MOVIE REVIEW: THE RETURN

 

After 20 years away, Odysseus washes up on the shores of Ithaca, haggard and unrecognizable. The king finds much has changed since he left to fight in the Trojan War. His beloved wife, Penelope, is a prisoner in her own home and hounded to choose a new husband. Their son faces death at the hands of suitors who see him as an obstacle in their pursuit of Penelope and the kingdom. Odysseus is no longer the mighty warrior his people remember, but he must face his past to save his family.

Director: Uberto Pasolini

Cast: Ralph Fiennes, Juliette Binoche, Charlie Plummer, Marwan Kenzari, Claudio Santamaria, Tom Rhys Harries, Ángela Molina

Release Date: December 6, 2024

Genre: History

Rated R for violence, some sexual content, graphic nudity and language.

Runtime: 1h 56m

Review:

Uberto Pasolini's ultra grounded take on the back half of The Odyssey is powered by a pair of stellar performances from its central duo of Ralph Fiennes and Juliette Binoche.  Pasolini strips away all the Greek gods from the original text, focusing more on the human toll taken by the hero's search for glory.  This naturalistic take on the material focuses more on the mental state of central characters of Odysseus, Penelope and Telemachus as opposed to action or intrigue.  It makes for a film that's decidedly light on frills with Pasolini setting up scenes for performers to shine.  Ralph Fiennes carrying an emaciated and battered frame delivers a powerful but understated performance as an Odysseus haunted by the specter of war and the choices that led him there.  Fiennes has an ability to communicate volumes worth of emotional information with a single look or mannerism.  It’s not a particularly dialogue heavy role but he proves more than capable of giving the audience a real sense of the death and remorse his character has experienced during his long journey home.  Juliette Binoche is equally impressive as the ever-dutiful Penelope whom she imbues with quiet intensity and strength.   When Binoche and Fiennes finally share the screen, she delivers an emotionally powerful monologue that she imbues with a Shakespearean sensibility.  It serves as one of the most powerful moments in the film and a solid payoff for investing its occasionally ponderous pacing.  Fiennes and Binoche are thoroughly engaging every time they are onscreen, unfortunately the supporting cast never manages to match their work.  Charlie Plummer's Telemachus lacks the depth or nuance of his onscreen parents which gives the character more of bratty quality that feels off.  Marwan Kenzari's Antinous is more intriguing, but he's never given enough screentime to flesh out his character and singular focus on becoming Penelope's new husband.  It’s a shame because it would have given the story an interesting angle from one of the suitors who isn't an outright barbarian.  It’s the kind of thing that would have added to the effectiveness of the film but stumbles aside The Return succeeds on the power of its two stars.  

B

MOVIE REVIEW: THE DAMNED

 

A 19th-century widow is forced to make an impossible choice during a cruel winter when a ship sinks off the coast, risking what's left of the village's dwindling supplies.

Director: Thordur Palsson

Cast: Odessa Young, Joe Cole, Lewis Gribben, Siobhan Finneran, Francis Magee, Rory McCann, Turlough Convery, Mícheál Óg Lane, Andrean Sigurgeirsson

US Release Date: January 3, 2025/UK  Release Date January 10, 2025

Genre: Drama, Horror, Mystery

Rated R for bloody violent content, suicide and some language.

Runtime: 1h 29m

Review:

