MOVIE REVIEW: THE FRONT ROOM

 

Everything goes to hell for newly pregnant Belinda after her mother-in-law moves in and tries to get her claws on the child.

Director: Sam Eggers, Max Eggers

Cast: Brandy, Kathryn Hunter, Andrew Burnap, Neal Huff

Release Date: September 6, 2024

Genre: Horror, Thriller

Rated R for language, some violent/disturbing content, brief sexuality and nudity

Runtime: 1h 26m

Review:

Sam Eggers and Max Eggers' debut film is carried by a standout performance from Kathryn Hunter which is equal parts hilarious and revolting something the film leans into with impressive gusto.  Those looking for a straightforward horror film will likely be left disappointed with the film going for more of a gross out humor route instead.  There are a bevy of tantalizing thematic threads thrown about early on, but the story only scratches the surface on a few of them with others being outright ignored by the time it’s all said and done.  As such, there are a series of fanciful moments which are well staged and shot but never really pay off in any meaningful way.  It makes the story far more straightforward than it should be, especially since there's plenty of fertile territory to explore a handful of themes such as motherhood and generational trauma.  It leaves the story lacking in the long run and saps it of the emotional punch it should deliver as we follow the generational back and forth at the center of the story.  Saving the entire thing is an utterly committed turn from its star, Kathryn Hunter, as the mother in law from hell.  Hunter's performance is a fascinating blend of physicality and wry use of mischievous charm which turns sinister in the blink of an eye.  She's always the most interesting actor on screen even as things get increasingly outlandish and just plain gross.  The Eggers show very little restraint in terms of pushing the boundaries of good taste, leaving it up to the audience to either buy in or check out entirely.   Either way Hunter's work is just too focused and outsized to ignore, so much so that it practically sucks the air out of the room for the rest of the cast.  Brandy serves as the de facto lead delivering solid work throughout even as the situation gets more extreme.  To her credit, she's well aware of what kind of film she's in and matches her performance to really lean into the film's twisted sense of humor.  Andrew Burnap doesn't fare as well with his character coming off as little more than an uncaring, self absorbed dolt who doesn't offer much compassion for his wife's plight.  There's a building tension throughout but once the film gets to its final act it feels like it’s in search of a fitting resolution before settling on the simplest, most unimaginative conclusion.  The Front Room works far better than it should due to a singular turn that's engaging enough to carry the majority of the film but ultimately the story's shortcoming kneecaps the whole thing.

C+

MOVIE REVIEW: BEETLEJUICE BEETLEJUICE

 

Three generations of the Deetz family return home to Winter River after an unexpected family tragedy. Still haunted by Beetlejuice, Lydia's life soon gets turned upside down when her rebellious teenage daughter discovers a mysterious portal to the afterlife. When someone says Beetlejuice's name three times, the mischievous demon gleefully returns to unleash his very own brand of mayhem.

Director: Tim Burton

Cast: Michael Keaton, Winona Ryder,  Catherine O'Hara, Justin Theroux, Monica Bellucci, Jenna Ortega, Willem Dafoe

Release Date: September 6, 2024

Genre: Comedy, Fantasy, Horror

Rated PG-13 for violent content, macabre and bloody images, strong language, some suggestive material and brief drug use.

Runtime: 1h 44m

Review:

Beetlejuice Beetlejuice sporadically recaptures the manic energy from Burton's original but it’s not consistent enough, thanks to an overstuffed story, to really deliver the way it should.  Tim Burton does manage to rediscover his gleefully macabre, cartoonish visuals that made him a name in the 80's and 90's.  The film works best when it’s playing in the afterlife with its exaggerated color schemes and wonderfully twisted character designs.  He's clearly having a ball revisiting this particular playground, but he adds some new wrinkles to mix such like a sequence using claymation and a subtitled, Ed Wood inspired flashback.   Those moments when Burton really leans into the weirdness work so well that you wish that he'd done it more throughout the film.  That's not to say that the rest of the film won't have fans grinning even if some of the jokes don't quite land the way they should.  Michael Keaton, Winona Ryder and Catherine O'Hara easily jumping back into their characters make it easier to navigate some of the film's dead spots.  They are able to recapture the essence of the original characters without missing a beat, which is great fun to see onscreen.  Ryder serves the film's north star doing some strong subtle work as the middle aged Lydia.  Catherine O'Hara is the film's bright spot in the opening act as the film pops to life as soon as she appears onscreen.   Keaton's voice is noticeably deeper and he's not bouncing around with the same chaotic energy he brought to the role in the original but he's still able to channel that mischievousness that made the character so memorable.  Newcomers, Justin Theroux, Monica Bellucci, Jenna Ortega and Willem Dafoe are solid with some leaving a bigger impression than others.  The ageless Monica Bellucci looks wonderful as an undead, soul sucking frankenstein but the film gives her woefully little to do.  Willem Dafoe is given a bit more rope and he has a ball chewing up scenery as deceased actor turn detective.  The film would have been better off giving those two more screentime as opposed to Ortega and Theroux's characters who are uninteresting and flat for the majority of the time.  The overload of subplots saps so much energy and momentum from the film that you're left wishing they had focused on the story more and kept it more straightforward.  The film works better in its second half once it becomes more focused with some threads being closed off rather quickly which gives Lydia and Beetlejuice more of a spotlight.  A quick throwaway line handles the absence of the Maitland's while Jeffery Jones' character death sets off the entire plot which allows for some clever methods to have him be a presence without the actual actor.  If there was a film that's perfectly suited to deal with the exclusion of an actor who'd run afoul of the law, its definitely this one as they easily weave it into the story's vibe.  It’s a testament to the cast and crew that they are able to recapture the original's vibe so succinctly in Beetlejuice Beetlejuice even if the story doesn't land the way the original did.

