My 10 Favorite Films of 2022

As 2022 comes to a close, I've gone through the 65 movies reviewed this year and settled my 10 favorites.  

There were plenty of highlights and lowlights this year with it being a particularly good year for horror films which always makes me happy.  

Top Gun: Maverick and Avatar: The Way of Water delivered the goods in terms of onscreen spectacle, even if they didn't nail the story, something sorely needed after the last few years.  

So, without further ado below are my 10 favorite films of 2022 in no particular order.  

This list isn't necessarily based on my original grades.

X

There have been plenty of horror films that have tried to replicate the look and feel of Tobe Hooper's original Texas Chainsaw Massacre but never quite hitting the mark.  Ti West pulled off a fun surprise with X which captured the grimy violence paired with a dark sense of humor.  Its final act aims to make you squirm and it does so in spades.  

Link to my original review:

https://flicksfan.blogspot.com/2022/03/movie-review-x.html

Everything All at Once

The superhero genre has brought the concept of the multiverse to the masses but Everything Everywhere All At Once manages to nail the concept while delivering an emotionally poignant story which grounds the overall story.    

Link to my original review:

https://flicksfan.blogspot.com/2022/04/movie-review-everything-everywhere-all.html

The Northman

Robert Eggers The Northman is visually mesmerizing from start to finish.  Its story plays like a blend of Gladiator and Excalibur stacked with a excellent performances across the board.

Link to my original review:

https://flicksfan.blogspot.com/2022/04/movie-review-northman.html

Avatar: The Way of Water

Avatar: The Way of Water is far from a perfect film, but you can't deny the technical and visual achievements James Cameron delivered on screen.  Its story never reaches those heights, but the visuals alone make it one of the more memorable big screen experiences of the year.  

Link to my original review:

https://flicksfan.blogspot.com/2022/12/movie-review-avatar-way-of-water.html

Men

Alex Garland's Men isn't an easy film to digest especially as it gets more bizarre and headier in its final act.  It’s the type of film that stays with you whether you loved or hated it due to searing imaginary and stellar performances from its two leads.

Link to my original review:

https://flicksfan.blogspot.com/2022/05/movie-review-men.html

The Banshees of Inisherin

Martin McDonagh's films tend to be as darkly funny as they are pensive and deep.  The Banshees of Inisherin reteams him with Colin Farrell and Brendan Gleeson for the first time since In Bruges.  The result is an immensely watchable film that's as funny, sad and meaningful as their previous collaboration.  

Link to my original review:

https://flicksfan.blogspot.com/2022/11/movie-review-banshees-of-inisherin.html

Elvis

By this point in time, another Elvis biopic seems like beating a dead horse into the ground, but Baz Luhrmann's name was enough to get me intrigued.  His exuberant, kinetic style paired with a career making performance from Austin Butler elevate the film making it feel more like a fantasy than reality.    

Link to my original review:

https://flicksfan.blogspot.com/2022/06/movie-review-elvis.html

Nope

For me, Jordan Peele's first two films were overpraised for my taste.  I enjoyed them but can't say either one really blew me away. I expected more of the same with Nope and was genuinely taken aback at how much I enjoyed his twisty, genre bending film. Peele keeps you off balance by toying with your expectations throughout and once the reveal occurs you are either all in or rolling your eyes.  Needless to say, I was in the first camp.  

Link to my original review:

https://flicksfan.blogspot.com/2022/07/movie-review-nope.html

Marcel the Shell with Shoes On

Sometimes you run across something unexpected and original like Marcel the Shell with Shoes.  Its stop motion star is charming and lovable, but the story's arch is surprisingly profound, moving and heartfelt.

Link to my original review:

https://flicksfan.blogspot.com/2022/07/movie-review-marcel-shell-with-shoes-on.html

Pearl

When I heard that Ti West and Mia Goth had written and shot a prequel to X I thought it was interesting but figured it would be a nice companion piece at best.  I was utterly unprepared for the visual flair and overall craftmanship they both delivered on screen.  This film is its own living breathing entity, a distinct and separate creation which more than stands on its own.  Mia Goth double role in X was impressive but with Pearl she exceeds it in everyway, capped off with a monologue for the ages. 

Link to my original review:

https://flicksfan.blogspot.com/2022/09/movie-review-pearl.html

MOVIE REVIEW: I WANNA DANCE WITH SOMEBODY

 

Discovered by record executive Clive Davis, Whitney Houston rises from obscurity to international fame in the 1980s to become one of the greatest singers of her generation.