The Damned, Thordur Palsson's feature debut, is an eerie, atmospheric slow burn of a creeper which takes full advantage of its isolated setting and stellar performances.  Palsson film moves at a methodical pace which sets up the characters and their isolated, claustrophobic setting with little fluff or frills.  Eli Arenson’s cinematography is beautifully bleak and foreboding throughout making the icy mountains and frigid coastline characters unto themselves.  The film's pacing may not be for everyone since it moves at a glacial pace with only a handful of increasingly repetitive jump scares breaking it up.  Those looking for cheap thrills will likely be left wanting as this leans closer to Robert Eggers' The Witch as opposed to something like John Carpenter's The Thing even though it still shares aspects of both.  This film is much more a meditation on grief and guilt, themes other "elevated" horror films have covered in the past.  As such, there isn't a ton of new ground to explore but the cast led by an excellent turn from Odessa Young ruminates those themes compelling and engaging.  Young's understated performance carries the film, as she manages to convey the character's exterior steadfastness while she’s slowly fraying at the corners underneath.  Her large expressive eyes deliver a boatload of emotional information as the situation becomes increasingly fraught and tenuous.  It’s a fascinating performance that would have been served better if her character had been better fleshed out in the film's opening since we're given very little background information about her or her companions.  The supporting characters aren't written with much depth, but the entire supporting cast delivers authentic turns in each role giving the group a weathered chemistry that makes you believe they've all lived together for years.  Rory McCann, of Game of Thrones fame, is set up to be a major player early on but for some reason he's taken off the screen relatively early on to the film's detriment.  It’s an odd choice since his presence would have added so much more to the film, especially as it moves into its end game.  Up to that point the story walked a steady tightrope between real and imagined horrors that plague our increasingly dwindling group.  A bit more ambiguity would have helped The Damned be a more effective film but as an opening salvo for his career Thordur Palsson still manages to leave a strong impression.

B-

MOVIE REVIEW: BABYGIRL

 

A high-powered CEO puts her career and family on the line when she begins a torrid affair with a much younger intern.

Director: Halina Reijn

Cast: Nicole Kidman, Harris Dickinson, Sophie Wilde, Antonio Banderas

Release Date: December 25, 2024

Genre: Crime, Drama, Mystery, Thriller

Rated R for strong sexual content, nudity and language.

Runtime: 1h 54m

Review:

Babygirl plays like a gender-swapped version of 2002's Secretary and when it works it pulsates off the screen, but it struggles to maintain that energy despite a stellar turn from Nicole Kidman.  Writer/Director Halina Reijn has plenty on her mind as she presents a series of tantalizing themes over the course of her film.  Sexual desire, normalcy, power dynamics and age all bounce around the edges of the screen as we follow the torrid affair with her intern played by Harris Dickinson.  Kidman's performance is a study in layers as she gives the audiences glimpses of strength, intelligence, repression and shame that are all bottled up in her character.  She's consistently the most interesting performer onscreen as she crafts this fully formed character that feels like a living breathing person along with all her complications.  Her performance carries the film but the central relationship between her and the intern is a bit choppier due to a variety of reasons.  Harris Dickinson and Kidman just don't share the kind of electric chemistry together that would make their affair believable.  His character is terribly underwritten with the audience never being presented because he's so attractive to Romy.  We're told at various points that he is intelligent but never shown anything outside of the most generic sort of blackmail.  He's never portrayed with the sort of charisma or tact that he would be able to engage and enchant in the way we're led to believe on screen.  It doesn't help that he looks like any random, faceless guy you'd see on a subway or train and never give a second thought about.  The film's kinkier moments really play more like softcore Cinemax than anything else albeit with Kidman going for broke with each scene.  Antonio Banderas has a small supporting role as Kidman's husband, and he's given an impressive scene in the final act that reminds you how powerful of a performer he can be.  The film would have been well served had it given him a bit more screentime and fleshed out his character more but like most of the themes that Reijn throws onscreen such as an undercurrent about the monotony and automation of our everyday lives are never explored in any sort of meaningful way.  There's plenty left unexplored throughout which is shame because Reijn does deliver a series of energetic moments topped by a sequence in a dance club that just reverberates off the screen.  These sorts of moments highlight surges of energy in Babygirl which highlight how much more effective the film would have been if it had something substantial to say about itself.  

B-

MOVIE REVIEW: NOSFERATU

 

In the 1830s, estate agent Thomas Hutter travels to Transylvania for a fateful meeting with Count Orlok, a prospective client. In his absence, Hutter's new bride, Ellen, is left under the care of their friends, Friedrich and Anna Harding. Plagued by horrific visions and an increasing sense of dread, Ellen soon encounters an evil force that's far beyond her control.

Director: Robert Eggers

Cast: Bill Skarsgård, Nicholas Hoult, Lily-Rose Depp, Aaron Taylor-Johnson, Emma Corrin, Ralph Ineson, Simon McBurney, Willem Dafoe

Release Date: December 25, 2024

Genre: Fantasy, Horror, Mystery

Rated R for bloody violent content, graphic nudity and some sexual content.

