem, but so too does Esmail, whose keen sense of pacing and dialogue, combined with the performances and Mac Quayle’s eerie score, helps craft a gripping experience, a mystery begging to be unraveled. The setup is akin to Jordan Peele’s Us, 2019’s near-masterpiece that also begins with strangers arriving at the rental home of a vacationing family. Yet, adept as he is, Esmail falls short of Peele’s mastery of ideas and images.

For one thing, he’s overly busy with his camera. It moves around every which way, from above and below, spinning around and spying on our characters. At first, it adds suspense, but it becomes distracting, as if a recent film grad’s just itching to use every trick he’s learned. He also stages some clunky set pieces involving a crashing airplane or a fleet of self-driving cars that deviate from the story’s tone. Even worse is a late scene featuring a sea of deer that’s unintentionally goofy due to some shoddy CGI and bizarre character reactions.

As the larger picture comes into focus, the tension dissipates like the air from a balloon as we reach a conclusion that feels, if not predictable then frustratingly inevitable. Esmail is an astute observer of humanity and the conclusions he draws are sound, but it’s as if he’s reciting an essay instead of telling a story. Much of the content is over-explained, leaving scant room for subtext or interpretation. At the same time, he scatters on the screen an array of societal flaws like class inequality, racism, cynicism, over-reliance on technology, environmental abuse, etc but never completely zooms in for a closer look, settling for superficial insight.

This trend of over-explaining and under-developing is seen in the racial tension that develops subtlety but never fully, and when the filmmakers do address the sad situation of the black homeowners sleeping in the basement while the white visitors sleep upstairs, a character spells it out for us while a visual cue would’ve done just fine. Storytellers like Peele conjure up all sorts of intriguing symbols and concepts that coalesce for the narrative’s sake but not at the expense of our own intellect or imagination. We draw our own conclusions from the exquisite pieces that Peele lays out; in Leave the World Behind, Esmail does all the work for us.

There’s a subplot in the film involving the daughter, Rose (Farrah Mackenzie), and her quest to finish the program, Friends. She’s reached the series finale but can’t stream it once the internet goes down. This is her primary concern as the world’s ending. It’s supposed to be a metaphor for our misplaced priorities and over reliance on modern technology, but it also represents the seemingly trivial little bits of comfort we cling to when we’re distressed. This relates to something Clay says about his student who’s writing a book on how media serves as both an escape and a reflection.

Friends was never extraordinary. It’s not as brilliant, incisive or original as some of its contemporaries like Seinfeld or Frasier. Yet, despite that, its characters and their stories make it thoroughly watchable. In that sense, Leave the World Behind is as much a reflection of Friends as it is the real world, though it’s doubtful you’ll revisit it as much as the juicy drama between Ross and Rachel.

[thefilmsnob]

Barbie: **** out of 5

As I was leaving a screening of Barbie amidst a sea of elated fans, I overheard someone saying, “That was so much better than I thought it would be.” Honestly, I didn’t share the sentiment. That’s because I was certain it would be great the second that I learned it was Greta Gerwig’s next project. A wonderful actor and writer, Gerwig eventually directed her first film Lady Bird in 2017 followed by Little Women in 2019, both extraordinary works and two of the best reviewed movies of the last decade. I wasn’t excited for Barbie; I was excited for Gerwig’s third feature.

That feature is half of the ‘Barbenheimer’ cultural phenomenon. Never in a million years would I have pictured Gerwig, the de facto Queen of Indie Films, at the center of two blockbusters vying for box office dominance…in the same week! What’s more, her film is actually winning the financial battle against Oppenheimer, the second film in that portmanteau whose director, Christopher Nolan, churns out blockbusters like Mattel churns out plastic dolls.

One such doll, Barbie, is the star of this film and an American institution launched in 1959 whose instantly recognizable brand floods the hallways of countless stores. Some might view the film as cynical commercialism—this two-hour showcase definitely won’t hurt sales—but, that opinion is reductive. The opening scene alone defies expectations and reminds us of the exceptional talent behind the camera, including co-writer Noah Baumbach, who’s even more ‘indie’ than Gerwig, and both her creative and romantic partner.

You may not know the people behind the camera, but you do know the star in front of it. Possessing otherworldly beauty (narrator Helen Mirren has a killer line about this) and exceptional acting skills, Margot Robbie’s casting is a no-brainer, which is ironic considering how inclusive the cast is; dozens of Barbies inhabit Barbieland, composed of various races, body types and gender identities. That goes for the Kens as well. But, Robbie plays Stereotypical Barbie, a crucial aspect of the story that the film makers stress often, mainly to highlight a standard that impressionable, vulnerable young people experience so often.

And so, the perfect Barbie played by the perfect actor lives a perfect life in a hot pink utopian society where the Barbies hold all positions of power while the Kens, including Beach Ken (a priceless Ryan Gosling), chill at the beach and try, unsuccessfully, to woo the ladies. The nonchalance of Barbie’s rebuff of Ken speaks volumes about this social hierarchy. Robbie’s Barbie has a daily routine, executed as if a child were controlling her, rituals that include sipping from an empty cup and floating from bedroom to driveway because what child would walk her doll down every stair?

This occurs on a meticulously constructed set, realized by designers Sarah Greenwood and Katie Spencer. Built on a solid foundation of whimsy and charm, this community—whose geographic and temporal relationship with the ‘real world’ wisely is left ambiguous—is the product of stunning practical effects in place of tempting CGI. Like in recent films, interestingly, such as Beau is Afraid and Asteroid City, the set resembles a colourful diorama, at once fantastical and tactile. It’s a world of make-believe you can otherwise almost reach out and touch, just like the toys that inspired it.

But toys don’t have sudden preoccupations with mortality like Barbie does during a dance number, handled with perfect comedic timing by Robbie. She’s also horrified by newly flat feet and patches of cellulite. It’s around this point when the story shows it has more on its mind than just brand promotion. That trend continues as Barbie consults Weird Barbie (the delightfully weird Kate McKinnon) who’s an outcast yet the wisest of them all. Lurching about, contorting herself and giving those big-eyed, alien-like looks that McKinnon has mastered, she tells Barbie to find the girl who’s controlling her in the real world.

With Ken stowing away in Barbie’s convertible, the two arrive in Los Angeles’s Venice Beach, enveloped in neon spandex. There’re some standard fish-out-of-water moments played for laughs, sure, but Gerwig and Baumbach also use this framework to explore a myriad of social issues with the same amount of fervor used to entertain. After being ogled relentlessly at the beach, Barbie is cat-called by some construction workers, but that cliché is subverted as Barbie simply and unexpectedly explains that she lacks genitalia. It’s brilliant.

As with Gerwig’s previous films, it’s difficult to pin down a specific message; she explores numerous issues and isn’t one to tie things up in a neat little package. The stories have feminist underpinnings, but they’re never reduced to simple dichotomies like ‘women are good/men are evil’. Yes, men are portrayed as misogynists occasionally or embody corporate greed in the case of the idiotic Mattel executives led by a pompous Will Ferrell as the CEO. We also see the dangers of an impressionable air head like Ken learning of the patriarchy and introducing its flaws to Barbieland, hopefully bringing attention to how insufferable bro culture can be. Yet, Gerwig’s brand of feminism is sympathetic to male struggles too, especially toward the end, even if much of their behaviour is rightly judged.

Mattel isn’t even immune from judgment; the writers get away with a surprising amount aimed at the company, specifically regarding their toys’ negative influence on body image and self- esteem. For a film maker to resist the pressures of both studio executives and the heads of the represented brand, especially with the huge stakes of a blockbuster production, is truly remarkable and a testament to the audacity of Gerwig who’s unwilling to sacrifice her artistic integrity. Mattel also deserves some credit for acknowledging their shortcomings and vowing to do better. Everyone wins here.

That includes the audience, most importantly. Not only are we treated to hilarious, candy-coloured entertainment, but we’re given a smart film for adults that kids will also enjoy and whose insight will benefit both. It challenges corporate power, the patriarchy, beauty standards and stereotypes while promoting inclusion, autonomy and self-confidence, mostly in creative and entertaining ways though, occasionally, unlike Gerwig’s previous films, a bit too overtly if not altogether preachy. America Ferrera, with a soulful and honest performance as the Mattel employee Gloria, gives a tirade about society’s ridiculous expectations of women; it’s hard to refute her argument, but the delivery feels too familiar in this otherwise unique experience.