Director: Kasi Lemmons

Cast:  Naomi Ackie, Stanley Tucci, Ashton Sanders, Tamara Tunie, Nafessa Williams, Clarke Peters

Release Date: December 23, 2022 

Genre: Biography, Drama, Music

Rated PG-13 for Strong Drug Content, Some Strong Language, Smoking, Suggestive References

Runtime: 2h 26m

Review:

I Wanna Dance with Somebody is a competent albeit perfunctory exercise of a biopic that rushes thru major moments while delivering barebones dramatic moments.  Kasi Lemmons meticulously recreates a lion's share of Houston's most iconic moments with the film pulsating with energetic verve especially for longtime fans of the singer.  Sadly, the dramatic connective tissue never reaches those kinds of heights.  The interspersed moments showing her upbringing, career and romantic relationships fairly uninspired and rushed.  Those moments never connect, keeping the audience at a distance from Houston's motivations or drives.  As such, it's a scattering of well worn tabloid details with very little emotional depth or resonance behind it.  It's a massive misfire for the film since the cast is clearly dying for better material and do the best they can with what they have.  Naomi Ackie is solid if not transcendent as Houston.  Ackie clearly studied her movements and mannerisms in order to recreate her stage presence which is a tall order to say the least.  Its an admirable turn as she makes the most of what she's given to work with.  The supporting cast is made up of intriguing performers with the script providing hints of more interesting iterations of the characters.  However, none of them are explored properly leaving Clarke Peter and Tamara Tunie playing clichéd parental overseer/overlords.  Nafessa Williams playing Whitney's lifelong best friend seemed ripe for exploration but the film spends fairly little time on their relationship before quickly moving on and leaving her little more than a worried supportive friend at odds with Ashton Sanders' Bobby Brown who takes up a large portion of the final act.  Stanley Tucci fares the best of the bunch due to his sheer talent and playing Clive Davis who is also one of the film's producers.  The final act magnifies the film's faults as it clumsily lumbers toward Houston's tragic end. I Wanna Dance with Somebody ends up being little more than a competent but forgettable biopic that doesn't bring any sort of fresh perspective on its central subject.  

C+

MOVIE REVIEW: PUSS IN BOOTS: THE LAST WISH

Puss in Boots discovers that his passion for adventure has taken its toll: he has burnt through eight of his nine lives. Puss sets out on an epic journey to find the mythical Last Wish and restore his nine lives.

Director: Joel Crawford

Cast:  Antonio Banderas, Salma Hayek, Harvey Guillén, Florence Pugh, Olivia Colman, Ray Winstone, Samson Kayo, John Mulaney, Wagner Moura, Da'Vine Joy Randolph, and Anthony Mendez

Release Date: December 21, 2022 

Genre: Animation, Adventure, Comedy, Family, Fantasy, Mystery, Romance

Rated PG for action/violence, rude humor/language, and some scary moments.

Runtime: 1h 40m

It’s rare that a sequel, much less to a spinoff of another franchise, would still pulse with the energy of Puss in Boots: The Last Wish.  This newest entry into the Shrek spinoff is surprisingly vibrant onscreen which paired with a sharp script makes for a pleasant surprise of a family film.  Kids and adults will find plenty to enjoy here as the story tackles such heady issues like enjoying every moment of your life in the face of your own mortality.  If it sounds like a rather heavy topic for a kid’s movie it is but the script has the right balance of emotional resonance and fun to keep things enjoyable for the younger members of the audience.  Cleary, the film's biggest assets is its collection of stars voicing the collection of fantasy characters onscreen.  Antonio Banderas and Salma Hayek's interplay drives the film with the kind of chemistry few couples have shared even behind animated characters.  They both bring so much fun and authenticity to their characters that the adults may forget they are watching fairy tale cats on an adventure.  Harvey Guillén joins the couple as an orphaned but kindhearted dog who looking for friendship.  Florence Pugh, Olivia Colman, Ray Winstone and Samson Kayo have just as much fun bring Goldilocks and Three Bears to life by giving their classic fairytale newfound resonance and meaning by the time the film ends.  John Mulaney is solid as the primary villain, but Wagner Moura's Big Bad Wolfe is impressively creepy, probably too much for very young children, as the embodiment of death.  Puss in Boots: The Las Wish could use a few trims here and there but overall, it’s the kind of family film that doesn't feel the need to pander to its audience while delivering and meaningful experience for children and adults alike.

A-

MOVIE REVIEW: BABYLON

 

Decadence, depravity, and outrageous excess lead to the rise and fall of several ambitious dreamers in 1920s Hollywood.

Director: Damien Chazelle

Cast:  Brad Pitt, Margot Robbie, Diego Calva, Jean Smart, Jovan Adepo, Li Jun Li, Tobey Maguire

Release Date: December 23, 2022

Genre: Comedy, Drama, History

Rated R for strong and crude sexual content, graphic nudity, bloody violence, drug use, and pervasive language.

Runtime: 3h 9m

Damien Chazelle's Babylon is a frenetic, overstuffed film that's engaging but terribly unfocused.  Chazelle opening sequence plays like Eyes Wide Shut through Baz Luhrmann's lens but with a lot more bodily fluids.  It’s a kinetic introduction to primary characters and setting overall.  The excess on display is indulgently, outrageous on multiple levels but there's a tangible sense of energy and melancholy pulsating through the screen.  The impressive thing is that Chazelle keep that energy going for the better part of the film even though you get the sense that it would have benefited from some selective editing.  A tighter film would have focused its characters, themes and story particularly in its uneven and off kilter final act.  Even though the film loses itself on multiple occasions the cast makes it an easier pill to swallow by delivering impressive turns across the board.  Brad Pitt is excellent as the fading silent film star who used to be the biggest name in Hollywood. Pitt easily carries the earlier portion of the film with his charisma which works perfectly for his character however his more nuanced and subtle work in the back half of the film is much more impressive. Margot Robbie is equally impressive as the overnight starlet who’s destined to flame out in short order.  Robbie's manic energy is perfectly suited for her character who can best be described as a squirrel on cocaine.  It’s hard to take your eyes off her when she's onscreen but we never get under her skin as she remains an enigma who's just out of reach.  Diego Calva's wide-eyed Manny exemplifies that as he serves as the film's beating heart.  Calva has a likable onscreen presence that plays well even when he's onscreen with his bigger name stars.  Jovan Adepo and Li Jun Li both deliver fascinating supporting turns, but their characters are underserved to the detriment of the overall film.  It’s a glaring misfire since the film has more than enough time to focus on their characters than it ultimately does even though their story threads are just as important as the others.  Ultimately, Babylon the kind of film that's trying to say too many things at once.  There are a few moments in its final act where the characters vocalize the themes Chazelle is trying to address but his lack of focus keeps them from landing the way they should.