Runtime: 2h 12m

Review:

Robert Eggers' remake of 1922's Nosferatu doesn't add much to the general story but it's a visual marvel of the macabre that delivers a wonderfully opulent series of gothic imaginary that's sure to leave an impression.  Eggers's talents are perfectly suited for the subject matter and every shot reflects his deep affect and love of the material.  He manages to create an impressive sense of dread and foreboding even though the story doesn't offer up much in the way of surprises.  He and his cinematographer, Jarin Blaschke, meticulously frame shots with an incredible level of care which results in a steady stream of memorable shots with the blue toned monochromatic night shots being particularly effective.  The film moves at Eggers' usual pace but a series of well-placed shocks pepper the film with those moments injecting the screen with chaotic energy.  Lily-Rose Depp delivers stellar work in some of these moments with a physical performance that's filled with wild fits of manic gyrations that echo moments from The Exorcist more than anything else.  She maintains a detached, almost trance-like stare during the film's quieter portions with exasperated moments of lucidity allowing her to display a full range of emotions.  Depp's turn is fascinating from start to finish but it’s one of those aspects that you'd wish Eggers had expanded on since there's plenty of fertile ground to explore outside of the repressed sexuality of the original.  The supporting cast is made up on a solid group of performers but similarly the script doesn't ask a lot of them outside of looking terrified, like Hoult, while he's being cuckold or borderline crazed like Willem Dafoe which is about par for the course for him.  Aaron Taylor-Johnson looks the part but some of his lines come off as unintentionally comical partly due to his handle bar mustache.  Emma Corrin is wasted for the most part as she's given very little to do outside of stand around and ask how Depp's Ella is doing and reassure her she's not a burden.  Bill Skarsgård is tasked with portraying Count Orlok which he does with a heavy Eastern European accent in between wheezes.  His portrayal paired with the creature's makeup makes for a far more decrepit depiction of the monster with any sense of suave sexuality from other integrations stripped away to something more primal.  The character's full features are slowly revealed throughout before being shown in its full glory in the final act as we get the full scope of his massive, rotting corpse.  In the end, Nosferatu may prove to be one of Robert Eggers more accessible film for those looking for high end frights and fitting tribute to one of the original horror films.  

A-

MOVIE REVIEW: A COMPLETE UNKNOWN

 

In the early 1960s, 19-year-old Bob Dylan arrives in New York with his guitar and revolutionary talent, destined to change the course of American music. Forming his most intimate relationships during his rise to fame, he grows restless with the folk movement, making a controversial choice that reverberates worldwide.

Director: James Mangold

Cast: Timothée Chalamet, Edward Norton, Elle Fanning, Monica Barbaro, Boyd Holbrook, Dan Fogler, Norbert Leo Butz, Scoot McNairy

Release Date: December 25, 2024

Genre: Biography, Drama, Music

Rated R for language.

Runtime: 2h 20m

Review:

