MOVIE REVIEW: I SAW THE TV GLOW

 

A classmate introduces teenage Owen to a mysterious late-night TV show -- a vision of a supernatural world beneath their own. In the pale glow of the television, Owen's view of reality begins to crack.

Director: Jane Schoenbrun

Cast: Justice Smith, Brigette Lundy-Paine, Ian Foreman, Helena Howard, Fred Durst, Danielle Deadwyler

Release Date: May 24, 2024

Genre: Drama, Horror

Rated PG-13 for violent content, some sexual material, thematic elements and teen smoking.

Runtime: 1h 40m

Review:

Jane Schoenbrun's latest feature, I Saw the TV Glow, is another challenging arthouse piece that’s sure to earn as many fans as it frustrates with its methodical approach.  Those familiar with Schoenbrun’s style will find this film slightly more accessible than their previous films, especially with its recreation of 90s young adult TV shows.  This story within the story is one of the more intriguing approaches Schoenbrun uses in service of the larger story at play which doesn’t come into full focus until the final act.  There are plenty of allusions and clues that Schoenbrun drops along the way about the message of the film, but it works on a more universal level as well.  It’s a challenging film that will test the patience of more than a few people who will disengage from the film well before the finale.   The visuals, fourth wall breaking and multi layered, time jump approach won’t be for everyone especially as it meanders in the third act making the whole thing far longer than its run time.  Justice Smith and Brigette Lundy-Paine serve as the center of the story with each working well off each other even with the hushed, monotone exchanges employed for most of the film.  Smith’s understated, almost anesthetized delivery fits perfectly for the character while Lundy-Paine is given more range to play with as a counterpoint.  They are fascinating performances in film that’s almost overly constructed to the point of exhaustion but I Saw the TV Glow is sure to leave a wide variety of impressions from confusion, annoyance or self-reflection.  

B-

MOVIE REVIEW: FURIOSA: A MAD MAX SAGA

 

Snatched from the Green Place of Many Mothers, young Furiosa falls into the hands of a great biker horde led by the warlord Dementus. Sweeping through the Wasteland, they come across the Citadel, presided over by the Immortan Joe. As the two tyrants fight for dominance, Furiosa soon finds herself in a nonstop battle to make her way home.

Director: George Miller

Cast: Anya Taylor-Joy, Chris Hemsworth, Tom Burke, Alyla Browne, Lachy Hulme, Nathan Jones

Release Date: May 24, 2024

Genre: Action, Adventure, Sci-Fi, Thriller

Rated R for sequences of strong violence, and grisly images.

Runtime: 2h 28m

Review:

George Miller's Furiosa: A Mad Max Saga doesn't bring the same level of action overload that Fury Road brought but it does deliver a level of visual storytelling rarely seen in summer blockbusters.  Miller brings a mythic approach to the central character's story which permeates every frame of this film as we traverse the apocalyptic wasteland.  It’s a more methodical approach overall as Miller splashes a succession of striking visuals with a handful resembling a series of crazed renaissance paintings.  There's still plenty of teeth rattling action although much more contained to three large set pieces replete with an insanely large amount of stunt performers flying around on a variety of vehicles.  It’s hard not to marvel at the logistical choreography on display during these extended action scenes which beg to be seen on the big screen although those expecting a full two and half hours of these breakneck sequences will be slightly disappointed.  While Furiosa's overall backstory is fairly simple and straight forward it’s clear that Miller has a deep affection for the character as he takes his time with her journey with Anya Taylor-Joy not showing up until the one hour mark.  Alyla Browne carries that first hour doing solid work showing the fledgling ferocity that blossoms in the film's second half.  Once Anya Taylor-Joy does take over she proves to be more than capable of embodying the character with impressive intensity, nearly matching Charlize Theron's singular turn in Fury Road.  She makes wonderful use of her large expressive eyes, readily suited to reflect the character's dogged determination and steely gaze for the role which is fairly light on dialogue.  Chris Hemsworth gets much more dialogue to work with and he's clearly enjoying himself playing the film's villain.  He steals every scene he's in and the film sorely misses his energy when he's offscreen.  His bombastic turn is over the top and twisted but there's still a sliver of humanity that comes through exemplified in a late stage sequence between him and Taylor-Joy.  The rest of the supporting cast kind of pale in comparison to the central pair with Tom Burke, who get a decent amount of screen time, failing to leave a real mark as Furiosa's mentor/love interest.   Minor issues like that keep this film from reaching the heights that Fury Road achieved but that doesn't keep it from working perfectly as an excellent companion piece to that film.

