MOVIE REVIEW: CIVIL WAR

 

In a dystopian future America, a team of military-embedded journalists races against time to reach Washington, D.C., before rebel factions descend upon the White House.

Director: Alex Garland

Cast: Kirsten Dunst, Wagner Moura, Cailee Spaeny, Stephen McKinley Henderson, Nick Offerman

Release Date: April 12, 2024

Genre: Action, Thriller

Rated R for strong violent content, bloody/disturbing images, and language throughout

Runtime: 1h 49m

Review:

Alex Garland's Civil War is replete with stark visuals of a country tearing itself apart at the seams and strong performances from its cast but it’s surprisingly timid about engaging in its central idea.  Garland creates a series of tense and unsettling dystopian vignettes that are visually impactful and visceral echoing moments from the back half of Kubrick's Full Metal Jacket.  The script drops hints here and there about what led to the current situation our characters exist in but it’s frustratingly vague on causes or even details on how any of the warring factions function.  It ultimately leaves the entire story a rather toothless tour of speculative terror as nearly every character they encounter is little more than nebulous ciphers with little in the way of characterization.  The central characters are equally one note but the cast is strong enough to make it easy to overlook the scripts fallings.  Kirsten Dunst is solid as the world weary photojournalist who gains a protégé in the form of fresh faced Cailee Spaeny who looks even younger here than she did in last year's Priscilla.  Dunst nails the thousand-yard stare her character carries throughout as she does her best to provide tangible depth to the role that's missing from the script.  Spaeny, likewise, does the best she can with her underwritten role and her interactions with Dunst carry an air of authenticity in spite of how clichéd they are.  Wagner Moura is given more latitude to have fun as a thrill seeking journalist who's paired with Dunst's character for some undisclosed reason since the film never bothers to explain their connection.  Stephen McKinley Henderson serves as the elder of the group and he does fine work in a role he could probably play in his sleep.  Together they manage to elevate the material they're given it leaves you wondering why Garland didn't create something closer to Oliver Stone's Salvador if he wasn't going to thoughtfully engage in the film's central idea.  Civil War ultimately lacks the resonance to deliver the sort of gut punch it aspires to achieve.

C

Cindy Prascik's Holiday Wrap-up Part I: The Matrix Resurrections & The Power of the Dog

 

My dear reader(s), following another lengthy absence, I've managed to squeeze a few movie screenings into my holiday break. Here in part one, I shall tackle a couple non-seasonal films: The Matrix Resurrections and The Power of the Dog. In part two, we'll have a peek at some Christmas offerings.

Spoiler level will be mild, nothing you won't have learned from trailers and advertisements.

First on my agenda: The Matrix Resurrections. 

New and familiar faces fight for reality...but what is the real reality?

It's fair to say science fiction and I are taking a break. We definitely don't love each other like we used to, and I'm not sure we ever will again. I elected to give the Matrix Resurrections a try anyway, based on: a.) my love of Keanu Reeves, and b.) being able to watch without leaving the house. If it's not as bad as I thought it was, I'm pretty sure it's not good, either.

Keanu has made a career of locking into roles ideally suited to his acting style. That's a backhanded compliment, but know I offer it with great affection. Carrie-Anne Moss is an inspiration, an action hero a mere year younger than I am. (Note: That's "old" in most people's books!) Despite my aversion to anything with the stink of Glee on it, Jonathan Groff is a pleasant surprise. Always. In everything. Effects are about 50/50, decent and comically bad. Callbacks to previous installments might be entertaining if this one didn't insist on pointing out each one so explicitly. Action is repetitive and gets old quickly, and — at nearly two and a half hours — the picture is extremely bloated. Anymore I'm never sure if social and political undertones are really present, or if I just see them everywhere because I so desperately want to avoid them for a hot minute, but I found them here...and I was well and truly bored before the halfway point.

The Matrix Resurrections clocks in at a whopping 148 minutes, and is rated R for "violence and some language."