A Complete Unknown serves as a time capsule that focuses on four formative years of Bob Dylan's career in the 60s that places you firmly in the moment although it never gives you any insight into his headspace.  James Mangold's second foray into musical biopics finds the director in his wheelhouse as he recreates the look and feel of the early 60's folk music scene that Dylan walks into.  He directs the performances with ease allowing the performers and music to take center stage while avoiding some of the more obvious pitfalls and tropes that Walk The Line fell into.  There aren't nearly as many contrived moments were moments immediately lead into the creation of signature songs although there is still of relationship melodrama which just seems baked into these kind of stories.  As a result, the film has a more naturalistic and organic feel to it as we follow Dylan's rise from obscurity to mega stardom.  Interlaced into his personal journey are newsclips woven into the background about the major political and cultural events occurring during these nascent years of his career.  We assume these moments lead to the creation of some of Dylan's most famous songs but the film never overtly connects the two.  This is partly due to the fact that we are kept at arms length from Dylan's internal motivations as the audience is given very few glimpses into his psyche outside of being a mysterious, ambitious iconoclast.  There's painfully little insight provided throughout the film's runtime perhaps by design as we get little more than he's a genius but self centered jerk.  The supporting characters don't fare much better as we're given only the most basic information about everyone we meet.  Its a testament to the cast that they're performances are as engaging and effective as they are given the script's shortcomings. Timothée Chalamet leads the film by dissolving into Bob Dylan's mannerism and vocal inflections to deliver a truly impressive bit of cinematic mimicry.  Where his performance truly shines is during the musical portions of the film as Chalamet sings and plays Dylan's songs rarely missing a bit along the way.  Its an impressive fully formed performance that goes the extra step above the usual imitation game although you wish the script had given him a bit more meat to work with.  Edward Norton's Pete Seeger proves to be more fleshed out as the folk stalwart that is desperately hoping to fight back the electrical musical revolution.  It's a measured and thoughtful turn that humanizes the character by giving him varying levels of depth.  Elle Fanning and Monica Barbaro deliver strong performances as parts of the central love triangle although neither is given much depth on their own and an on stage moment between Dylan and Baez that feels lifted from Mangold's own Walk The Line comes off as overkill. Boyd Holbrook is solid in spots as Johnny Cash while we are left wishing Scoot McNairy had been given a bit more to do as Woody Guthrie.  A Complete Unknown lives up to its name as it gives the audience just enough about the people we are watching while never letting us truly understand them in any meaningful way.  

B+

MOVIE REVIEW: MUFASA: THE LION KING

 

Lost and alone, orphaned cub Mufasa meets a sympathetic lion named Taka, the heir to a royal bloodline. The chance meeting sets in motion an expansive journey of an extraordinary group of misfits searching for their destinies.

Director: Barry Jenkins

Cast: Aaron Pierre, Kelvin Harrison Jr., Tiffany Boone, Mads Mikkelsen, Thandiwe Newton, Lennie James, Anika Noni Rose, Blue Ivy Carter, John Kani, Seth Rogen, Billy Eichner, Donald Glover, Beyoncé Knowles-Carter

Release Date: December 20, 2024

Genre: Animation, Adventure, Drama, Family, Fantasy, Musical

Rated PG for action/violence, peril and some thematic elements.

Runtime: 1h 58m

Review:

Mufasa: The Lion King manages to improve on the 2019 remake on multiple levels, but its uneven pacing and overlong runtime keep it from being truly special.  Academy Award winning director Barry Jenkins delivers a visually impressive film across the board with the technical aspects of the photo realistic imaginary providing a venerable feast for the eyes.  Action set pieces are well constructed and do a strong job of putting the audience in the middle of the chaotic action to great effect.  Through all the technical wizardry Jenkins uses his talent to give his characters a real sense of emotion and depth something that was missing in the hollow 2019 remake.  Aaron Pierre and Kelvin Harrison Jr. deliver strong work as the pair of accidental brothers at the center of the story by giving each character a real sense of brotherly connection throughout.  Pierre's deep tenor fits well as the younger version of James Earl Jones Mufasa to reflect his innate nobility and courage paired with youthful naiveite.  Kelvin Harrison Jr. turn as the future Scar, Taka, is measured with an air of undeserved entitlement and cowardness but very little conniving until the later portion of the film as the story reveals the cause of their fractured relationship.  The story stumbles a bit with that reveal since there's plenty of room to play with the concepts of entitlement vs earning your position but instead it falls back on a simple conflict over unrequited love which is underwhelming.  Mads Mikkelsen's provides the voice of Kiros who serves as the menacing villain pursuing the group.  Mikkelsen clearly relishes the villainous role with impressive glee that's highlighted by the song Bye Bye a rather chipper song about murdering another group of lions.  Lin Manuel-Miranda's song are catchy as usual and work well for the most part with Kelvin Harrison Jr. final song, Brother Betrayed, proving to be a highlight.  Unfortunately, there are handful of stumbles along the way with the most egregious being the framing device ramming in unnecessary silly sequences from Seth Rogen's Pumbaa and Billy Eichner's Timon which breaks up the film's flow on multiple occasions.  Those moments could have been excised entirely and it would have made the overlong film a more effective and emotionally impactful experience.  As is, Mufasa: The Lion King brings enough to the table to make it a worthwhile exercise just not quite a special one.  