It’s an experience that relies heavily on its two leads, both marvellous. Gosling eschews his usual dead-eyed intensity for a relaxed turn as a lovable nitwit and does so effortlessly (no offence). It’s Robbie’s (Barbie) world, however, and we’re all just accessories. The roll is deceptively complex, requiring an actor with more than just beauty to be at once effervescent and existentially preoccupied. Both her performance and the story are capped off with one final word that recalls a line (also the final one) by Nicole Kidman in Eyes Wide Shut, appropriate considering Barbie begins with an explicit reference to another Stanley Kubrick masterpiece. It’s a word that Robbie announces with aplomb when it would otherwise be whispered with embarrassment; a word she wields like a weapon, charging forward into a new life in the name of unapologetic femininity.

[thefilmsnob]

Glen Coco’s Top 10 Films of 2022

Hey, look out, gang, movies are back in theaters! Isn’t that exciting?! Get off the couch and go to some, so theaters don’t close! Also, I usually share my top 10 films of the previous year much closer to the Oscars ceremony, but it’s been Procrasti-Nation up in my life and I have a real job. Anyway, introductory paragraphs are so 2008 and I’m already 2000 and late, so I’ll just get on with my top 10 films of 2022...after the runners-up and the standard bonus track...there’s always a bonus track.

RUNNERS-UP

-Everything Everywhere All at Once

-The Fabelmans

-The Northman

-The Whale

-Women Talking

#10b. (Bonus Track) Nope

Director: Jordan Peele

Starring: Daniel Kaluuya, Keke Palmer, Steven Yeun

Like his previous films, Jordan Peele’s third feature begins with an entrancing prologue that begs to be deciphered, especially its relationship to the film as a whole. As the story unfolds, all its seemingly disparate parts coalesce to make a final product that’s a mix of fascinating plot developments, gorgeous photography and insightful themes. Although the payoff this time isn’t quite as satisfying as in his previous works and the themes are somewhat less coherent, Nope is still an engrossing experience, crafted by one of the industry’s most distinct and creative voices. A master of utilizing and manipulating an array of tantalizing images—inflatable tube men, chimpanzees, the sky—Peele has created a spectacle that, in turn, challenges our fascination with the very idea of spectacles, but just like the characters in the film, we too can’t look away.

#10. Thirteen Lives

Director: Ron Howard

Starring: Viggo Mortensen, Colin Farrell, Joel Edgerton 

When 12 young players and coach of a Thai soccer team were saved from the flooding Tham Luang cave during a miraculous rescue mission just five years ago, it was obvious someone would adapt this harrowing event into a film. In fact, there have been several adaptations in various forms already, but that doesn’t take away from the sheer intensity and realism director Ron Howard has imbued in his version, so much so that at times it actually feels like a documentary. William Nicholson’s meticulous screenplay focuses in great detail on the myriad of technical issues faced during the grueling mission and huge stars like Viggo Mortensen and Colin Farrell completely disappear beneath their real-life cave diver characters alongside their Thai acting partners for maximum authenticity. Knowing the outcome is insignificant; when you’re watching the divers swim through dangerously narrow passages or finally exhaling as the boys are rescued, it’s as if you’re there, witnessing the ordeal firsthand.

FULL REVIEW

#9. Top Gun: Maverick

Director: Joseph Kosinski

Starring: Tom Cruise, Miles Teller, Jennifer Connelly 

Who knew a Top Gun sequel, released 35 years after the original and unaffiliated with Marvel, Star Wars or James Cameron, would become one of the most successful films of all time? Well, it did and it’s exactly what the dwindling movie theater business needed: an exhilarating combination of eye-popping special effects and nostalgia. Sure, it has some clunky dialogue and cheesy moments here and there, but the mesmerizing flight choreography, numerous callbacks, wonderful acting and a surprising amount of pathos render those flaws trivial. And in these uncertain times, there’s such a strong feeling of comfort and familiarity seeing a true movie star like Tom Cruise flash that iconic smile and save the day. It helps that he gives one of the best performances of his career as the now-veteran Maverick, instructing a new class of pilots which includes his old partner Goose’s son, played with apt restlessness by Miles Teller. Cruise’s talent is most evident in a poignant scene that reunites him with former rival and currently ailing Iceman; in a story set so frequently in the sky, this heartwarming scene grounds it with a level of tenderness that’ll take you by surprise.

#8. Bones and All

Director: Luca Guadagnino

Starring: Taylor Russell, Timothée Chalamet

Here’s something you’ve probably never heard: one of the most romantic films of the year follows two young people with an insatiable urge to consume human flesh. Bones and All isn’t some typical zombie or cannibal B-Movie, though; the content is treated with the same sincerity as a great prestige picture. Taylor Russell and Timothée Chalamet don’t play one-dimensional monsters but fully realized outcasts who we come to not only understand but care for, especially as their romance, based on a unique type of belonging, blossoms. Aside from romance, the film’s also a metaphor for drug addiction and the poor souls on the fringes of society. Not exactly a horror film, it still includes graphic, bloody images that are at once shocking and matter-of-fact, not meant to frighten but to bring us into these characters’ bizarre reality. Perhaps the most frightening aspect of the film is a truly creepy character portrayed by the invaluable Mark Rylance, who, in an award-worthy performance, embodies the darkest side of this lifestyle, one unbound by any moral code. Employing fittingly grainy photography, director Luca Guadagnino evokes similar films from the ‘70s and ‘80s, giving atmosphere to one of the most unique movie experiences of 2022.

#7. Marcel the Shell with Shoes On

Director: Dean Fleischer Camp

Starring: Jenny Slate, Dean Fleischer Camp, Isabella Rossellini

It takes serious discipline to avoid using the word ‘charming’ in every sentence describing this movie, but that’s basically it in a nutshell--or, rather, seashell. Indeed, a seashell is what Marcel is, the protagonist at the heart of this live-action/animated hybrid gem. Based on Dean Fleischer Camp’s animated shorts that gained popularity years ago, this feature is an example of art imitating life in that a fictionalized version of the writer/director moves into an Airbnb, discovers Marcel living there and makes documentaries that go viral. The imagination on display with regard to how the inch-tall Marcel and his grandmother interact with their human surroundings is pure whimsy, whether they’re using wine corks as chairs or a spinning record as a treadmill. Voiced by Jenny Slate with an adorable child-like rasp, Marcel is instantly endearing, as are his drolly nonchalant exchanges with his new human friend. Beyond the film’s overt appeal, there’s also an underlying debate about the pros and cons of social media that adds some weight to this otherwise light and...charming...experience.

FULL REVIEW

#6. Moonage Daydream

Director: Brett Morgen

Starring: David Bowie

If you’re looking for a cinematic Wikipedia entry of David Bowie, this is not the documentary for you. Granted, it would’ve been nice to hear more anecdotes from friends and colleagues, but what we’ve been gifted by Brett Morgen, who wrote, directed, produced and edited the project, is a kaleidoscopic stream of consciousness brought to life. Told roughly in chronological order (emphasis on ‘roughly’), the film shows many of Bowie’s live performances, interviews, film roles, side projects (ie. sculpting, oil painting) and extensive behind-the-scenes footage. Bowie himself provides voice-over work throughout, musing on topics like art, love, religion, identity, life itself and no shortage of philosophy, in place of mere dates and locations. Though several are included, Morgen interestingly omits many of Bowie’s greatest hits, in favour of more obscure songs, and it’s a testament to the genius’s artistry that they’re just as phenomenal. The way Morgen incorporates these songs, how and when he combines them with the wondrous imagery, is sheer poetry, culminating in a jaw-dropping climax. This is how Bowie would’ve wanted his story to be told, a work that can be labeled with the same word used to describe Bowie’s entire life: art.