If you're deeply invested in the Matrix series, you'll probably love the Matrix Resurrections; otherwise, you can give it a pass and rest assured you won't miss it. Of a possible nine Weasleys, the Matrix Resurrections gets three.

The Matrix Resurrections is currently playing in cinemas worldwide, and streaming on HBO Max through January 21.

Fangirl points: Freema Agyeman!

Next on the docket: The Power of the Dog.

Exploring the contentious relationships among a contrary cowboy, his more agreeable brother, and the brother's wife and son.

The Power of the Dog is a deliberately-paced western that's in no real hurry to get anywhere. Benedict Cumberbatch carries the film with a mighty turn that may well win him his first Academy Award. Kirsten Dunst, Jesse Plemons, and Kodi Smit-McPhee are all terrific in support. Dusty western settings and a gloomy score reinforce the movie's uneasy atmosphere. The film tells an interesting enough tale, but I can't say it's one I'm glad I watched. Oh, and if you're an animal lover, maybe take a pass. Too many ugly moments to get past in that regard.

The Power of the Dog runs 126 minutes and is rated R for "brief sexual content and full nudity."

The Power of the Dog is a miserable little film, but worth checking out for some exceptional performances. Of a possible nine Weasleys, the Power of the Dog gets five.

The Power of the Dog is now streaming on Netflix.

Fangirl points: Keith Carradine!

Stay tuned for some cinematic Christmas cheer!!

MOVIE REVIEW: BACHELORETTE

ON DEMAND IN THEATERS

BACHELORETTE



Kirsten Dunst, Isla Fisher, and Lizzy Caplan star in this comedy about three dysfunctional friends who attempt to leave the past behind while serving as bridesmaids at the wedding of a woman they mocked mercilessly back in high school. As teenagers, Regan (Dunst), Gena (Caplan), and Katie (Fisher) used to call Becky (Rebel Wilson) "Pig Face." Years later, Becky is about to tie the knot and asks her taunting former classmates to join the wedding party. And though Regan is determined to give Becky the ultimate bachelorette bash, tart-tongued Gena has already started partying hard well before the big night, and capricious Katie seems to have her head stuck in the clouds. Later, as the ladies cut loose and the booze begins to flow, a mishap with the wedding dress sends the entire event spiraling out of control, leading to a wild night of debauchery that nobody will ever forget. ~ Jason Buchanan, Rovi

Director: Leslye Headland

Cast: Kirsten Dunst, Isla Fisher, Lizzy Caplan, James Marsden, Adam Scott.

Release Date: Sep 07, 2012

Rated R for Drug Use, Sexual Content and Pervasive Language

Runtime: 1 hr. 33 min.

Genres: Comedy

Review:

Bachelorette is a darkly comedic film that deals with enough dramatics to make for a choppy feel. Writer/Director Leslye Headland peppers her film with enough vitriol to her dramaedy to leave an impression. Her three leads are generally dislikable and overall fairly terrible human beings. Luckily they are played impressively by strong comedic actresses who keep them from being utterly off putting. Kirsten Dunst delivers fine work as the ice queen head of the group. The always dependable Lizzy Caplan and her deadpan delivery make her character more interesting than she actually is. Isla Fisher is still rather adorable as a damaged ditz who bra size is bigger than her IQ. Rebel Wilson is fairly underused and Marsden and Scott mostly relegated to the sidelines. Scott is given the meatiest of the supporting roles with Caplan (a nice Party Down reunion). Leslye shoots an interesting film and directs her actresses with impressive command. Her biggest issue is finding a good rhythm to the film. It never finds a steady feel. It hits its best most consistent marks during its second and final acts. Outside of that the laughs are a bit sparse. The finale feels unearned and too tidy for the characters and general madness involved. Still it’s a film that’s probably closer to The Hangover than Bridesmaid if not nearly as consistent as either of those films.

B-