B-

MOVIE REVIEW: CONCLAVE

 

Cardinal Lawrence is tasked with one of the world's most secretive and ancient events -- participating in the selection of a new pope. Surrounded by powerful religious leaders in the halls of the Vatican, he soon uncovers a trail of deep secrets that could shake the very foundation of the Roman Catholic Church.

Director: Edward Berger

Cast: Ralph Fiennes, Stanley Tucci, John Lithgow, Sergio Castellitto, Isabella Rossellini

Release Date: October 25, 2024

Genre: Drama, Thriller

Rated PG for thematic material and smoking.

Runtime: 2hrs 

Review:

Conclave is a fascinating blend of striking visuals paired with the pulpy, political machinations in selecting a new pope led by a wonderfully layered turn from Ralph Fiennes.  Edward Berger's film is wonderfully shot, taking full advantage of Catholic Church's ornate iconography to great effect serving as a stark contrast to the power struggles on display.  It sets up the overall themes at play throughout as we follow the contrasting ideologues battle for the papal crown.  It creates a vaguely claustrophobic feel to the proceeds that puts the collection of characters in small rooms or narrow hallways more often than not which ramps up the tension.  Ralph Fiennes leads the whole thing with a multilayered incredibly subtle turn that puts his immense talent on display.  Fiennes' conveys his character rotating sense of duty, self doubt and faith with incredible ease as he tries to lead the Conclave.  It’s one of his best performances simply due to the fact that he does so much with small nuanced moves, looks or inflections to exemplify his character’s inner turmoil and drive.  His supporting cast is made up equally impressive albeit more showy turns from a collection of veteran performers such as Stanley Tucci, Lucian Msamati, John Lithgow, and Sergio Castellitto. These characters are written more broadly and representative of their contrasting ideologies with each actor turning in strong work in their limited screentime.  Isabella Rossellini has a small but important supporting role which is pivotal to the story as a series of revelations unfurl with each refocusing the spotlight on a different player.  Once the dominos start to fall it leads Conclave to a finale that leaves an open question about the concepts of belief and faith. 

 

A-

MOVIE REVIEW: NIGHTBITCH

 

An artist who pauses her career to be a stay-at-home mum seeks a new chapter in her life and encounters just that, when her nightly routine takes a surreal turn and her maternal instincts begin to manifest in canine form.

Director: Marielle Heller

Cast: Amy Adams, Scoot McNairy, Arleigh Snowden, Emmett Snowden, Mary Holland, Ella Thomas, Archana Rajan, Jessica Harper

Release Date: December 6, 2024

Genre: Comedy, Horror

Rated R for language and some sexuality

Runtime: 1h 38m

Review:

Marielle Heller's Nightbitch is perfectly set up to offer up a boundary pushing dissection of modern motherhood, but it never fully delivers on its promise despite a fully committed turn from Amy Adams.  Heller's film plays its fairly straightforward with a handful of moments internal monologues sprinkled throughout that feel like they should lead up to something revelatory by the time the film ends.  The thing is that moment never really comes as the script toys with a handful of ideas that have been done before in better films like 2018's underappreciated Tully.  It’s strange that the film spends nearly its entire runtime with Adams' character but there's no real depth to her just the pervasive sense of desperation.  Amy Adams does everything she can to make the film work as she indulges every bit of insanity thrown at her.  It’s an incredibly unglamourous role fully realized via a physical transformation to really hammer home the loss of identity at the center of the film.  Adams maintains a glazed, detachment for nearly the entirety of the film which slowly simmers over to rage in spots.  There are darkly funny moments which she manages with impressive ease before shifting back to more solitary moments.  Scoot McNairy does what he can with an underwritten role as the husband who is clueless to his wife's distress.   There's plenty of fertile ground to be tilled in their relationship but the script never delves into anything deeper than the most obvious tropes.  The more gonzo ideas of transformation and generational pain never really coagulate to deliver the sort of impact intended.  It doesn't help that for all the pain and resentment the wife suffers through in Nightbitch the script decides to tie everything up with a tidy bow that ties everything up far too neatly making it all feel sort of hollow. 