B+

MOVIE REVIEW: AVATAR: THE WAY OF WATER

 

Jake Sully and Ney'tiri have formed a family and are doing everything to stay together. However, they must leave their home and explore the regions of Pandora. When an ancient threat resurfaces, Jake must fight a difficult war against the humans.

Director: James Cameron

Cast: Sam Worthington, Zoe Saldaña, Stephen Lang, Joel David Moore, CCH Pounder, Giovanni Ribisi, Dileep Rao, Matt Gerald, Sigourney Weaver, Kate Winslet, Cliff Curtis, Edie Falco, Jemaine Clement, Brendan Cowell

Release Date: December 16, 2022 

Genre: Action, Adventure, Fantasy, Sci-Fi

Rated PG-13 for sequences of strong violence and intense action, partial nudity and some strong language

Runtime: 3h 12m

The first Avatar was a huge film and leave it to James Cameron to deliver a larger more immersive experience with the sequel Avatar: The Way of Water.  Cameron's film delivers some truly awe-inspiring visuals which feel like another high point in technical achievement akin to Star Wars or Jurassic Park.  So much so that this is the first film since the original Avatar that'd I'd recommend be seen in 3D.  The massive world that is painted onscreen is so incredibly detailed and vibrant that it's almost overwhelming.  Cameron is fully aware of what he's achieved and reiterates the point with a handful of "wow" sequences which simply serve to show off the technical tenacity even if it doesn't do much for the actual story.  The story does tend to take a backseat to the overall experience almost to a detriment.  

This entry's plot focuses more on family/legacy drama with splashes of the overreaching conflict from the original.  It’s fairly straightforward with nearly everything playing out the way you'd expect with a scant amount of surprises.  It doesn't help matters that the story is so large and expansive that it lacks a defined focus even with a heavy emphasis on characters.  Sam Worthington and Zoe Saldaña's characters from the original still anchor the film but they play more of a secondary supporting role here with the film focusing more time on their children. 

Those characters are lead by Sigourney Weaver, Jamie Flatters and Britain Dalton and do their best with fairly clichéd roles.  Their characters are the film's focus, but they are never as engaging as they should be.  Stephen Lang fairs slightly better here as the resurrected Na'vi avatar of Colonel Miles Quaritch.  Lang, again, nails the gruff, laser focused solider with the script adding a subplot with his son who's gone native in his absence. His son, Miles "Spider" Socorro, played by Jack Champion is one of those characters that stands out for all the wrong reasons.  Champion isn't a strong enough of a performer to make the character work even though he serves an important role in the story.  It’s a shame because it does take you of the moment every time he pops up on screen.  

It’s one of the few glaring missteps overall but it's easy to overlook especially once the final act starts.  Cameron delivers a hodgepodge of his greatest hits by borrowing moments and beats from Aliens, The Abyss, Terminator and Titanic in a rousing finale which reminds you why he's one of the best big film directors in history.  Avatar: The Way of Water is a testament to his talent as a director and his ability to deliver the kind of memorable big screen experience which have been lacking in the current glut of superhero.

B+

MOVIE REVIEW: RESURRECTION

 

A woman's carefully constructed life gets up-ended when an unwelcome shadow from her past returns, forcing her to confront the monster she's evaded for two decades.

Director: Andrew Semans

Cast: Rebecca Hall, Grace Kaufman, Michael Esper, Tim Roth

Release Date: July 29, 2022

Genre: Crime, Drama, Horror, Mystery, Thriller

Rated R for some violent content, sexual content, and for language

Runtime: 1h 43m

Resurrection is a lean, psychological potboiler that works mainly because of Rebecca Hall’s thoroughly committed performance.  Andrew Semans’ film is grounded for the most part but from the opening shot you get the sense that something’s off.  There are plenty of moments that feel familiar throughout as we follow Hall’s character steady decent into madness.  It’s a disorienting sensation even if she starts going off the rails quickly much like Jack Nicholson in The Shining.  Additionally, it’s obvious early on that Hall’s character isn’t the most reliable point of view as the film highlights a few blackouts and dissociative moments which will leave you wondering how much of what you are seeing is real or imagined.  There are few actresses around that can play internalized trauma like Rebecca Hall, see Christine or The Night House.  Hall is fully committed from the start, never letting up, making the audience feel every tinge of pain and intensity.  She carries the film by providing a multifaceted performance that is distinctively her own.  Tim Roth delivers a measured, subtly menacing turn that’s as unnerving as it’s understated.  His scenes with Hall pop off the screen especially as the film turns into its final act where it’s likely to lose or confuse a portion of the audience.  Whether the ending works or not is entirely up to everyone’s personal taste, but Resurrection is the kind of film that will linger in your memory.