B-

MOVIE REVIEW: STRANGE DARLING

 

Nothing is what it seems when a twisted one-night stand spirals into a serial killer's vicious murder spree.

Director: J.T. Mollner

Cast:  Willa Fitzgerald, Kyle Gallner, Barbara Hershey, Ed Begley Jr.

Release Date: August 23, 2024

Genre: Horror, Mystery, Sci-Fi, Thriller

Rated R for strong/bloody violent content, sexual material, drug use and language.

Runtime: 1h 36m

Review:

Writer/Director J.T. Mollner's Strange Darling is a pulpy thriller that gleefully toys with the audience's expectations due in large part to its nonlinear approach and a pair of engaging performances from its central duo.  Mollner displays confidence behind the camera and clear focus on what he wants to deliver onscreen.  His use of color and shots are meticulously constructed which gives the entire film a very specific look and feel that makes it pop onscreen.  His script is equally polished with its darkly funny dialogue paired with extreme violence throughout that gives a Tarantinoesque sans the pop culture references.  The film wouldn't work as well as it does if not for a pair of excellent turns from Willa Fitzgerald and Kyle Gallner.  Fitzgerald and Gallner both own their roles with a laser focus that gives their performances an intensity to their characters that drives the entire film.  They play off each other with a natural ease before things move into much more antagonistic territory as they are pitted against each other.  By design, their actions and reactions ask that you reexamine each moment as we're given more information.  They manage to walk that tightrope where nearly every moment carries the air of authenticity even after a series of reveals.  The film serves as their showcase throughout with only a handful of supporting characters popping up along the way, most notably Barbara Hershey and Ed Begley Jr.  The film stumbles a bit as the script never gives the characters enough psychological depth to explain their actions, particularly the serial killer's side of the coin.  Additionally, the story loses some bite once you piece it together in chronological order since its fractured gimmick withholds certain information for maximum effect.  Minor issues aside, Strange Darling proves to be a well crafted and acted thriller that sure to be a cult classic in the long run.

B+

Cindy Prascik's Reviews of Immediate Family and Brats

My dear reader(s), recently I had the opportunity to catch up with a pair of documentaries about subjects that are dear to me: Immediate Family (2022) and Brats (2024).

First on my agenda, Immediate Family, which follows the lives and careers of musicians who, individually and together, have contributed to some of the most iconic songs and albums of all time.

Danny Kortchmar. Leland Sklar. Waddy Wachtel. Russ Kunkel. If you don't know those names, how about Stevie Nicks? Don Henley? Phil Collins? Carole King? James Taylor? This first four are instrumental (see what I did there?) in legendary recordings by the last five...and so many more. Immediate Family takes viewers into the studio for the creation of some truly iconic music, and to the stage for storied live performances. Legends sing the praises of these session men, and...the session men are not shy about a bit of back patting themselves. The interviews are entertaining, and every piece of music is a delightful trip down memory lane. The film's best moments allow viewers to listen in as Kortchmar, Sklar, Wachtel, and Kunkel play riffs that evolve into songs that still pop up on the radio daily. If you were invited to sit on the porch to hear the best music industry stories of all time, told by the people who lived them, it'd feel a lot like Immediate Family.

Immediate Family runs 102 minutes and is unrated. (They're musicians, so expect some coarse language and adult themes.)

Immediate Family offers a fascinating peek behind the curtain at the creation of the most popular and influential music of our time. Of a possible nine Weasleys, Immediate Family gets eight. (And if you haven't worn out at least a couple copies of Tapestry, I don't think we can be friends.)

Immediate Family is now streaming on Hulu.

Fangirl points: I got to hear Waddy Wachtel mention my hometown. He was making fun of it, but I can't bear a grudge!

Next on the docket, Brats.

Brats looks back at the (in)famous Brat Pack of the 1980s, and examines how the nickname amd its connotations have impacted the actors' lives and careers.