B-

MOVIE REVIEW: CARRY-ON

 

A young airline security guard is blackmailed by a mysterious passenger who threatens to smuggle a dangerous package onto a plane on Christmas Eve.

Director: Jaume Collet-Serra

Cast: Taron Egerton, Sofia Carson, Danielle Deadwyler, Jason Bateman

Release Date: December 13, 2024

Genre: Action, Crime, Mystery, Thriller

Rated PG-13 for strong violence, bloody images, some language and suggestive references.

Runtime: 1h 59m

Review:

Carry-On is an old school potboiler in the vein of Die Hard that takes full advantage of strong performances from Taron Egerton and Jason Batman engaging in a tense game of cat and mouse.  Jaume Collet-Serra confidently sets up the premise after quick introductions to the main characters before he moves right into the meat of the story.  The story itself will never be considered smart by any extent, but it does a solid job of keeping your attention especially as the stakes get progressively higher.  He consistently maintains a steady rhythm to the tension even as the script takes increasingly ludicrous twist and turns.  Taron Egerton brings his likeable everyman energy to the proceedings which works perfectly for the central role.  Egerton is able to give his character a believable sense of being out of his depth initially before rising to the occasion.  He's able to bring a sense of authenticity to the role that probably doesn't come through in the hands of a lesser performer.  Jason Batman is clearly relishing his role as the seemingly omnipotent ringleader.  His measured, controlled diction and delivery are perfectly suited for his role as the mastermind.  He can imbue his character with a cold, calculating, detachment that gives him a palpable sense of danger throughout.  The two don't share many scenes together but their verbal interchanges pop and ultimately make the film work.  Danielle Deadwyler makes the most of her screentime as an FBI agent on the trail of Bateman that leaves you wishing the film had given her a more prominent role.  She is given a particularly fun action sequence set to Wham's Last Christmas which is sure to be one of the more memorable moments in the final act.  That final act does stretch out longer than necessary which ultimately keeps Carry-On being truly memorable.   

B

MOVIE REVIEW: KRAVEN THE HUNTER

 

Kraven's complex relationship with his ruthless father starts him down a path of vengeance, motivating him to become not only the greatest hunter in the world, but also one of its most feared.

Director: J. C. Chandor

Cast: Aaron Taylor-Johnson, Ariana DeBose, Fred Hechinger, Alessandro Nivola, Christopher Abbott, Russell Crowe

Release Date: December 13, 2024

Genre: Action, Thriller

Rated R for strong bloody violence, and language.

Runtime: 2h 7m

Review:

Kraven The Hunter manages to be a halfway decent crime drama until it remembers it also must be a comic book story which drags down the whole experience.  J. C. Chandor does his best to deliver an engaging story highlighted by some decent action sequences.  Unfortunately, he's fighting some terrible headwinds with a terrible script, shoddy CGI and a goofy collection of characters that he must wrangle together.  The fact that he manages to deliver something more coherent and watchable than Madame Web or Morbius is something of a small moral victory for him and his cast.  That being said, there's so much clunky dialogue and bad accents thrown onscreen that you are left with a decision to either check out or just go with it.  The incredibly talented cast does the best they can with what they are given and occasionally manage to find some depth in their characters.  Aaron Taylor-Johnson makes great use of his good looks and chiseled frame in the central role.  He is solid enough to make it all watchable, the script doesn't really ask much from him, even though his accent rotates between bad Russian, non-descript and his native British.  Russell Crowe, sporting an equally bad Russian accent, chews up every bit of scenery as Kraven's gangster father.  Crowe and Taylor-Johnson have some fun chemistry together which the film would have been wise to focus on instead of Alessandro Nivola's Rhino.  Christopher Abbott shows up as supporting villain who’s also more interesting than The Rhino which makes you wonder why the latter is the main villain in the first place.  Ariana DeBose, whose name is Calypso as the film reminds us of every five minutes, is given the thankless supporting role that doesn't give her much to do outside of randomly giving Kraven his powers and shell out some exposition.  Ultimately, Kraven the Hunter isn't laughably bad like some of the other entries in this strange Sony spinoff universe but inherently forgettable.

