MOVIE REVIEW: SPEAK NO EVIL

 

A dream holiday turns into a living nightmare when an American couple and their daughter spend the weekend at a British family's idyllic country estate.

Director: James Watkins

Cast: James McAvoy, Mackenzie Davis, Aisling Franciosi, Alix West Lefler, Dan Hough, Scoot McNairy

Release Date: September 13, 2024

Genre: Drama, Horror, Thriller

Rated R for some strong violence, language, some sexual content and brief drug use.

Runtime: 1h 50m

Review:

Speak No Evil is a thriller with a lot on its mind delivered in a glossy package by James Watkins paired with a fascinating and multifaceted turn from James McAvoy.  Watkins remake of the 2022 Danish film is immediately engaging and efficient in getting to the meat of the story.  The tension ramps up fairly quickly as we get to know each of the couples in greater detail and Watkins smartly allows his cast to carry the film.  Their interactions are increasingly uncomfortable and darkly funny throughout even if there aren't a ton of surprises in the story since it all plays out in a fairly predictable manner.  It all would have been much less entertaining if the film wasn't blessed with such a strong cast headlined by James McAvoy.  McAvoy runs the gamut of emotions, similar to his turn in 2016's Split, as the alpha male who can go from charming to menacing in the blink of an eye.  He maintains an impressive intensity throughout which is impressive but some of his more subtle mannerisms really flesh out the character giving him more depth and pathos.  His simmering energy is the oil that makes the entire engine run but Mackenzie Davis, Aisling Franciosi and Scoot McNairy prove to be more than capable of holding their own in slightly less showy roles.  Mackenzie Davis and Scoot McNairy are impressively authentic as a married couple whose dysfunctional dynamics isn't all that difficult to spot.  Davis brings a perfect combination of liberal sweetness and passive aggressiveness to the character that pairs nicely with McNairy's beaten down emasculation.  Their interactions, especially the non verbal moments communicate so much about their relationship in such a believable manner than you can't but appreciate the work both actors turn in.  Aisling Franciosi does something similar as Paddy's pixie of a wife who's disarmingly sweet but clearly hiding something underneath.  They are all fascinating performances which standout even when compared to McAvoy's outsized turn.  The film faulters in its final act where things get crazier and slightly sillier, but it doesn't keep Speak No Evil from being a fun thrill ride.

B

MOVIE REVIEW: SUBSERVIENCE

 

When his wife becomes sick, a struggling father buys a lifelike AI android named Alice to help with the housework. Things seem fine until Alice suddenly becomes self-aware and wants everything its new family has to offer, including the affection of its owner.

Director: S.K. Dale

Cast: Megan Fox, Michele Morrone, Madeline Zima,  Matilda Firth, Andrew Whipp

Release Date: September 13, 2024

Genre: Sci-Fi, Thriller

Rated R for sexual content/nudity, language, some violence and brief drug material.

Runtime: 1h 35m

Review:

Subservience traffic in a bevy of well-worn tropes dealing with androids and AI in a B movie mashup of M3GAN paired with The Hand That Rocks the Cradle.  S.K. Dale delivers a slick looking film that displays a nice bit of confidence behind the camera.  He does a solid job of creating a tangible near future world where these androids have become integrated into nearly every aspect of life.  Anyone who's familiar with the British show, Humans, might feel a sense of Déjà vu since both entities deal with similar conceits and themes.  It’s a consistent issue since the story rarely covers any new ground with thread having been done before making everything fairly predictable from start to finish.  There are a handful of intriguing ideas such as job specific androids being used in all aspects across everyday life and their effect on the human workforce, but it never engages with that in any meaningful way.  The domestic angle with Alice and her new family plays out exactly how you'd expect with some of it delving into some old school Cinemax territory.  Megan Fox is tasked with carrying large portions of the film something she does ably in a role perfectly suited for her.  Fox is clearly in her wheelhouse and she channels her Jennifer's Body character less the demonic possession.  This is the sort of role she could have easily coasted through on her looks, but she adds enough wrinkles to her performance to make the whole thing entertaining.  She's clearly having a great time and seems to have issue embracing some of the sillier elements of the story.  Unfortunately, everyone else plays it straight with dead serious performances which would work better if the story and characters weren't so painfully clichéd.  Subservience would have been better served if it'd followed M3GAN's lead and leaned into its campiness since it's not bringing anything fresh to the genre.  

C

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...