When her mother disappears while on vacation in Colombia with her new boyfriend, June's search for answers is hindered by international red tape. Stuck thousands of miles away in Los Angeles, June creatively uses all the latest technology at her fingertips to try and find her before it's too late. However, as she digs ever deeper, her digital sleuthing soon raises more questions than answers.
Director: Nicholas D. Johnson, Will Merrick
Cast: Storm Reid, Joaquim de Almeida, Ken Leung, Amy Landecker, Daniel Henney, Nia Long
Release Date: January 20, 2023
Genre: Drama, Thriller
Rated PG-13 for some strong violence, language, teen drinking, and thematic material.
Runtime: 1h 51m
Review:
2018's Searching was a fairly impressive thriller that used our modern screen centric life to great effect. Missing serves as an in universe follow up with a stand alone story that only references the first film in passing during it's opening via a true crime show retelling. First time directors Nicholas D. Johnson and Will Merrick do a solid job of establishing their setting and character dynamics early on before moving onto the central mystery. It’s a kinetic series of window and screens that feel authentic for the better part of the film even when the plot starts to stretch credibility. The central mystery is engaging enough to let you buy into some of larger logical leaps the story takes especially in its final act. It’s an immensely watchable film due in large part to its effective cast lead by Storm Reid. Reid carries the film with impressive ease especially since she's mainly performing on her own and reacting to what she sees onscreen. She possesses a believable authenticity which makes the film work much more than it would in the hands of a lesser actress. The supporting cast is solid but there's a noticeable drop off from Reid's work with Joaquim de Almeida faring the best. Missing does falter a bit once the reveal occurs, especially since its telegraphed fairly early on, but that doesn't keep the film from being far more engrossing and entertaining than it should be.
Rated PG-13 for mature thematic content including sexual assault, bloody images, and some strong language
Runtime: 1h 44m
Review:
Sarah Polley’s Women Talking is a meditative drama is the kind of film that’s driven by its script and cast. Polley takes a minimalist approach which allows the focus to remain centered on its subject matter and characters. A handful of sweeping landscape shots and post assault flashbacks make up the small visual flourishes she utilizes during the course of the film’s runtime. The film’s central meetings feel more like a stage play as we listen to the character describe the terrible state of this situation and ruminate on how to escape and possible consequences. This isn’t the kind of film that isn’t going to be for everyone with its dialogue-centric approach and heavy subject matter which some people might find to be little more than pretentious award fodder. It’s definitely a certain type of film but that doesn’t keep it from being impactful for those willing to take the time to appreciate the performances on screen. The ensemble of actresses on screen deliver excellent performances throughout with each of them given ample time to shine. The characters do lean a bit more into types than fully realized characters but that doesn’t make them any less effective. Rooney Mara is decidedly hopeful, Claire Foy intensely fiery but Jessie Buckley’s conflicted character is the most interesting of the group. Buckly’s performance dominates the latter portion of the film with a measured and complex performance that’s rather mesmerizing. Ben Whishaw, Judith Ivey, Michelle McLeod and Sheila McCarthy make the most of their screentime in vital supporting turns which gives the film its beating heart. Women Talking is the kind of film that allows you appreciate the power of words especially when delivered by a stellar cast.
M3GAN is a marvel of artificial intelligence, a lifelike doll that's programmed to be a child's greatest companion and a parent's greatest ally. Designed by Gemma, a brilliant roboticist, M3GAN can listen, watch and learn as it plays the role of friend and teacher, playmate and protector. When Gemma becomes the unexpected caretaker of her 8-year-old niece, she decides to give the girl an M3GAN prototype, a decision that leads to unimaginable consequences.
Director: Gerard Johnstone
Cast: Allison Williams, Violet McGraw, Ronny Chieng, Brian Jordan Alvarez, Jen Van Epps, Stephane Garneau-Monten
Release Date: January 6, 2023
Genre: Horror, Sci-Fi, Thriller
Rated PG-13 for violent content and terror, some strong language and a suggestive reference
Runtime: 1h 42m
Review:
M3gan plays like the strange offspring of The Twilight Zone episode, I Sing the Body Electric, and the Chucky franchise. It’s the kind of genre film that could have recycled tone and tropes from various other sources, Speilberg’s A.I., HBO’s Westworld or the original Westworld movie, to deliver passable entertainment. Thankfully, Akela Cooper’s screenplay is self-aware enough to try something different and embrace some of the funnier elements of the conceit and deliver a film that will deliver more laughs than actual scares. Gerard Johnstone directs a sleek, efficient film that’s easy to enjoy, especially once the opening act sets up the introduction of the titular android. Once M3gan shows up, the film really finds it footing due in no large part to well the live action/FX creation works as a character. It’s a fascinating bit of screen alchemy with the character feeling authentically artificial while still having a clearly defined persona. Amie Donald physical performance combined with Jenna Davis voice work serve as the life blood of the film, making incredibly watchable especially when it leans into the funnier aspects which are best left as a surprise. The supporting cast is solid but Voilet McGraw interactions with M3gan really make the film pop before the fairly sanitized homicides start happening. The plot, itself touches on themes like technology raising our children but it’s nothing terribly in depth or meaningful. The film moves at such a fast pace that you get the sense there is a more detailed longer cut of the film somewhere which expands on some the story threads. Needless to say, that there’s something to explore in the inevitable sequel which will hopefully maintain the same level of fun as this entry.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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
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.