B+

MOVIE REVIEW: THE STRANGERS CHAPTER 1

 

After their car breaks down in an eerie small town, a young couple is forced to spend the night in a remote cabin. Panic ensues as they are terrorized by three masked strangers who strike with no mercy and seemingly no motive.

Director: Renny Harlin

Cast: Madelaine Petsch, Froy Gutierrez, Richard Brake, Ema Horvath

Release Date: May 17, 2024

Genre: Horror

Rated R for horror violence, language and brief drug use

Runtime: 1h 31m

Review:

The Strangers Chapter 1 is a tired retread of the original film which offers little intrigue for the already completed next two Chapters which leaves you wondering why a prequel exists or even necessary.  Renny Harlin is a capable director, but this film is terribly bland from start to finish, leaving it a lifeless experience.  It doesn't help that the film never delivers any sort of tangible tension or scares.  It’s all entirely predictable with the victim doing some truly stupid things throughout which might have more than a few people rooting for the killers.  Madelaine Petsch and Froy Gutierrez do the best they can with the material they've given as the couple being terrorized.  They have decent chemistry together, but their characters are so terribly stereotypically written that there's very little to the character that makes them interesting or engaging.  Once the main action gets going, Petsch does show some strong potential as a scream queen with a believable sense of playing terrorized paired with an impressive scream.  It’s a shame its wasted on this uninspired opening entry in the coming trilogy which might make more sense once everything has been released.  As a standalone film, The Strangers Chapter 1 doesn't offer anything new to the franchise which gives the "Why are you doing this to us?  Because you were *here*" exchange near the end of the film a weird sort of meta context that could be applied to the audience.

D-

MOVIE REVIEW: IF

After discovering she can see everyone's imaginary friends, a girl embarks on a magical adventure to reconnect forgotten IFs with their kids.

Director: John Krasinski

Cast: Cailey Fleming, Ryan Reynolds, John Krasinski, Fiona Shaw, Alan Kim, Liza Colón-Zayas, Phoebe Waller-Bridge, Louis Gossett Jr., Steve Carell

Release Date: May 17, 2024

Genre: Action, Adventure, Sci-Fi

Rated PG for thematic elements and mild language.

Runtime: 1h 44m

Review:

John Krasinski’s first foray into family films, IF, has plenty of ideas for its saccharine sweet story but its unfocused nature keeps it from really being something special.  Krasinski's film does have a certain earnestness that's endearing enough to carry the film through some of the film's slower moments.  However, there is a somber undercurrent that pervades the film's narrative as it deals with the trauma of loss and grief which stands in contrast to the candy-colored visuals onscreen.  It works in sections but for a film that's only an hour and forty-four minutes it feels decidedly longer than it actually is because it can't maintain a consistent rhythm.  It’s a shame because you're left feeling there's a better film in there somewhere if Krasinski had focused on the original trauma angle and storyline instead of pivoting to rediscovering your inner child theme in the back half of the film.  Story issues aside he's blessed with a game ensemble cast of Cailey Fleming, Ryan Reynolds, Steve Carrell and Phoebe Waller-Bridge doing solid work throughout.  Fleming has a likable screen presence throughout which makes her easily relatable as we follow her journey.   Reynolds plays against his usual sarcastic type here playing more of a straight man against the CGI creations that pepper the screen.  Steve Carrell and Phoebe Waller-Bridge carry the lion's share of the voice work as the imaginary friends who get the most screen time with both doing strong work even if their characters could have benefited from some added depth.  Louis Gossett Jr. manages to leave a strong paternal impression with his final screen credit as an elderly teddy bear who sets up a retirement home for forgotten Ifs.  A bevy of other A listers voice cameo as other Ifs which makes for a fun game of whose who as they pop up onscreen.  You can't deny that IF has its heart in the right place and it delivers some emotional punch in spots, but it proves to be more of a middling experience when compared to something like Monsters Inc. which covers some of the same territory.

B-

Cindy Prascik's Reviews of The Beatles Let It Be & The Idea of You

My dear readers: With apologies for the lengthy radio silence, this Mother's Day weekend I offer my takes on a pair of streaming options: Let It Be and the Idea of You.

Spoiler level here will be mild.

First on my weekend agenda, a restoration of the maligned 1970 Beatles documentary, Let It Be.