B+

MOVIE REVIEW: THE FABELMANS

 

Young Sammy Fabelman falls in love with movies after his parents take him to see "The Greatest Show on Earth." Armed with a camera, Sammy starts to make his own films at home, much to the delight of his supportive mother.

Director: Steven Spielberg

Cast: Gabriel LaBelle, Michelle Williams, Paul Dano, Seth Rogen, Judd Hirsch, David Lynch

Release Date: November 11, 2022

Genre: Drama

Rated PG-13 for some strong language, thematic elements, brief violence and drug use.

Runtime: 2h 31m

Steven Spielberg's The Fablemans is a tender, thematically dense quasi-autobiography that shows the power of film and its effect on people.  Initially, his film is a light bit of idyllic nostalgia as he discovers cinema and his nascent filmmaking as a child.  Slowly, he reveals small fractures in his home life as he continues to explore his love of filmmaking.  Gabriel LaBelle delivers an excellent central performance as Sammy Fableman.  LaBelle gives the character a likable authenticity that makes his coming of age journey engaging and relatable as his family moves from New Jersey to Arizona and finally California.  It’s a subtle performance as his character traverses  a wide range of emotions and experiences since the film covers a large swath of time.  Michelle Williams gets the showier role and delivers a textured heartfelt turn as his loving mother.  Williams' performance reveals itself as the story moves along with her free spirted, artistic soul collapsing under itself as she's increasingly feeling trapped in a life she never wanted.  There's a palatable sense of yearning for her unrealized dreams that drives the film and Sammy throughout.  Paul Dano does yeoman's work as the loving and kind but decidedly analytical patriarch of the family.  It’s a reserved, measured turn that only gives you glimpses his heartbreak.  Seth Rogen and Judd Hirsch have small but important supporting roles with each actor making the most of their screen time.  The film's unhurried pace might turn off for some since it moves at a decidedly methodical pace.  That pace, though, does allow you to digest more of the underlying themes about film and its ability to refocus perceptions and truth, something explicitly addressed in a telling scene between Sammy and a high school bully in the final act.  It’s a testament to Spielberg that he knowingly acknowledges that this sanitized, glossy retelling of his upbringing veers somewhere between truth and tale.

A-

MOVIE REVIEW: VIOLENT NIGHT

 

An elite team of mercenaries breaks into a family compound on Christmas Eve, taking everyone hostage inside. However, they aren't prepared for a surprise combatant: Santa Claus is on the grounds, and he's about to show why this Nick is no saint.

Director: Tommy Wirkola

Cast:  David Harbour, John Leguizamo, Alex Hassell, Alexis Louder, Edi Patterson, Cam Gigandet, Leah Brady, Beverly D'Angelo

Release Date: December 2, 2022

Genre: Action, Comedy, Crime, Thriller

Rated R for strong bloody violence, language throughout and some sexual references

Runtime: 1h 52m

Violent Night is a bloody bit of Christmas camp that answers the question, what would happen if you threw Die Hard, Miracle on 34th Street and Home Alone into a blender.  Tommy Wirkola's film tries to balance over the top bloody action with some Christmas magic, only partially succeeding in frenzied spots before hitting noticeable lulls.  The film embraces it’s over the top violence which are what most people are coming for but it also takes long periods of time to try and set up a Christmas magic type subplot which just kills it's forward momentum.  The film would have been better served if those sequences were trimmed down allowing it to lean into the goofy Christmas mayhem.  David Harbour deserves a lion share of the credit for making this film work with an incredibly fun performance as an apathetic, disillusioned Kris Kringle.  Harbour is a generally likable performer which works well for him here as the Viking berserker turned Santa Claus, seriously, and child confidant.  His ability to switch between ferocity and heartfelt sincerity is rather impressive.  John Leguizamo serves as the film's villain, a role he's clearly having a ball playing.  It’s an over the top performance but it works perfectly with the film overall.  Beverly D'Angelo and Edi Patterson make the most of their limited screen time, it’s a shame the film didn't make better use of their talents.  Violent Night is a choppy affair but when it embraces its violent B-movie camp it’s a lot of fun.

C+

Cindy Prascik's Review of Don't Worry Darling

 

My dear reader(s), this week I was able to catch up with one of the year's most talked-about movies, Don't Worry Darling.

Spoiler level here will be mild, nothing you wouldn't know from the trailers.

A woman begins to suspect her perfect community is not all it seems.