#5. Bodies Bodies Bodies

Director: Halina Reijn

Starring: Maria Bakalova, Amandla Stenberg, Pete Davidson, Myha’la Herrold, Lee Pace, Rachel Sennott, Chase Sui Wonders  

Described as a horror film on Wikipedia and marketed as a slasher flick, Bodies Bodies Bodies is definitely not the former, debatably the latter and, in fact, one of the funniest movies of the year. The black comedy sees a group of mostly wealthy twentysomethings gathered for a ‘hurricane party’ at a mansion owned by the parents of the host. Following a murder mystery game, the partyers start dying off for real, but instead of cooperating to survive, they succumb to pettiness and paranoia, exacerbating the situation in a manner both hilarious and sadly believable. Set in one location, the film relies heavily on its charismatic young cast and a smart screenplay by Sarah DeLappe that’s kinetic, engrossing and astute. It’s also, finally, a delightful skewering of various qualities of Generation Z from constant validation-seeking to endless labels to jobs that may or may not be real jobs. It culminates in a deeply satisfying finale that ties things up perfectly and validates everything that preceded it, an ending that’s at once brutal and entirely cathartic. And even if you don’t love this film, you’ll still love to ‘hate-watch’ it.

#4. All Quiet on the Western Front

Director: Edward Berger

Starring: Felix Kammerer, Albrecht Schuch, Daniel Brühl

It’s fascinating how a movie so enveloped in drab greys and blues and caked in mud could look so striking. That’s the case with the latest adaptation of All Quiet on the Western Front; director Edward Berger and cinematographer James Friend take a dark period in history from which we’re far removed and pull us in with crisp, vivid images. Occasionally, we’re treated to beautiful views of forests and fields, but more often we experience the horror of the battlefield, complete with muddy trenches, severed limbs, pools of blood and incessant fear. It’s a stark contrast to the praise and glory the idealistic young Germans were promised by their overzealous superiors. Felix Kammerer shines as the naive Paul Bäumer, a symbol of the loss of innocence in war, his big bright eyes gazing at the inhumanity before him. These messy scenes are juxtaposed with those featuring Daniel Brühl, a German official trying to negotiate peace with men in spotless uniforms inside ornate rooms. The film’s stellar technical achievements support equally awe-inspiring personal moments as in the film’s most powerful scene involving soldiers on opposite sides of the war when a character ignores his programmed hatred and allows his humanity to take control.

#3. Tár

Director: Todd Field

Starring: Cate Blanchett, Nina Hoss, Noémie Merlant

Written, directed and produced by Todd Field, Tár is a masterclass in nuance and precision. Every frame, every line, every movement is so deliberate and full of meaning. This style perfectly compliments Lydia Tár, the world-famous composer and conductor, played by Cate Blanchett in a pitch-perfect, and perhaps her best, performance. The character’s accomplishments are extraordinary, especially for a woman in that field. It’s hard not to admire this trailblazer, even as her challenging behaviour and potentially problematic actions surface. But, Blanchett and Field refuse to make her simply unlikable or provide tidy labels like ‘villain’. Her subtle actions like gripping someone’s hand to stop incessant pen clicking or employing a slight inflection on a certain word tells us volumes about who she is. As the film proceeds, we learn that she may have a history of sexual misconduct, but we’re provided subtle hints gradually rather than an overt information bludgeoning. Ultimately, the story tackles timely issues like the ‘me too’ movement and cancel culture, but Field shows monumental restraint in refusing to take a side, instead choosing to treat the audience like mature adults and reserving judgment for them.   

#2. The Banshees of Inisherin 

Director: Martin McDonagh

Starring: Colin Farrell, Brendan Gleeson, Kerry Condon, Barry Keoghan

The Banshees of Inisherin is set in 1923 on a small, sparsely populated island off the coast of Ireland where life is quiet and predictable. Things are rationally organized, from the sharp divide between rocky cliffs and water to the rows of stone that separate fields from foot paths. That’s why it’s so jarring when Colm refuses to join longtime friend Pádraic on their daily trip to the pub because, we soon learn, he just doesn’t like him anymore. A friendship’s decline is a simple premise but one that leads to profound developments as both emotions and stakes intensify rapidly. It’s a fascinating character study, enhanced by magnificent performances from the year’s best acting ensemble. Banshees tells an intimate story, but it reflects the current state of our society at large. The powerlessness felt by some of the characters mirrors what we’re all feeling in a world afflicted by a raging pandemic, a senseless war and an eroding democracy. Because it’s a Martin McDonagh film, the character analysis, dark humour and moments of genuine feeling are blended with the macabre, but take that all away and you still have endless lines of riveting dialogue. That’s one reason why the omission of flashbacks was such an apt decision. We don’t need to see the friendship as it once was; these marvelous actors tell us everything we need to know about a joyful past, a turbulent present and an uncertain future.

FULL REVIEW

#1. EO   

Director: Jerzy Skolimowski

Starring: Ettore, Hola, Marietta, Mela, Rocco, Tako (all donkeys) 

The best film of 2022 features an undeniably charismatic lead. Like many icons of film, this one is beautiful, benevolent, charming, and sympathetic. He also happens to be a donkey named Eo. I was so curious as to how this story would be told since it’s not a documentary about donkeys but a scripted work of fiction starring one. He’s neither animated nor a product of CGI over which the the film makers have complete control. This makes Polish writer/director/producer Jerzy Skolimowski’s deeply moving film EO not only impressive but subversive. In fact, instead of anthropomorphizing the donkey as Hollywood is wont to do, Skolimowski embraces his non-human nature, presenting a real living donkey as the wonderful creature he is.

The story begins with Eo working in a Polish circus with his fellow human performer Kasandra who cares deeply for him until he’s taken away to work at a stable. His journey continues as he moves from place to place, person to person, some kind, some cruel. We see he’s not so different from humans; he enjoys being caressed and loved and protected. He lacks the cruelty, though, which makes caring about him effortless and speaks volumes about humanity. Frankly, few other works will make you reevaluate your feelings toward--and relationship with--animals more than EO, a film that is often as heartbreaking as it is endearing. Yet, it’s not meant to scold its audience or even pass judgement but merely encourage one to view life differently, in this case through the peaceful, unassuming behaviour of a magnificent little donkey. 

[thefilmsnob]

Marcel the Shell with Shoes On: **** out of 5

There’s a scene in Marcel the Shell with Shoes On in which Marcel, an anthropomorphic shell voiced by Jenny Slate with a childlike rasp, speaks with a human while his grandmother, Connie (Isabella Rossellini), observes in the background (just go with it). As the conversation continues, we see a laptop off to the side, not the focus but still visible. On its screen, the letter ‘Z’ gradually populates several pages of a word processor. That’s because Connie—bless her heart—is standing on the computer’s ‘Z’ key. It’s this kind of unnecessary but entirely welcome detail that underscores the film’s abundant charm and creativity.

The movie’s framework lends itself to this kind of ingenuity. In his feature debut, writer-director Dean Fleischer Camp has made a film that’s mostly live-action but features several stop-motion animated creations, namely the aforementioned Marcel, an inch-tall talking seashell with a googly eye in his hollow and a pair of snazzy orange and white sneakers. Camp and co-writers Slate and Nick Paley, the former of whom helped Camp write the animated shorts upon which this feature is based, set the film mostly in an Airbnb where they take full advantage of this space and the ways in which tiny non-humans would interact it. Tennis balls are used as conveyances. Wine corks and their wire cages are used as tiny chairs. Bread is used as a mattress…a breadroom if you will. It’s pure whimsy.

A documentarian named Dean, played by Camp, discovers Marcel and company after moving into the house following a divorce. Naturally, he’s fascinated with the little guy; aside from his physiology, Marcel is an intelligent, nurturing and resourceful individual. Assuming he’s as young as he seems, one might call him precocious. He’s also a bit of a paradox, seemingly timid yet prone to disarming bluntness. He’s naïve and lacks knowledge of the outside world, yet he employs idioms and pop culture references. It makes little sense, but it’s undeniably amusing.

It also explains why Dean starts documenting his new friend’s every-day life, one consisting of mostly gathering resources around the house to improve the lives of him and his grandma who’s so warm and wise but struggling with worsening dementia. Much of what Dean captures involves the garden she tends to and the insects she’s befriended. It’s all so quaint yet with a level of realism that makes it hard to accept these characters aren’t human. That realism also informs the conversations between Dean and Marcel that are drolly nonchalant, as if we were watching college friends work on a screenplay, an effect reminiscent of Cinéma Vérité.