A disclaimer: The Beatles are my whole life, and I debated whether to watch the new Let It Be. I remember being traumatized by the movie's depiction of strife within the band when I was a kid, but - with the context provided by Peter Jackson's Get Back documentary, and with an adult understanding of the complexities of adult relationships - I hoped the film might hit differently. I'm pleased to say it absolutely did. The members of the Beatles often were at cross-purposes during this time, but their disagreements seem much less the focus of the movie than I remember. Truly, the film spends most of its time on the birth of now iconic songs from the Beatles' Let It Be and Abbey Road albums, culminating on the rooftop with their final live performance. It is not a particularly well-crafted documentary, especially in light of last year's Get Back, but it is an important piece of Beatles history, and I'm grateful to see it restored for the next generation of Beatlemaniacs...and the next and the next.

On the heels of Get Back, Let It Be feels like the CliffsNotes version of this story, but you can't go wrong with 90 minutes of Beatles music.

Of a possible nine Weasleys, Let It Be gets seven.

Let It Be is now streaming on Disney+.

Next on the docket, the May-December romance the Idea of You.

A young pop star and an older art museum owner become romantically involved.

A qualifier on this one, too: A rumor persists that this film is based on a Harry Styles fanfiction. I refute this picture based on it being sourced from a Harry Styles fanfiction that is not Tired Tired Sea. However, Anne Hathaway is a perpetual favorite of mine, and Nicholas Galitzine is a new favorite of mine, and the movie is free on Prime, so who am I to say no?

The Idea of You is a big ol' cliche, or, more specifically, a bunch of littler ones. There are a many cringey artistic choices (the lingering stares physically hurt me), and more cringey dialogue. The film survives on the charm of its leads, but even this much charm barely gets it off life support. It's certainly not something I could see making it to the big screen in "the before times."

There are no surprises in the Idea of You, but maybe when you settle in with a movie like this you want comfortable more than surprising. Of a possible nine Weasleys, the Idea of You gets four.

The Idea of You is now streaming on Prime Video.

Until next time...

MOVIE REVIEW: KINGDOM OF THE PLANET OF THE APES

 

Many years after the reign of Caesar, a young ape goes on a journey that will lead him to question everything he's been taught about the past and make choices that will define a future for apes and humans alike.

Director: Wes Ball

Cast: Freya Allan, Owen Teague, Kevin Durand, Peter Macon, William H. Macy

Release Date: May 10, 2024

Genre: Action, Adventure, Sci-Fi

Rated PG-13 for intense sequences of sci-fi violence/action

Runtime: 2h 25m

Review:

Kingdom of the Planet of the Apes is a technical marvel with its impressive motion-capture performances and visceral action set pieces, but it’s grounded by strong storytelling that makes you care about the digitally created characters.  Wes Ball takes the reigns of the revived franchise with a solid sense of direction and confidence as he opens up a new chapter in the story.   Ball clearly has a love for the franchise as he peppers his film with a bevy of nods to the original film in both visual and musical cues throughout.  His most impressive feat though is managing all the visual effects while never losing focus on the characters.  The film only contains three major action sequences which are visually dazzling but there's a degree of care taken in between to make sure those moments matter.  Owen Teague is tasked with filling the massive shoes left by Andy Serkis as the new lead character.  His performance is thoughtfully authentic and heartfelt as he gives the character a believable sense of guilt and self-doubt that plague the accidental hero.  It’s an engaging, likable turn that forms a tangible emotional connection with audience from the opening sequence with Lydia Peckham's Soona and Travis Jeffery's Anaya.  Peckham and Jeffery make the most with their limited screen time, leaving a noticeable impression which bodes well for future installments.  Likewise, Peter Macon's turn as the orangutan Raka is surprisingly effective which leaves the film missing his presence once he's off the screen.  Kevin Durand's Proximus Caesar makes for an intriguing villain but the film doesn't spend enough time on him to make him as layered as they could have before becoming full on murderous in the final action sequence.  The concept of having Caesar's ideals being warped in the years after his death is fascinating but the story doesn’t explore it in any serious way which feels like a missed opportunity.  Freya Allan serves as the main human actor for the majority of the film and does solid if unremarkable work compared to her costars.  William H. Macy makes a late stage appearance but doesn't really make much of an impact outside of having a familiar face relay some background exposition.  The final act does have a strangely rushed feel to it especially since the previous two acts had a measured more methodical pace.  It’s not bad enough to make the story collapse but a noticeable stumble getting to the finish line.  

B+