Don't Worry Darling is a passable thriller victimized by a disastrous publicity campaign. The story is nothing very new or surprising, but the movie maintains tension well enough and is blessed with an eminently watchable cast, led by the always stellar Florence Pugh. Of course, It's Harry Styles who drew me to the film (not usually the sort of thing that would interest me) and yet again I'll give him credit for being good enough that I wasn't thinking of him as Harry Styles (TM) while watching. (To qualify this achievement: I'm *always* thinking of Harry Styles.) The rest of the supporting cast - featuring Gemma Chan, Nick Kroll, Kiki Layne, and director Olivia Wilde - is solid, with special mention to Chris Pine, who plays sinister exceedingly well for such a benignly handsome dude. Don't Worry Darling keeps a nice place, is creepy throughout (though not always in the way it means to be), and features a terrific soundtrack filled with some great oldies. If the last act feels a bit contrived, for the most part it's still an enjoyable but forgettable thriller.

Don't Worry Darling clocks in at 123 minutes and is rated R for "sexuality, violent content, and language."

Don't Worry Darling is a decent thriller that undoubtedly would have fared better had it kept its drama onscreen. Of a possible nine Weasleys, Don't Worry Darling gets five.

Don't Worry Darling is now playing on the HBO family of channels, and streaming on HBO Max.

Until next time...

MOVIE REVIEW: GLASS ONION: A KNIVES OUT MYSTERY

 

Tech billionaire Miles Bron invites his friends for a getaway on his private Greek island. When someone turns up dead, Detective Benoit Blanc is put on the case.

Director: Rian Johnson

Cast: Daniel Craig, Edward Norton, Janelle Monáe, Kathryn Hahn, Leslie Odom Jr., Jessica Henwick, Madelyn Cline, Kate Hudson, Dave Bautista

Release Date: November 23, 2022 

Genre: Comedy, Crime, Drama, Mystery, Thriller

Rated PG-13 for strong language, some violence, sexual material and drug content

Runtime: 2h 20m

Glass Onion: A Knives Out Mystery is the kind of film that pulsates with palatable energy from its cast and director that you can't help but be entranced in the murder mystery at play.  Rian Johnson delivers another sharp and playful mystery for his own Hercule Poirot, Detective Benoit Blanc.  Johnson and Daniel Craig clearly love the material and character with their energy gleefully seeping through the screen.  Craig clearly loves playing the character and his Foghorn Leghorn drawl with this entry finding him refining his persona making him more human even with the outsized attitudes.  He's graced with another solid ensemble cast who all bring their own sort of energy.  They, like Blanc, are all oversized personas representing certain kinds of people from eccentric billionaires like Ed Norton's Miles Bron or Kate Hudson's ditzy supermodel Birdie Jay.  Ethan Hawke shows up for a split second before disappearing entirely which leaves you wondering if a subplot was left on the cutting room floor.  Still, Johnson makes solid use of the rest of the supporting cast throughout the film which likes to play with scenes by telling them from different points of view as the story unfolds.  Each character has their own underlying agenda at play with Janelle Monáe's Cassandra Brand being the crux of the story.  In its final act the film feels reminiscent of the 1985's Clue, a game Blanc hates, with character's motivations being dissected.  The final reveal isn't much of a surprise but that doesn't make it any less fun when the cast in front of the camera and director behind it are clearly having so much fun.   

A-

MOVIE REVIEW: SHE SAID

 

The New York Times journalists Megan Twohey and Jodi Kantor publish a report that exposes sexual abuse allegations against powerful Hollywood producer Harvey Weinstein. The shocking story also serves as a launching pad for the #MeToo movement, shattering decades of silence around the subject of sexual assault and harassment.

Director: Maria Schrader

Cast: Carey Mulligan, Zoe Kazan, Patricia Clarkson, Andre Braugher, Jennifer Ehle, Samantha Morton, Ashley Judd

Release Date: November 18, 2022

Genre: Drama, History

Rated R for language and descriptions of sexual assault.

Runtime: 2h 15m 

She Said is a smartly written and well acted journalistic thriller joining the ranks of Spotlight, The Post and All The President's Men.  Maria Schrader's film has a focused immediacy to the proceedings which makes the film engaging even during some of it's dryer stretches.  Its subject matter is well known so there aren't many surprises in store but it smartly focuses on the individual women's stories as the two reporters peel back the layers of the abuse.  Carey Mulligan and Zoe Kazan carry the film with relative ease while giving their characters a solid amount of depth to make you care about their journey which becomes more personal as it goes along.  Mulligan is a strong and forceful while Kazan is more demure but no less determined and motivated with the film perking up noticeably when they share the screen.  Patricia Clarkson and Andre Braugher have small but important supporting roles as no nonsense editors.  Jennifer Ehle, Samantha Morton and Ashley Judd have impactful scenes as victims recounting their experiences.  Additionally, the film uses a real recording of Weinstein berating a victim to chilling effect.  She Said is the type of film that's built on a series of conversations and its ability make it engaging with a predetermined finale is truly impressive.

A

MOVIE REVIEW: THE MENU

 

A young couple travels to a remote island to eat at an exclusive restaurant where the chef has prepared a lavish menu, with some shocking surprises.

Director: Mark Mylod

Cast: Ralph Fiennes, Anya Taylor-Joy, Nicholas Hoult, Hong Chau, Janet McTeer, Judith Light, John Leguizamo

Release Date: November 18, 2022

Genre: Comedy, Horror, Thriller

Rated R for strong/disturbing violent content, language throughout and some sexual references.