In a case of art imitating life, the footage that Dean uploads to YouTube becomes incredibly popular, a real phenomenon that led to this feature-length adaptation, which in turn led to the footage being uploaded—well you get the idea. It’s very meta. Sadly, our little shell doesn’t quite know how to navigate his abrupt surge in popularity and, to complicate matters, his family isn’t around to share the experience. We learn about an entire community of shells who once lived in the house which included family members, but after the previous owners had a falling-out, one of them accidentally packed up the shells while moving. So, instead of letting fame consume him, he utilizes it to spread word of his missing loved ones.

The word spreads, but Marcel’s fans care more about getting pictures in front of the new star’s home than actually helping him; the increased attention is not only unconducive to Marcel’s plight, but it proves detrimental to Connie’s health. The movie still maintains a light tone, but there’s no question it has more to say about issues beyond talking shells, particularly the value of social media and celebrity. The film doesn’t progress how you might expect, though, as the filmmakers treat its themes with a level of complexity and nuance uncommon in the type of story that would feature a staple of coastal décor as its protagonist.

You can thank the writing and directing for that but also Slate’s excellent voice work. It’s a surprising turn for the actress who’s prone to playing exaggerated characters, yet despite portraying a cartoon in this case, the performance is as grounded as the film itself. She’s especially effective in a quietly powerful sequence in which Dean drives around Los Angeles with Marcel on the car’s dashboard, astonished at how massive the world outside his home truly is and, sadly, how much harder that will make it to find his family.

It doesn’t hurt to have a veteran like Rossellini as a scene partner, one who’s equally dedicated to her unorthodox role, a kind of professionalism that helps the performers find the humanity beneath the characters’ literally hard exteriors. It must be challenging for someone like Camp, playing the main human character, to interact with things that are essentially nonexistent, yet the three actors pull off this magic trick flawlessly.

It took considerable discipline to refrain from using the word ‘charming’ in nearly every sentence of this review, but recycling adjectives is rarely a sign of good writing. Nevertheless, I can’t think of a better word to describe Marcel the Shell with Shoes On. Early in the story we learn that Marcel and Connie share a mutual love of the long-running TV news magazine 60 Minutes as well as one of its presenters, the 81-year-old Lesley Stahl. It takes a truly beautiful—some might say twisted—mind to think of a detail like that. We should be elated they exist.

[thefilmsnob]

The Banshees of Inisherin: ****1/2 out of 5

On the small, fictional island of Inisherin in 1923, life is simple, quiet and predictable. The Irish Civil War wages on the mainland, but even if the islanders hear occasional gunfire, it might as well be a world away. Inisherin is one of those islands far from the equator that appears at once beautiful and dreary. Sparsely populated by humans—also trees and other landmarks—it’s the kind of place that takes you ten minutes to walk between buildings, even though they’re visible the entire trip.

Moreover, things are organized and rational. Land ceases abruptly as rocky cliffs form a sharp divide from the water below. Rows of piled stone separate the various fields and form foot paths for the citizens and their animals. There’s a stark contrast between the few structures that pepper the island and the land upon which they sit. And in one noteworthy home, there’s a strict rule: the humans may enter; the animals may not (despite how adorable they are).

You can imagine the amount of routine this place cultivates. That’s why the opening sequence of The Banshees of Inisherin is so perplexing, for both the audience and the protagonist, Pádraic Súilleabháin, played by the ever-evolving Colin Farrell. We see him on a walk across the island that he’s taken probably a thousand times, heading to his friend’s house to fetch him for their usual trip to the local pub. That friend is Colm Doherty, played by the great Brendan Gleeson who reunites with Farrell 14 years after their appearance in In Bruges, also written and directed by the master of dark comedy Martin McDonagh. When Pádraic knocks on the door this time, there’s no answer. Colm is there, but he remains seated to the bewilderment of his friend.

It turns out that Colm doesn’t like him anymore. Thankfully, the reason comes sooner rather than later; that ‘mystery’ isn’t as big of a focus as the marketing suggests. And that’s fine. The quicker the film addresses this, the quicker we can focus on the fascinating character study and themes it underscores, enhanced by engrossing dialogue and magnificent performances.

It's a simple premise, a friendship’s demise, but one that leads to profound developments that snowball quickly as both emotions and stakes intensify. Pádraic is the audience surrogate and in what may be Farrell’s best performance, he expertly conveys the confusion and denial of a seemingly decent man losing control of a once simple life. It’s tragic watching his futile attempts to salvage the friendship with Colm, as if he were those relentless waves crashing into the immoveable stone cliffs. As his emotions evolve into frustration, hopelessness and even rage, we come to appreciate Farrell’s performance even more.

Exacerbating those emotions is a lack of support available to Pádraic. He has a sister Siobhán (an excellent Kerry Condon) with whom he lives in an old stone cottage, amusingly sleeping in different beds in the same room. But, her pleas for Colm to reconsider his stance are fruitless and her familial relationship with Pádraic isn’t an adequate substitute for a best friend. That goes for Dominic Kearney as well, a troubled, young soul played by Barry Keoghan as a tragicomic figure, a yappy fellow you can’t help but pity for his social ineptitude and the abuse endured at the hands of his local policeman father (Gary Lydon). It’s the kind of eccentric role that usually garners an Oscar nomination, an honour that several of these actors might receive.

No doubt, a sense of loneliness fills the air from Pádraic yearning for connection while his friendship crumbles to Siobhán’s simmering restlessness to Dominic’s unrequited feelings for his crush. However, it’s a feeling of powerlessness that’s the most pronounced. We can see it on Farrell’s expressive face as it oscillates between various levels of confusion, sadness and shock, making a tragic situation even more vivid. Conversely, it’s Gleeson’s lack of expression and quiet solemnity in his voice that signals his earnestness.

Banshees tells an intimate story, but it reflects the current state of our society at large. Empathizing with these characters is easy when you’ve felt helpless in a world dictated by a never-ending pandemic, a senseless war and an eroding democracy. It’s the same world that’s seeing intolerance on the rise in many circles, which is why it’s so refreshing to hear characters refer to certain people or actions as ‘not nice’. These lines could be played solely for laughs, but instead of embracing cynicism, McDonagh challenges us to revisit that ‘corny’ idea of kindness.

Because it’s a McDonagh film, the character study, dark humour and moments of genuine feeling are mixed with the macabre. As the feud endures, Colm takes extreme measures to demonstrate his resolve, including severing his own fingers—as one does. It’s a bold narrative choice, one whose omission wouldn’t entirely be missed, but it’s ultimately more harmful to Colm himself than the movie. I’m also on the fence about the local elder Mrs. McCormick (Sheila Flitton) who skulks around the island, warning of doom and gloom like some kind of sinister force, although, I suppose that is on-brand with the film’s darkly comedic tone.

Not to downplay the themes, symbolism and character building, but the film still would’ve been interesting regardless of subject matter. It’s a safe bet that with McDonagh’s writing and these actors delivering the lines, discussions about the most mundane topics would sound utterly riveting. That’s partially why the omission of flashbacks is such a wise decision. We don’t need to see the friendship as it once was; these marvelous actors tell us everything we need to know about a joyful past, a turbulent present and an uncertain future.

[thefilmsnob]

Thirteen Lives: ***1/2 out of 5

Some news stories are so remarkable, so teeming with drama and intrigue that you just know they’ll inspire a film adaptation. Watching coverage of the Tham Luang cave rescue in the summer of 2018 was like being on the edge of your seat at the movies except the stakes were real and profoundly high. So, naturally, in the four years since that ordeal, there’ve been not only multiple films released but also documentaries, books and song as well.

Even if you remove the variables, it was still a devastating situation; twelve adolescent soccer players and a coach found themselves trapped inside a cave in northern Thailand. What made it uniquely terrifying, though, was that they were about 2.5km from the entrance, trapped there by monsoon rain that continued to flood the cave. These factors combined with the incredibly narrow underwater corridors made the idea of rescue seem impossible. Meanwhile, the team had little to no food, no light, no toilets and no way of knowing if help was on the way. Their fear and discomfort must have been excruciating.