Brats plays like a therapy session where the viewer has been invited to listen in. Andrew McCarthy has written and directed a sometimes uncomfortable look at how he and his fellow Brat-Packers have carried the baggage of the name and image, personally and professionally. While a couple members of the inner circle declined to be interviewed for this project (Molly Ringwald and Judd Nelson), most who were at least Brat Pack adjacent agreed to participate. McCarthy has been reasonably successful as an actor, director, and writer, but his tone is of someone very deeply wronged and looking for answers. Emilio Estevez, subject of the article that coined the Brat Pack moniker, is visbly uncomfortable with the topic and, at times, almost hostile in his responses. Rob Lowe and Demi Moore, who have crafted arguably the most successful post-Brat Pack acting careers, are cheerful and mostly unbothered by the history. (I guess regular work and plenty of money will do that for a person.) Moore and Ally Sheedy, who also seems content with where life has led her, often seem to be trying to convince McCarthy that it all really wasn't so bad. It's fascinating to watch, especially for people who grew up with the Brat Pack movies.

Brats clocks in at a quick 92 minutes and is unrated.

Brats is a fond, if sometimes uncomfortable, catch-up with people who feel like old friends. Of a possible nine Weasleys, Brats gets seven.

Brats is now streaming on Hulu.

Until next time...

 

MOVIE REVIEW: AFRAID

 

Curtis and his family are selected to test a revolutionary new device, a digital assistant called AIA, that takes smart homes to the next level. As AIA begins to learn everyone's behavior and anticipate their needs, it soon makes sure nothing and no one gets in the family's way.

Director: Chris Weitz

Cast: John Cho, Katherine Waterston, Havana Rose Liu, Lukita Maxwell, David Dastmalchian, Keith Carradine, Lukita Maxwell, Wyatt Lindner Isaac Bae

Release Date: August 30, 2024

Genre: Horror, Mystery, Sci-Fi, Thriller

Rated PG-13 for sexual material, some strong violence, some strong language, and thematic material.

Runtime: 1h 25m

Review:

AfrAId has a capable director and solid cast but it’s so incredibly generic, predictable and silly that you might wonder if this movie about AI was actually written by AI.  Chris Weitz's film has a breezy pace that takes very little time establishing the premise and characters before moving to the main plot.  The pacing benefits the film since it moves at such a breakneck speed you barely have time to register how increasingly silly the whole thing is.  Every hot topic headline story seems to be integrated into the plot from the dangers of AI, deep fake porn and swatting.  There's plenty of room for discussion on all these topics but here they are all treated in the most ham-fisted, generic manner that the dialogue becomes unintentionally funny as the film goes on.  The cast is earnest enough to keep the whole thing from going entirely off the rails.  John Cho and Katherine Waterston play straight from start to finish and you have to appreciate their dedication because they clearly think they are in a much better movie.  Cho is steady and believably leery of the whole set up while Waterson does her best with the underappreciated wife/mother role.  They both display some real talent to keep these thinly written characters even mildly interesting.  Their characters’ kids don't fare quiet as well with Lukita Maxwell, Wyatt Lindner and Isaac Bae doing what they can with equally underwritten roles.  David Dastmalchian and Keith Carradine have small supporting roles which honestly could have been played by anyone as the film never utilizes their talents at all.  Making matters worse is the fact that AfrAId is supposed to be a horror film but there's very little to be found throughout with the unintentionally comedy serving as the most memorable part of the whole thing.

D+

MOVIE REVIEW: FITTING IN

 

A teen girl is diagnosed with a reproductive condition that upends her plans to have a sex life, propelling her to explore unusual methods. Her relationships are challenged with everyone in her life, but most importantly, herself.

Director: Molly McGlynn

Cast: Maddie Ziegler, D'Pharaoh Woon-A-Tai, Djouliet Amara, Emily Hampshire

Release Date: August 9, 2024

Genre: Comedy, Drama

Rated R for sexual content, language throughout, drug use and drinking – all involving teens.

Runtime: 1h 46m

Review:

Writer/Director Molly McGlynn's semi-autobiographical, coming of age dramady, Fitting In, possess an undeniable authenticity due in large part to a stellar turn from its star Maddie Ziegler.  McGlynn directs her film with a steady, confident hand which gives the story a naturalistic feel in its pacing and dialogue for the better part of the film's runtime.  Her connection to the subject matter comes through as the central character's struggles to feel normal carries an emotional resonance which can only come from lived in experiences.  The story starts familiar enough before it moves into more serious territory and we follow Lindy traversing a very personal journey while dealing with the standard assortment of teenage drama.  Maggie Ziegler is tasked with the challenging role that requires an ability to balance the outward normalcy while being internally troubled by a genetic situation that was entirely out of her control.  Ziegler delivers an impressive turn where she balances both sides of the coin, especially in the private moments where her character insecurities and vulnerability is on full display.  She's tasked with carrying the lion's share of the film's weight and does so with impressive ease.  Emily Hampshire plays her mother who is also dealing with a series of emotional and psychical issues like her daughter and there's a realistic messiness to their relationship which rings true.  D'Pharaoh Woon-A-Tai, Djouliet Amara and Ki Griffin round out the supporting case with each getting their moments throughout the film but ultimately its Ziegler's show.  A few pacing and story issues do pop up particularly in the final act but that doesn't keep Fitting In from leaving a noticeable impression.  

B