Runtime: 1h 46m

The Menu is a glossy, sharply written satire that delivers some devilishly dark comedy that touches on themes of class warfare but never delves too deep into them.  Mark Mylod's film is directed with a steady hand as he sets up the setting on the island and high end restaurant.  The entire film has a slick modernist visual that echoes David Fincher's unappreciated The Game from the late 90s.  This film is never as subversive or surprising as Fincher's mind trip since it lays its cards out on the table fairly early on.  The script doesn't provide multilayered characters instead everyone is a type with only the smallest sprinkling of background details to flesh them out.  There's very little depth to them with the film relying on the performer’s talent and charisma.  Thankfully, the film is blessed with a excellent cast of actors who elevate the film with a fun, committed performances.  Ralph Fiennes serves as the film's lifeblood with his turn as the Chef who both measured and menacing at the same time.  In lesser hands, this character would have come off as some sort of cinematic Soup Nazi but Fiennes is able add so much more than what's on the page to make him far more fascinating.  Anya Taylor-Joy gets the lion share of the screen time and she's dependable as usual.  She gives the character a believable sense of self reliance and underlying toughness that's clearly out of place among the assorted upper crust.  The rest of the supporting cast all make the most of their limited screen time with Hong Chau, Judith Light and John Leguizamo making you wish their roles were just a bit larger and fleshed out.  The Menu is the kind of film that works in spite of itself, a credit to its cast and director but you get the sense it could have been something really special.  

B-

MOVIE REVIEW: BLACK PANTHER: WAKANDA FOREVER

 

Queen Ramonda, Shuri, M'Baku, Okoye and the Dora Milaje fight to protect their nation from intervening world powers in the wake of King T'Challa's death. As the Wakandans strive to embrace their next chapter, the heroes must band together with Nakia and Everett Ross to forge a new path for their beloved kingdom.

Director: Ryan Coogler

Cast:  Letitia Wright, Lupita Nyong'o, Danai Gurira, Winston Duke, Florence Kasumba, Dominique Thorne, Michaela Coel, Tenoch Huerta, Martin Freeman, Angela Basset

Release Date: November 11, 2022

Genre: Action, Adventure, Drama, Fantasy, Sci-FiThriller

Rated PG-13 for sequences of strong violence, action and some language.

Runtime: 2h 41m

Ryan Coogler's Black Panther: Wakanda Forever is an emotionally charged comic book movie wake that is trying to pay tribute to its fallen star while moving the franchise forward into a new era.  Mourning is the central theme throughout the entire film even amongst the usual comic book action that the film provides in spades.  The film handles it about as well as can be expected even though the film is overstuffed with required checkboxes to mark off for the ongoing Marvel franchise.  If anything, it gives the film a very different feel than most of Marvel's entry but its never entirely removed from it either.  The comic book side of the story is surprisingly straightforward with very little in the way of surprises since it follows a predictable path from start to finish.  The big introduction of Tenoch Huerta's Namor is one of the film's strongest and intriguing story thread by delivering an antagonist with a bit more depth than the usual baddie.  Huerta effectively conveys the character's deep-rooted desire to protect his people at any cost, serving a mirror to the Wakandans.  It’s an engaging performance from start to finish which makes him the most interesting performer whenever he's onscreen. Using the Mesoamerican imagery is a masterstroke to juxtapose both cultures who have been subjugated and create something different enough from DC's Aquaman to avoid comparisons.  Replacing Chadwick Boseman was always going to be a difficult task and we end up getting more of an ensemble than a central lead.  Letitia Wright, Angela Basset, Lupita Nyong'o and Danai Gurira all carry portions of the film which is understandable but it doesn't allow for the kind of depth you'd expect.  Letitia Wright gets a larger share of the focus but her character isn't that engaging or interesting with a late act reveal hinting a more nuanced take that might have been left on the cutting room floor.  Its shame since there's clearly some fertile ground that could have been explored as she deals with the death of her brother but the film is simply too big and busy to deliver that type of focus.  Basset, Nyong'o and Gurira all get moments to shine but the characters are surprisingly one note. Dominique Thorne's Riri Williams/Ironheart serves as fun comic relief with her introduction clearly setting up future appearances. It’s an example of the difficult tightrope that Black Panther: Wakanda Forever had to walk, eulogizes its fallen star while moving forward a gargantuan franchise.

B

Cindy Prascik's Review My Policeman

 

My dear reader(s), yesterday I finished up (maybe?) vacation with my most anticipated film of the year, My Policeman.

Spoiler level here will be mild, nothing you wouldn't know from the trailers.

In 1950s England, where homosexuality is illegal, a museum curator and a policeman fall in love.

My Policeman tells the story of forbidden love between Patrick (David Dawson/Rupert Everett) and Tom (Harry Styles/Linus Roche). The movie effortlessly flows among personal perspectives and time periods (the events of the 50s, and the individuals' lives and reflections some 40 years later). Every member of the cast is fantastic, with special kudos to Roche and Everett, who carry the heaviest bit of the emotional load. If you're wondering about Harry Styles, whose name is the one above the title, he's so good I didn't think of him as Harry at all while watching. (Harry Styles occupies approximately 95% of my brain, so kindly respect how terrific he had to be to achieve that.) The story is mature and deliberately paced, and the principals' influences and motivations are portrayed with painful nuance. There's no hint of sensationalism or of capitalizing on Styles' "other" career here. Rather, you get a feeling that all involved understood the weight they carried in telling this tale, and writing, performances, and even promotion show how seriously they took that responsibility. In these frightening times, when the world often seems to be moving backwards, My Policeman offers a somber and timely reminder of the cost of bigotry and hate.