This information makes the opening of director Ron Howard’s Thirteen Lives chilling. The gorgeous green hills that tower over the soccer field where our story begins can only do so much to distract us from the inevitable. Same goes for this joyous scene of a boys’ soccer team wrapping up practise before a birthday party which they were supposed to attend. However, as the youngsters leave the field in excitement, they decide to take a detour to explore a nearby cave and you want to literally shout at the screen, “For the love of God, just go to the party!”

But kids will be kids. There’s a palpable sense of dread when the focus shifts to their parents at the party, especially since we know what their real-life counterparts had to endure. That feeling intensifies as they head to the caves, see the kids’ bikes and fear for the worst. They, along with the audience, realize the boys are in grave danger and need to alert as many emergency crews as possible.

This is inescapably a ‘white saviour’ story in the literal sense that white men helped save Thai children. It’s a controversial trope, but in this case, it’s undeniable reality. It would’ve been irresponsible not to recruit some of the world’s greatest divers based on politics. But, Howard and writer William Nicholson wisely focus on the Thai characters as much as possible: the children, their parents, government officials, journalists, Royal Thai Navy SEALs and so on. In fact, the big Hollywood stars don’t even appear until the second act and even then, they don’t monopolize the story. There’s a true sense of unity here as Europeans and Southeast Asians come together to save lives.

This narrative dispersion is at once a commendable quality and a dramatic impediment. When the British divers Richard Stanton (Viggo Mortensen) and John Volanthen (Colin Farrell) arrive to lend their vast experience and expertise, there’s little fanfare. They don’t march in and take over; the Thai authorities are still running the show. It’s realistic, as is the depiction of these two decent, unassuming men, Richard being slightly blunter and more methodical compared to John’s warm and tactful demeanor. The authenticity is welcome but somewhat hollow and not fully realized. We sometimes struggle to identify with these men—and most of the others—as fidelity takes precedence over character and a concentrated point of view.

That’s less an overt error by the filmmakers as it is a minor side effect of their discipline and reluctance to ‘Hollywoodize’ a story that’s already brimming with drama. Howard’s more concerned with a meticulous re-enactment and in that sense he succeeds. Obstacles most films would deem inconsequential are treated with a deserved seriousness. The best example is the actual egress of the boys. It wasn’t enough just to find them and guide them out; there’s an enlightening discussion that details the problems that could arise, particularly the panic and unpredictable movement of the boys which would risk both their rescuers’ lives and their own.

That’s where Richard Harris (Joel Edgerton) comes in. Harris is an anesthesiologist who plans to sedate the boys and have them carried out like packages. But, as he explains to the authorities in a pitch perfect scene, if the dosage isn’t precise, it could kill them and with the hours-long dive, they’d need a second dose at some point, administered by mostly amateurs. As he tells them bluntly but with deep compassion, he expects several casualties. Even though we know the outcome, Edgerton’s so convincing, he puts doubt in our minds.

From there, we finally see the long and gruelling rescue. Outside the cave, we witness the politics involved and the brutal decisions faced by governor Narongsak Osatanakorn (Sahajak Boonthanakit). We follow thousands of volunteers including the poor farmers who sacrifice their crops by allowing water to be diverted from the mountains to their fields. Meanwhile, in the caves, Howard and cinematographer Sayombhu Mukdeeprom work wonders with light, space and water to maximize tension. Claustrophobia builds as the divers negotiate dangerously narrow underwater passages with stalactites hanging from the cave ceiling like sharp teeth ready to bite down any second. Periodically, a map appears onscreen showing us how deep inside the cave characters are, just in case we weren’t nervous enough. And the whole time you’re thinking, “How…in the hell…did they pull this off?”

As drama goes, Thirteen Lives has its flaws. You wish for more insight into the minds of the characters, especially the kids who are virtually blank slates. And in its steadfast pursuit of realism, the filmmakers cut some emotional moments a bit too short. But, as a technical feat, it’s mesmerizing. Like the rescue, this is the work of countless dedicated and talented people who’ve recreated an event as accurately and tactfully as possible. Moreover, it’s a testament to what can be accomplished when people from dozens of countries work together instead of succumbing to petty differences.

[thefilmsnob]

Thor: Love and Thunder: **1/2 out of 5

Thor: Love and Thunder is a film of many dichotomies…for better or for worse. The most obvious one is right in the title, evoking the contrast between the romantic storyline and the thunderous action. Other one’s include classic ‘good vs evil’ themes and the not-so-classic ‘male Thor and female Thor’ development. There’s even a black and white sequence. Much of this content is quite enjoyable

The same can’t be said about the stark juxtaposition of manic, candy-coated farce that takes up most of the run time and periods of dark, twisted imagery and sorrow that’s sure to cause tonal whiplash. This is one of the many aspects of the film you might find yourself hating, even though there’s still so much to love. And, suddenly, I’m feeling the urge to belt out Katy Perry’s sensational ‘Hot n Cold’.

Of course, Christian Bale can do no wrong, so naturally he’s one of the highlights of the film. He’s a tragic villain, a loving father corrupted and turned sinister and grotesque, not unlike Smeagol in the Middle-earth saga. As Gorr, he struggles to survive in a desert with his daughter, Love, in the film’s prelude. Despite their prayers to the god Rapu, Love dies, and the Necrosword offers itself to Gorr, who not only uses it to kill Rapu but vows to kill all gods with the corrupting weapon. If you didn’t already know, Thor (Chris Hemsworth) is a god, so that means trouble.

It also means it’s time to catch up with him and his new allies, the Guardians of the Galaxy, who’re battling strange aliens on a strange planet in an obligatory opening action sequence that’s about as obnoxious and pandering as they get in this series. With a scene that features—among several other eyerolling flourishes—Thor doing the splits to hold up two alien vehicles, writer-director Taika Waititi exhibits the worst tendencies of both the Marvel Cinematic Universe and his own films, projects that otherwise have much to offer. It sets the tone for a manically paced film that almost immediately whisks us away yet again once Thor learns of the God Butcher.  

We say goodbye to the Guardians but welcome a pair of oversized space goats, the locals’ reward to Thor for helping them fend off their enemy. Throughout the film these goats emit human-like, guttural screams for no apparent reason other than to induce belly laughs from the audience…which they do…several times. I did say there was lots to love about this film.

The bit about Jane Foster’s (Natalie Portman) stage four terminal cancer might’ve been one of those things if it wasn’t bookended so often with goofiness. Not that the MCU is a prime landing spot for heavy material to begin with, but I can think of several entries in the franchise that would be more appropriate than this one. Thankfully, the scenes themselves, isolated from the rest of the film, are quite touching and tactful. Jane refuses to succumb to this tragic fate, however, so she travels to New Asgard, the Asgardian refuge in Norway, hoping that Thor’s fractured hammer Mjolnir will heal her. Forget healing; it transforms her into another Thor, for crying out loud!

And thank God(s) for that because it’s just in time to help Other Thor, Valkyrie (Tessa Thompson) and Korg (Waititi) defend New Asgard from Gorr in one of several forgettable action sequences. And, so, the film continues from here with the requisite team-up of disparate heroes pursuing the bad guy while engaging in banter that oscillates between amusing and irritating. That’s also an apt description of the love story between the Thors who act like nervous teenagers within a ‘will-they-won’t-they’ dynamic that never quite takes off. As usual, all the characters are still quite likable despite having all gotten oddly dopier between films.

No character is dopier than Zeus, played by an almost unrecognizable Russell Crowe with his unkept beard, doughy physique and exaggerated Greek accent. Crowe plays him as an arrogant blowhard who scoffs at our heroes’ pleas for help as he stands on his podium sporting a golden breastplate that might as well be white cloth with the stench of beer and a mustard stain. Which is ironic considering Omnipotence City, a realm that’s home to several gods of whom Zeus is the leader, is an awe-inspiring paradise among the clouds. Like ancient Greece meets Shangri-La, its cascading greenery, ornamental architecture and otherworldly physics amount to one of the film’s few stunning visuals.