C

MOVIE REVIEW: THE ORDER

 

A string of violent robberies in the Pacific Northwest leads veteran FBI agent Terry Husk to a white supremacist group that plans to overthrow the federal government.

Director: Justin Kurzel 

Cast: Jude Law; Nicholas Hoult, Tye Sheridan, Jurnee Smollett, Alison Oliver, Marc Maron

Release Date: December 6, 2024

Genre: Crime, Drama, Thriller

Rated R for some strong violence, and language throughout.

Runtime: 1h 58m

Review:

Justin Kurzel's tense police procedural feels like a throwback to classic Michael Mann films from the 80's and 90's with its straightforward single-mindedness buoyed by stellar performances across the board.  Kurzel's film is hauntingly beautiful in how its shot by taking full advantage of the natural beauty that hides the sinister workings of the white supremacist domestic terrorist at the heart of the story.  It’s a fascinating juxtaposition that offers up a hefty bit of thematic subtext to the story playing out on screen.  It’s all wonderfully shot but straightforward and lean with very few visual flourishes thrown into the mix.  It’s an incredibly efficient film from start to finish that never loses sight of where it's going or how it wants to get there.  Jude Law embodies the film's no nonsense approach with his turn as the hardboiled FBI agent who drives the story.  Law has rarely been better as he gives his character a hardened intensity that drives his relentless pursuit of his target regardless of the personal toll it takes on him.  We are given only a few morsels of background information on the character, but Law manages to give him enough layers so that we understand the depths of his determination even if not the reasons.  On the other end, Nicholas Hoult takes advantage of his boyish looks paired with a tangible sense of charisma that becomes more an unnerving as his groups actions become more extreme.  There's subtle work from both actors on display with Law's performance being the showier of the two but Hoult is just as good with his measured approach.  They only share a few moments on screen but when they do the screen screams with tension as each party attempts to size up each other.  Tye Sheridan and Jurnee Smollett are solid in smaller supporting roles with Sheridan leaving a sizeable impression on the film.  There's plenty to appreciate about The Order, especially since it brings a certain level of immediacy and importance due to some readily apparent modern day connections.  

A

MOVIE REVIEW: Y2K

 

On the last night of 1999, two high school juniors crash a New Year's Eve party, only to find themselves fighting for their lives when Y2K becomes a reality.

Director: Kyle Mooney

Cast: Jaeden Martell, Julian Dennison, Rachel Zegler, Fred Durst, Alicia Silverstone, Kyle Mooney

Release Date: December 6, 2024

Genre: Comedy, Horror, Sci-Fi

Rated R for bloody violence, strong sexual content/nudity, pervasive language, and teen drug and alcohol use.

Runtime: 1h 31m

Review:

Y2K has its moments as a Superbad meets This is the End meets Maximum Overdrive mash up but a shoddy script and inconsistent tone keep it from hitting the mark.  Writer, director and actor, Kyle Mooney, throws every late 90's cliché he can think of at the screen with some working better than others as he sets up the basic premise.  The nostalgia is fun for a bit but the story rush past basic characterization from the get go which leaves us with a cast of terribly generic characters that don't connect the way they are supposed to.  There's a herky-jerky feel to the whole thing as it hits a handful of inspired comedic bits before grinding to a halt with randomly emotional moments.  Its makes for a very strange flow that leaves you wishing Mooney had just gone all in on goofiness of the concept and fully embraced it.  It's a shame since his cast is game for assorted wackiness thrown at them led by Jaeden Martell and Rachel Zegler.  Martell brings a Crispin Glover's George McFly energy to his performance which is sort of fun but you wish the script had given him a bit more to work with.  Zegler deals with a similar situation since she's not asked to do much outside of look the part of your typical high school IT girl.  Martell and Zegler have some fun energy together onscreen too which the film never takes full advantage of.  Julian Dennison is also good fun as Martell's character longtime friend but he's inexplicably taken off screen fairly early on.  There is a rather fun sequence in the back end once a certain singer pops up onscreen which ends Y2K on a high note but that doesn't keep the whole thing from feeling like a missed opportunity.  

C