My Policeman clocks in at 113 minutes and is rated R for sexual content.

My Policeman is a story of heartbreak and hope, well crafted and beautifully acted. Of a possible nine Weasleys, My Policeman gets eight and a half.

My Policeman continues to play in select theatres, and is now streaming worldwide on Amazon Prime.

Until next time...

Cindy Prascik's Reviews of The Good Nurse & See How They Run

My dear reader(s): Yesterday I treated myself to a good old-fashioned double-feature. If it was from my sofa rather than from my old seat at the cinema...well...I'm still going to frame it as a step back towards normal. On the docket: The Good Nurse and See How They Run.

Spoiler level here will be mild, nothing you wouldn't know from the trailers.

First up: The Good Nurse.

A physically and financially overburdened nurse begins to suspect her helpful new co-worker is not as he appears.

Based on a true story, the Good Nurse stars Academy Award winners Jessica Chastain and Eddie Redmayne, punching below their weight. The film maintains tension decently — even if viewers may remember the outcome from the news — yet it still seems to arrive at its destination a little too quickly and conveniently. Fortunately, the story itself is compelling enough to hold attention, and Chastain and Redmayne (along with the stellar Noah Emmerich) would make it worth a look regardless of its other flaws.

The Good Nurse runs 121 minutes and is rated R for language.

The Good Nurse is essentially a network movie of the week, elevated by its exceptional cast. Of a possible nine Weasleys, the Good Nurse gets six and a half.

The Good Nurse is now streaming on Netflix.

Next on my agenda: See How They Run.

In 1950s London, attempts to make a film version of a long-running play are derailed when a key individual is murdered.

See How They Run is a proper, old-school murder mystery with an excellent cast, featuring Sam Rockwell, Adrien Brody, David Oyelowo, a particularly charming Saoirse Ronan, and the always delightful Ruth Wilson. The self-aware film moves quickly, keeps its secrets well, and boasts terrific costumes, styling, and set design. In the "before times," this is the sort of movie I'd have awaited anxiously, run out to see on opening day, and written about — if not glowingly — then at least very, very positively. These days, I'm excited it turned up for free, I loved watching these actors work with a decent script and pretty outfits, and I liked it well enough that I didn't play on my phone the whole time it was on.

See How They Run clocks in at a quick 98 minutes and is rated PG13 for "some violence/bloody images, and a sexual reference."

See How They Run is a fun mystery that boasts solid performances from its wonderful cast. Of a possible nine Weasleys, See How They Run gets seven.

See How They Run is now streaming on HBO Max.

Until next time...

MOVIE REVIEW: THE BANSHEES OF INISHERIN

 

On a remote island off the coast of Ireland, Pádraic is devastated when his buddy Colm suddenly puts an end to their lifelong friendship. With help from his sister and a troubled young islander, Pádraic sets out to repair the damaged relationship by any means necessary. However, as Colm's resolve only strengthens, he soon delivers an ultimatum that leads to shocking consequences.

Director: Martin McDonagh

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

Release Date: October 21, 2022

Genre: Comedy, Drama

Rated R for language throughout, some violent content and brief graphic nudity.

Runtime: 1h 49m

Review:

The Banshees of Inisherin, the latest black comedy from Martin McDonagh, it’s a funny, compelling fable that's simplistic on the surface but one the will likely stick with you as you ruminate the meaning of it all.  McDonagh creates an authentic ecosystem of people and relationships that brings life to the mundane something he's done to great effect in previous films.  The script is sharply written with plenty of dialogue that pops off the screen which makes the character's interplay the film's highlights.  What's more impressive is that the story is thematically dense, functioning on multiple levels which leaves the door open for a multitude of metaphorical interpretations.  A strong script pair with excellent performances from its two leads makes this film incredibly watchable and easy to digest unlike the majority of awards fodder.  Colin Farrell and Brendan Gleeson reunite with McDonagh for the first time since they collaborated in 2008's In Bruges and again bringing out the best in each other.  Farrell and Gleeson have a natural chemistry together which serves as the film's life blood.  Farrell leaning into the happy go lucky attitude early on in order to watch him emotionally degrade as the film wears on.  Gleeson makes his character's stubbornness tangible as he drops hints desperation as he tackles his impending mortality.  They are fascinating throughout because they give you a real sense that there is so much more simmering under the surface for both men.  They deserve the lion's share of the credit here but supporting turns from Kerry Condon and Barry Keoghan leave a memorable impression as well.  Fans of Martin McDonagh know that his film's use black comedy to explore larger issues and The Banshees of Inisherin does so in spades. 

A

Cindy Prascik's Review of Brian and Charles

 

My dear reader(s), as I am enjoying a week of vacation and Halloween festivities are behind us for another year, I hope to check in with a few reviews for your perusal.

Today's offering: Brian and Charles.