That’s not unlike Bale. One of this generation’s greatest actors throws vanity to the wind as he slithers and stalks and hides in the shadows, his weathered face as pale as the robes that adorn his sinewy body. With a personality that’s by turns aggressive and eerily jocular, he recalls the infamous Pennywise the Clown. In simpler terms, he acts unhinged and resembles the undead. It’s too bad the film makers don’t fully take advantage of his character to really dissect the shortcomings of faith and religion, but that would require the impossible notion of Marvel Studios and Disney alienating much of their fanbase and sacrificing precious revenue. That’s not how you build an empire.  

Holding all the pieces of this film together is the narrator, who’s the polar opposite of Gorr. Voiced by Waititi, the unseen storyteller has a gentle, whimsical way with words and tells the story as if it were a children’s fairy tale. It’s a charming touch and describes the events of the film with humour that’s subtle and witty, a reprieve from the comedic bludgeoning you receive throughout most of the film.

Bale’s Gorr and Waititi’s narrator are two of the strongest elements that make up Thor: Love and Thunder. They just don’t belong in the same movie.

[thefilmsnob]

Glen Coco’s Top 10 Films of 2021

Consistent with the chaotic times in which we find ourselves, the film landscape has become a complete mess. Release dates are tentative, films premier at home the same day as in theaters (or four months later) and the particular streaming service where they arrive is anyone’s guess. But, amidst the logistical tumult, filmmakers continue to craft some great motion pictures. I don’t like preambles as much as I used to, so I’ll just get on with my top 10 films of 2021...after the runners-up and the standard bonus track...there’s always a bonus track.

RUNNERS-UP

-C’mon C’mon

-CODA

-Don’t Look Up

-Licorice Pizza

-A Quiet Place Part II (Full Review)

#10b. (Bonus Track) Nightmare Alley

Director: Guillermo del Toro

Starring: Bradley Cooper, Cate Blanchett, Rooney Mara, Toni Collette, Richard Jenkins, Willem Dafoe 

Missing out on the official Top 10 list for departing from the astonishing carnival setting too soon and dragging a bit in the second act, Nightmare Alley still deserves mentioning for its impeccable production design. Even when writer-director Guillermo del Toro’s scripts fall short, he makes up for it with stunning visual storytelling, exemplified here with richly detailed and colourful images of a 1930s carnival, contradicted later in the film by gorgeous art deco designs of city buildings. With a brilliant cast led by Bradley Cooper, del Toro maintains a disturbingly eerie atmosphere throughout despite eschewing his signature fantasy elements, producing a chilling, if imperfect, film noir that takes the viewer through dark corridors (figurative and literal) while examining the worst impulses of human nature.

#10. Tick, Tick... Boom!

Director: Lin-Manuel Miranda

Starring: Andrew Garfield

If conquering Broadway while also acting in and composing music for films wasn’t enough, Lin-Manuel Miranda has now made Tick, Tick... Boom! and you’d never guess it was his directorial debut. The film stars Andrew Garfield as Jonathan Larson, the playwright and composer of the smash hit Rent who sadly died the night before its off-Broadway premier. The film jumps back and forth between 1992, in which Larson performs the titular rock monologue that Miranda uses as a storytelling device, and 1990, in which the exhausted artist prepares for the workshop of his passion project Superbia, works at a diner, tries to maintain a relationship and strives desperately to be successful before turning 30. The movie’s seemingly unending action involving constant movement between time periods and within space, with no shortage of singing and dancing, might feel a tad busy, yet it perfectly captures that relentless creativity, passion and even frustration of the ‘starving artist’. Garfield is nothing if not a passionate performer and he sells every moment of both Larson’s mental anguish as well as elation with every fiber of his being. This is truly a whirlwind of a film.

#9. The Power of the Dog

Director: Jane Campion

Starring: Benedict Cumberbatch, Kirsten Dunst, Jesse Plemons, Kodi Smit-McPhee

The great Jane Campion’s latest film is a western, to be sure, but instead of celebrating the genre’s classic traits, she scrutinizes them while shrewdly subverting the genre in the process. By telling a story about a miserable ranch owner who torments his brother’s new wife and her effeminate son, she critiques the idea of toxic masculinity and its harmful effects on, not just the targets of this behaviour, but the toxic individual himself. This film is a masterclass in subtlety, with a script that reveals its complex characters, their motivations and the various, often shocking, plot developments without spelling it out for the audience. A smart viewer will understand how, for example, a character’s repressed homosexuality can lead to isolation, jealousy, resentment and ultimately the exacerbation of toxic behaviour. This psychological thriller is set amidst Ari Wegner’s gorgeous shots of the New Zealand countryside filling in for 1920s Montana and the brilliant Jonny Greenwood’s appropriately disturbing score that compliments a character dynamic already brimming with tension.

#8. The Last Duel

Director: Ridley Scott

Starring: Matt Damon, Adam Driver, Jodie Comer, Ben Affleck

Let’s just get this out of the way: casting famous American actors as French knights using quasi-British accents is an odd choice but nowhere near unprecedented. Yes, it sounds strange at first, but you’ll quickly forget it as you’re swept away in the engrossing social commentary set during the middle ages. Yet, even if this is a time long passed, the themes are sadly still relevant as we’re given three different perspectives of what may or may not be the rape of a young woman. We see some events multiple times, but it never feels monotonous and some parts are different enough that we reevaluate how we feel about the situation and characters, one of whom shifts from a man of honour to a dirt bag right before our eyes. Accents aside, the acting is superb and includes a surprising turn from Affleck who’s a riot as the corrupt and debaucherous Pierre d’Alencon. Ridley Scott’s been inconsistent for a while, but he knows how to put a great historical epic on screen which he does here with grandiose sets and costumes, not to mention the titular last duel forming the film’s climax which is expertly staged and unapologetically brutal.

#7. King Richard

Director: Reinaldo Marcus Green

Starring: Will Smith, Saniyya Sidney, Demi Singleton, Aunjanue Ellis

Will Smith has been in so many mediocre films that you might forget he’s a great actor. He gives possibly his best performance to date in King Richard as the father and coach of the young girls who will become two of the greatest tennis players ever: Venus and Serena Williams. With the help of director Reinaldo Marcus Green and writer Zach Baylin, Smith vanishes into this character who he portrays as a complex human being, by turns an honourable, nurturing father and a stubborn, sometimes selfish, old man. But, that’s what elevates what could’ve been a cookie-cutter biopic to an insightful character study and a great example of what a sports movie can achieve with powerful performances, excellent pacing and honest dialogue that doesn’t pander. Some have criticized the film for focusing on the male behind two female athletes’ success, but if it means providing a rare layered and positive portrayal of an African-American father then it’s a sound compromise. That said, the film doesn’t forget about the sisters nor their incredibly supportive mother, all played by excellent actors who make us root for this family whose members consistently excel despite so much working against them.

#6. Spider-Man: No Way Home

Director: Jon Watts

Starring: Tom Holland, Zendaya, Benedict Cumberbatch, Marisa Tomei

On paper, this film might seem like gimmicky fan service, but to believe that would be to underestimate Marvel Studios. Even if you’re wary of the corporate franchise film model, you have to give credit to this company; No Way Home is the 27th film in the Marvel Cinematic Universe, yet it’s still wildly entertaining, surprising and charming while continuing to connect to the other films in the franchise. Equally impressive is how a movie with so many characters and twists (no spoilers!) can maintain such a high level of coherence and a strong focus on character. In fact, despite all the moving pieces, this is actually one of the more poignant films in the series with huge emotional stakes. Director Jon Watts and writers Chris McKenna and Erik Sommers handle some very emotional scenes with tact, allowing them room to breath and time to sink in. They also show a willingness to take risks, a rare practice in this genre. Altogether, the film offers a perfect opportunity to get cozy, pig out on popcorn and escape reality for a few hours. Lord knows we could all use that!

#5. The Card Counter

Director: Paul Schrader

Starring: Oscar Isaac, Tiffany Haddish, Tye Sheridan, Willem Dafoe

Paul Schrader’s 2018 masterpiece First Reformed was overlooked by both audiences and awards voters and the same is true for The Card Counter. The writer-director excels at telling stories about deeply flawed and tortured men (Robert De Niro in Taxi Driver; Ethan Hawke in First Reformed) and he does so again with the exceptional Oscar Isaac who gives such a measured, disciplined performance, not just at times when he’s quiet and withdrawn but also during intense moments when he becomes a scary force of nature. Due to his controversial military past, a young man seeks his help with a plan to torture and kill a former army major who was known for his horrific interrogation methods. These are shown in flashbacks that feel more like nightmares; we view the acts through ultra-wide ‘fish eye’ lenses and hear pounding heavy metal music. As usual, Schrader peals back the layers of the story gradually and amps up the tension to an almost unbearable level. But, most importantly, he earns our complete investment in Isaac’s character and whether he’ll maintain his current situation as a successful gambler, sparing himself and the boy from a life of violence, or be an accomplice to a brutal act of revenge.

#4. Dune

Director: Denis Villeneuve

Starring: Timothee Chalamet, Rebecca Ferguson, Oscar Isaac, Zendaya, Stellan Skarsgard, Josh Brolin  

Leave it to Denis Villeneuve, named director of the decade by the Hollywood Critics Association, to take a novel that many have called unfilmable--the awful ‘80s adaptation strengthening that argument--and make his version an aw-inspiring spectacle and indeed one of the best films of 2021. Unlike the original that loses you with a data dump in the first five minutes, the new version introduces you to this world and all its elements gradually and with a variety of strategic methods. It also helps that a handful of some of the greatest actors in Hollywood have assembled to lend their talent and credibility to this project with the prodigious Timothee Chalamet in the lead role. Most impressive, however, are the wondrous visuals; despite working with a seemingly baron dessert setting, Villeneuve brings it to life with gargantuan space ships, labyrinthine structures, giant deadly sand worms and various factions of people with elaborate weapons and armour. Thankfully, the wide shots and lingering camera allow us to marvel at these images instead of taking them for granted. Dune is a prime example of what a blockbuster epic can be when craft and imagination take precedence. *Note: Could’ve used more sand worm.

(Full Review)

#3. The Tragedy of Macbeth

Director: Joel Coen

Starring: Denzel Washington, Frances McDormand

William Shakespeare’s plays have been adapted countless times but rarely are they so striking and brimming with creativity. This is Joel Coen’s first film without his longtime collaborator and brother Ethan and he eschews their trademark dark humour while maintaining his mastery of the craft, making one pitch perfect decision after another. The most obvious one is casting Denzel Washington in the lead role, a subversive choice but the right one. The actor, who the New York Times critics named the best of the 21st century, works his magic, changing convincingly from a loyal and weary soldier to a murderous, power-hungry madman due to the ramblings of three witches and the coaxing of his conniving wife played by the peerless Frances McDormand. Coen shot this gem entirely on a sound stage with the final product at once feeling like a theater production yet utterly cinematic. This is done with the help of cinematographer Bruno Delbonnel, exploiting shadow, fog effects and black & white gloriously, enhancing the story’s suspenseful, occasionally nightmarish atmosphere. These elements combined with very simple yet effective angular stone sets produce a sort of otherworldly feel appropriate for this supernatural tale. 

#2. West Side Story

Director: Steven Spielberg

Starring: Ansel Elgort, Rachel Zegler, Ariana DeBose, David Alvarez

Often when we think of someone like Steven Spielberg, an institution in film for decades, we take them for granted, forgetting how great they really are. I was not excited to see West Side Story, the second film adaptation of the hit Broadway musical. Maybe it’s because I saw another New York-based musical In the Heights earlier in the year or because the film lacks big names or because the idea of dance-fighting confuses me. Whatever the reason, it was quickly forgotten as I was being taken away by the true spectacle that Spielberg put on screen. Believe it or not, this is his first musical, yet he takes an otherwise chaotic series of events and dance numbers and makes it all completely comprehensible. The love story’s charming and the performances are great, but what he does with the routines is pure visual poetry, completely vibrant and full of energy. Even static, dialogue-heavy scenes are filmed with a sharpness that gives the movie a fantastical quality. The film’s highlight is a beautifully choreographed scene set at a dance in a gymnasium, involving virtually the whole cast plus extras. It starts with a continuous steadicam shot that seamlessly transitions to a cable cam shot as the gym doors open that brings us up into the air, providing a birds’ eye view of the the action before plunging us back down into the sea of dancers. It’s a wonder to behold. 

#1. Spencer

Director: Pablo Larrain

Starring: Kristen Stewart

It’s appropriate that the late Princess Diana, née Spencer, is played by Kristen Stewart. Both women are shy, beautiful, talented, anxious, liked by many, ridiculed by many more, in the news for the wrong reasons. But if you’re expecting a standard biopic about this complex figure or stringent historical accuracy, look elsewhere. Pablo Larrain’s transcendent work of mostly fiction is too ambitious, unique and mesmerizing for the typical formulaic, decades-spanning account. Instead, it’s set over three days beginning on Christmas Eve at the Queen’s Sandringham estate during a turbulent point in Diana’s marriage. We’re shown how isolated and anxious she felt at the time, stuck in a remote house with cold, unloving in-laws, her only friend the Royal Dresser, Maggie, played by Sally Hawkins. We’re given an intimate look inside the tortured mind of Diana whose experiences are so surreal at times that it’s hard to discern between hallucination and reality in this psychological thriller that’s arguably a horror story; with the brilliant Jonny Greenwood’s sinister score, it definitely sounds like one. At the center of the horror is Kristen Stewart, giving the best performance of her underrated career, capturing Diana’s distinct mannerisms and vocal traits while easily gaining our sympathy. Perhaps the most satisfying part of the film is its final sequence, a deeply moving denouement that allows Diana to break free and enjoy a sense of liberation, a happy ending gifted to Diana the character but one that Diana the human being sadly never received.

[thefilmsnob]

Dune: **** out of 5

Years ago, I saw the first film based on Dune, Frank Herbert’s influential and celebrated science fiction novel that spawned several sequels and a variety of adaptations. I recall being impressed by some of the visuals and the ambition of the project. I remember also being completely lost five minutes in following a bombardment of information about the story’s universe, ultimately counting down the minutes until the end of one of the worst-paced films I’ve ever seen.

So, then, why was I so excited about the latest adaptation when David Lynch’s version left me so depleted? The answer is Denis Villeneuve. Sure, the film has one of the greatest casts ever assembled for a blockbuster, but Villeneuve is the main draw. There’s a reason the acclaimed writer/director was named the ‘Filmmaker of the Decade’ (2010s) by the Hollywood Critics Association. Within an eight-year period, the Quebec native made six feature films, none of which were less than outstanding.

With Dune, he enters the 2020s on a strong note with his most ambitious and improbable endeavour yet: successfully adapting a beloved novel that many have called ‘unfilmable’. It makes sense that Villeneuve would tackle a project on this scale considering the trajectory of his career which began with small Canadian productions, continued with medium-sized American thrillers, and has led him to massive sci-fi spectacles. Yet, he’s always maintained his integrity; he applies the same skill and attention to a film like Blade Runner 2049 as he did to Prisoners or Sicario.

Or Dune for that matter. There’s a tendency for filmmakers to get carried away with movies of this magnitude. Villeneuve presents a grand canvas filled with wonderous images produced by cutting-edge technology, but he eschews the clutter of so many other films in this vein. His effects are used to enrich the setting rather than placate those with small attention spans. He also places his characters at the forefront, so if we do lose track of all the planets, factions, religions, and titles, at least we can fall back on our investment in some interesting people.

Still, this narrative is much easier to follow than the original film. In place of a long preamble with a talking head laying out the rules of Herbert’s universe, we’re given this information more gradually and through various oral and visual means, including audio guides used by Paul Atreides (the wunderkind Timothée Chalamet). You feel like you’re watching a story unfold instead of reading an encyclopedia entry. In any event, it’s a good thing Paul is reading up on the world around him because it’s about to be turned upside-down.