Spoiler level here will be mild, nothing you wouldn't know from the trailers if you've seen any, which I haven't. I fell over this one completely by accident.

Following an especially harsh Welsh winter, a lonely inventor builds himself a robot companion.

Now that I'm out of the habit of going to the cinema, I often spend hours browsing the titles available for home viewing, only to decide I can't bear the thought of any of them...or I'll start a movie and give up when it fails to hold my attention, which tends to be early and often. I picked Brian and Charles at random because it looked like the sort of thing that never fails me, and, indeed, it did not fail me.

Brian and Charles is a documentary-style tale of Brian (David Earl), a lonely, awkward man who lives alone with his many inventions. He builds Charles (Chris Hayward), and for much of the film their relationship is like that of parent and child, Brian making choices to keep Charles safe (Brian's version of safe), and Charles rebelling as he desires more freedom. There's a bit of romance thrown in for good measure (spoiler alert: NOT cross-species between the leads), a moral about bullying, and a curiously action-packed penultimate act, but for the most part Brian and Charles is the heartwarming tale of a unique friendship. The bleak Welsh landscape perfectly underscores Brian's loneliness, but charming performances by Earl, Hayward, and Louise Brealey (as Brian's equally awkward would-be love interest) keep things quirky and mostly light, rather than sad or preachy.

Brian and Charles clocks in at 90 minutes and is rated PG for "language, mild violence, and smoking."

Brian and Charles is a sweet film that's charming in its execution and gentle in its message. Of a possible nine Weasleys, Brian and Charles gets eight.

Brian and Charles is now streaming on Peacock.

Until next time...

MOVIE REVIEW: PREY FOR THE DEVIL

 

The Roman Catholic Church combats a global rise in demonic possessions by reopening schools to train priests to perform exorcisms. Although nuns are forbidden to perform this ritual, a professor recognizes Sister Ann's gifts and agrees to train her. Thrust onto the spiritual frontline, she soon finds herself in a battle for the soul of a young girl who's possessed by the same demon that tormented her own mother years earlier.

Director: Daniel Stamm

Cast:  Jacqueline Byers, Colin Salmon, Christian Navarro, Lisa Palfrey, Nicholas Ralph, Virginia Madsen, Ben Cross

Release Date: October 28, 2022

Genre: Horror, Thriller

Rated PG-13 for violent and disturbing content, terror, thematic elements and brief language.

Runtime: 1h 33m

Review:

Daniel Stamm made his name as a director with the creepy and surprisingly effective The Last Exorcism which brought energy to the tired exorcism trope.  Prey for the Devil marks his return to the subgenre with a much more conventional and predictable film propped up by committed performances from its stars.  Stamm moves at a rapid pace which helps since the script is a collection of half baked ideas and overused tropes.  There is a kernel of an interesting idea that touches on gender politics and trauma, but the script doesn't explore them in any meaningful way making them pointless.  We're told fairly early on that Jacqueline Byers' Sister Ann is special, but the script doesn't bother to provide any tangible reason why she's special outside of being the focus of the demon since she was a child.  The character also leaves a wake of bodies by the time the film ends which doesn't seem to bother anyone in school.  Thankfully, Byers makes the entire thing watchable with a performance that's far better than the film and script.  Byers turn is believably focused with a palpable sense of the character's underlying trauma being ever present.  She's able to keep an air of authenticity throughout even as things become progressively more absurd. Colin Salmon and Christian Navarro, who looks distractingly like Jay Hernandez, do what they can with underwritten roles.  Virginia Madsen on the other hand is criminally underused in what amounts to a throwaway character.  Prey for the Devil is the kind of film that's perfectly comfortable using clichéd tropes to deliver a few effective set pieces but doesn't offer anything fresh or surprising.  

C

MOVIE REVIEW: TAR

 

Renowned musician Lydia Tár is days away from recording the symphony that will elevate her career. When all elements seem to conspire against her, Lydia's adopted daughter Petra becomes an integral emotional support for her struggling mother.

Director: Todd Field

Cast: Cate Blanchett, Noémie Merlant, Nina Hoss, Sophie Kauer, Julian Glover, Allan Corduner, Mark Strong

Release Date: October 7, 2022

Genre: Drama, Music

Rated R for some language and brief nudity

Runtime: 2h 38m

Review:

Todd Field's Tár is an immersive and engaging character study lead by a singular turn from Cate Blanchett.  Field's film is a methodical trek into the central character's life, dropping bits and pieces of narrative and themes along the way.  It's a masterclass in subtly as quieter moments and more charged moments are all so densely packed with meaning that it requires your attention throughout.  There's a glossy veneer presented from the onset of the film but there's also an unsettling, disquieting undercurrent that's every present until its final act where things begin to unravel.  Cate Blanchett disappears into her character with incredible ease.  This performance isn't your typical awards showcase that requires big showy moments instead this is a case study in nuance.  It's the kind of performance where looks shared between characters delivers volumes worth of information.  Blanchett owns every moment she's on screen and its film from start to finish but the supporting cast is just as dialed in with each making the most of their screen time.  Once Tár heads into its final act the script and cast deliver some surprising moments which feel organic and earned, a credit to the level of craftmanship from both sides of the camera.  

A