That includes leaving one literal world for another since his father, Leto (Oscar Isaac), Duke of House Atreides and ruler of planet Caladan, is ordered by the emperor to replace House Harkonnen as ruler of the desert planet Arrakis. He sees value in this considering the planet is the only source of spice, an incredibly valuable substance that enhances human vitality and enables interstellar travel. He’d also like to form an alliance with the Freman, the planet’s natives whose ranks include Stilgar and Chani (Javier Bardem and Zendaya respectively). Of course, this transition has a few hiccups; look no further for red flags than Baron Vladimir Harkonnen, the eerily levitating and rotund creeper played by an unrecognizable Stellan Skarsgård.

The story has lots on its mind and amidst all that political intrigue are the crucial religious themes. Such themes are explored through a group known as the Bene Gesserit, a sisterhood composed of those possessing advanced mental and physical abilities. Lady Jessica (Rebecca Ferguson), Leto’s consort and Paul’s mother, is one of their acolytes who trains Paul in its disciplines. The sisterhood, specifically Reverend Mother Gaius Helen Mohiam (Charlotte Rampling), becomes increasingly invested in Paul who’s troubled by visions of the future.

That’s nowhere near an exhaustive list of all the gears in motion, but it does lay the groundwork for the action once House Atreides arrives at Arrakeen, a fortress on Arrakis, action that proceeds more smoothly than in the original. Even Villeneuve is guilty of some pacing issues in previous films, especially Blade Runner 2049; it’s one of that gem’s rare flaws. Here, however, he keeps scenes briefer and dialogue livelier with verbose instances more frequently interspliced with action. The movie’s pacing is better than the meditative Blade Runner and exceedingly more so than the plodding ‘80s Dune.

That’s impressive given the limitations of a desert backdrop. But Villeneuve is a master of visual manipulation, always employing the best camera angles and movement while taking full advantage of the spectacular structures and creatures that pepper this otherwise barren land: the Arrakeen fortress, a brutalist-style structure with its grand halls and sharp angles; the insect-like ornithopters and imposing spice harvesters that blend into their surroundings seamlessly; the underground research station like something out of ancient Egypt; and, of course, the giant sandworms that prowl beneath the vast ocean of sand, making spice-harvesting…onerous.

Possibly the most effective visuals are the perfect cheekbones, piercing eyes and cascading hair of Chalamet who landed this prestigious leading role following a series of impressive performances in smaller films. Take away his talent and still you have his unique visage to observe. This inherent watchability is enhanced by an intensity beyond his years, balanced by instances of playfulness as in his interactions with Duncan Idaho (Jason Momoa), one of Paul’s mentors, House Atreides sword master and owner of the coolest name in the universe. We see Paul jump on this swashbuckler in excitement and who can blame him? The character, like the actor, is just so damn charming.

I haven’t even mentioned Gurney Halleck (Josh Brolin), House Atreides weapons master who acts like a strict father to Paul, counterbalancing Duncan’s role as the jovial big brother. There’s also Glossu Rabban (Dave Bautista), Baron Harkonnen’s hulking nephew, and Dr. Liet Kynes (Sharon Duncan-Brewster), the Imperial ecologist who’s an assertive wealth of knowledge. The movie’s full of so many big stars playing so many characters involved in so much activity that we lose track of our protagonist from time to time.

We’re then left to wonder where that attention was focused. This is a story that feels at once overly busy and strangely uneventful, a peculiar dynamic due partially, perhaps, to its recounting of only half of the first novel. Thankfully, there’s so much to admire about the technical achievements—from the gorgeous visuals to the wonderful acting to Hans Zimmer’s epic score—that you’ll excuse the filmmakers for leaving you less than completely fulfilled, even as you’re eagerly awaiting the next chapter of the story (and hopefully more sandworms).  

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A Quiet Place Part II: ***1/2 out of 5

When A Quiet Place premiered in 2018, it surprised viewers in two notable ways: we learned the co-star of a hit sitcom had the capacity to write and direct a great horror film and that this horror film actually had a lot to say, even though its characters could say little. More accurately, they were forced to say little lest the sound of their voices attract the disturbingly angular and unrelenting alien creatures that had no qualms about shutting them up…permanently. It was the perfect metaphor for an American presidency whose ‘leader’ wanted nothing more than to silence and persecute his detractors, something at which he was far less successful than history’s other monstrous dictators.

Following several delays this post-apocalyptic sequel had to endure due to a very real pandemic still going strong, A Quiet Place Part II is finally—thankfully—available for viewing and is once again written and directed by the dynamic John Krasinski, formerly the mild-mannered and loveable prankster from The Office. The first surprise from the original film remains true and therefore no longer surprising; Krasinski continues to be an exceptional filmmaker. Even his fine acting skills are on display again in a flashback sequence. It’s technical achievements like these that more than make up for a sequel that struggles to find something more to say.

We’re treated to a drastically different opening, however. In contrast to the first movie’s preamble which was shrouded in fear and silence, Part II begins on a lively note with a flashback full of smiles, laughter and a little league game, a scene whose real-world equivalent would be referred to as ‘pre-Covid.’ And, although the original prologue ends with a brief burst of action, Krasinski transforms this idyllic picture of the American Dream into a chaotic action sequence with the small-town citizens running for their lives from aliens that have just crash landed on Earth. We’ve already seen these creatures at work, so it’s okay that a gradual reveal is replaced by all out mayhem, a change of pace that’s appropriately jolting without being gratuitous.

Following this revealing glimpse into the past, we’re back in the present where the story picks up right where the first one left off. After realizing they need to, in fact, make loud noise to defeat the monsters—and, in the process, demonstrating how to resist autocrats—the Abbott family emerges from their basement, equipped with the tools needed to survive their brutal surroundings. They’re also carrying a substantial amount of grief as their father, Lee, sacrificed himself to save them just minutes ago. But, if you’re wary about Krasinski’s absence, know that you’re in good hands with the remaining cast in their quest to find other survivors and spread their newfound knowledge.

We all know Emily Blunt is spectacular and deserved Oscar consideration for playing the matriarch Evelyn in the first film. Surprise, she’s still fantastic, but it’s the children who take center stage this time around because, let’s face it, if you want to get a message out today, you need a younger generation. That generation is represented by Millicent Simmonds who reprises her role as Evelyn’s daughter Regan. Simmonds is nothing short of a revelation. Deaf in real life as well as in the franchise, the 18-year-old proves you don’t need to speak to emote like a master thespian or be as interesting and capable as any of the great horror film heroes from Sigourney Weaver to Jamie Lee Curtis.

The even younger Noah Jupe, as her brother Marcus, is also invaluable, though not at the level of Simmonds when it comes to the more nuanced aspects of their craft. He has no problem with raw emotion, however; there’s a scene in which he gets severely injured, crying out in pain, and it’s so believable and intense as to be almost unbearable to watch. Quite simply, your heart breaks for the poor boy.

The concept of these films is what attracts moviegoers, but it’s the empathy we feel, so easily instilled in us by the cast and crew, which holds our attention. Countless horror stories fail because we really don’t care if someone dies. In A Quiet Place, not only do the complex individuals elicit our sympathy but the family as whole does as well. Their tight bonds and collective struggle pull you into their reality, making you feel like you’re part of the family.

Krasinski’s direction and Polly Morgan’s cinematography pull us in too. Their camera movement and scene composition are proof enough that this horror film is on another level. The duo has a shrewd way of keeping the camera moving when it might’ve otherwise been stationary or lingering on items of interest at the perfect time, techniques that aren’t simply examples of interesting filmmaking but ones that amplify suspense. Sometimes you wish they’d apply more techniques like these instead of the cheaper jump scares which should’ve been scaled down from the first film instead of highlighted. That’s old news.

So, then, what’s new? Well, certainly the world is richer and more expansive. There’s a new major character played by the enigmatic Cillian Murphy who replaces Krasinski as both a father figure and someone whose big, bright eyes tell a story all on their own. There’s also more ground covered as the Abbotts depart the confines of their farmhouse and even encounter new groups of survivors, some more friendly than others. The expansion of the setting is a natural progression for the series and quite a welcome one.

It’s also natural for the Abbotts to want to share the means to defeat the enemy with other survivors and take back their world in the process. This journey does culminate in a logical conclusion but one that feels a bit like a retread of the original, leaving you wondering if more could’ve been said. Yet, it’s impossible to ignore the film’s marvelous execution and technical achievements. Forgive the cliché, but sometimes it’s not what you say but how you say it.