MOVIE REVIEW: BABYGIRL

 

A high-powered CEO puts her career and family on the line when she begins a torrid affair with a much younger intern.

Director: Halina Reijn

Cast: Nicole Kidman, Harris Dickinson, Sophie Wilde, Antonio Banderas

Release Date: December 25, 2024

Genre: Crime, Drama, Mystery, Thriller

Rated R for strong sexual content, nudity and language.

Runtime: 1h 54m

Review:

Babygirl plays like a gender-swapped version of 2002's Secretary and when it works it pulsates off the screen, but it struggles to maintain that energy despite a stellar turn from Nicole Kidman.  Writer/Director Halina Reijn has plenty on her mind as she presents a series of tantalizing themes over the course of her film.  Sexual desire, normalcy, power dynamics and age all bounce around the edges of the screen as we follow the torrid affair with her intern played by Harris Dickinson.  Kidman's performance is a study in layers as she gives the audiences glimpses of strength, intelligence, repression and shame that are all bottled up in her character.  She's consistently the most interesting performer onscreen as she crafts this fully formed character that feels like a living breathing person along with all her complications.  Her performance carries the film but the central relationship between her and the intern is a bit choppier due to a variety of reasons.  Harris Dickinson and Kidman just don't share the kind of electric chemistry together that would make their affair believable.  His character is terribly underwritten with the audience never being presented because he's so attractive to Romy.  We're told at various points that he is intelligent but never shown anything outside of the most generic sort of blackmail.  He's never portrayed with the sort of charisma or tact that he would be able to engage and enchant in the way we're led to believe on screen.  It doesn't help that he looks like any random, faceless guy you'd see on a subway or train and never give a second thought about.  The film's kinkier moments really play more like softcore Cinemax than anything else albeit with Kidman going for broke with each scene.  Antonio Banderas has a small supporting role as Kidman's husband, and he's given an impressive scene in the final act that reminds you how powerful of a performer he can be.  The film would have been well served had it given him a bit more screentime and fleshed out his character more but like most of the themes that Reijn throws onscreen such as an undercurrent about the monotony and automation of our everyday lives are never explored in any sort of meaningful way.  There's plenty left unexplored throughout which is shame because Reijn does deliver a series of energetic moments topped by a sequence in a dance club that just reverberates off the screen.  These sorts of moments highlight surges of energy in Babygirl which highlight how much more effective the film would have been if it had something substantial to say about itself.  

B-

MOVIE REVIEW: NOSFERATU

 

In the 1830s, estate agent Thomas Hutter travels to Transylvania for a fateful meeting with Count Orlok, a prospective client. In his absence, Hutter's new bride, Ellen, is left under the care of their friends, Friedrich and Anna Harding. Plagued by horrific visions and an increasing sense of dread, Ellen soon encounters an evil force that's far beyond her control.

Director: Robert Eggers

Cast: Bill Skarsgård, Nicholas Hoult, Lily-Rose Depp, Aaron Taylor-Johnson, Emma Corrin, Ralph Ineson, Simon McBurney, Willem Dafoe

Release Date: December 25, 2024

Genre: Fantasy, Horror, Mystery

Rated R for bloody violent content, graphic nudity and some sexual content.

Runtime: 2h 12m

Review:

Robert Eggers' remake of 1922's Nosferatu doesn't add much to the general story but it's a visual marvel of the macabre that delivers a wonderfully opulent series of gothic imaginary that's sure to leave an impression.  Eggers's talents are perfectly suited for the subject matter and every shot reflects his deep affect and love of the material.  He manages to create an impressive sense of dread and foreboding even though the story doesn't offer up much in the way of surprises.  He and his cinematographer, Jarin Blaschke, meticulously frame shots with an incredible level of care which results in a steady stream of memorable shots with the blue toned monochromatic night shots being particularly effective.  The film moves at Eggers' usual pace but a series of well-placed shocks pepper the film with those moments injecting the screen with chaotic energy.  Lily-Rose Depp delivers stellar work in some of these moments with a physical performance that's filled with wild fits of manic gyrations that echo moments from The Exorcist more than anything else.  She maintains a detached, almost trance-like stare during the film's quieter portions with exasperated moments of lucidity allowing her to display a full range of emotions.  Depp's turn is fascinating from start to finish but it’s one of those aspects that you'd wish Eggers had expanded on since there's plenty of fertile ground to explore outside of the repressed sexuality of the original.  The supporting cast is made up on a solid group of performers but similarly the script doesn't ask a lot of them outside of looking terrified, like Hoult, while he's being cuckold or borderline crazed like Willem Dafoe which is about par for the course for him.  Aaron Taylor-Johnson looks the part but some of his lines come off as unintentionally comical partly due to his handle bar mustache.  Emma Corrin is wasted for the most part as she's given very little to do outside of stand around and ask how Depp's Ella is doing and reassure her she's not a burden.  Bill Skarsgård is tasked with portraying Count Orlok which he does with a heavy Eastern European accent in between wheezes.  His portrayal paired with the creature's makeup makes for a far more decrepit depiction of the monster with any sense of suave sexuality from other integrations stripped away to something more primal.  The character's full features are slowly revealed throughout before being shown in its full glory in the final act as we get the full scope of his massive, rotting corpse.  In the end, Nosferatu may prove to be one of Robert Eggers more accessible film for those looking for high end frights and fitting tribute to one of the original horror films.  

A-

MOVIE REVIEW: A COMPLETE UNKNOWN

 

In the early 1960s, 19-year-old Bob Dylan arrives in New York with his guitar and revolutionary talent, destined to change the course of American music. Forming his most intimate relationships during his rise to fame, he grows restless with the folk movement, making a controversial choice that reverberates worldwide.

Director: James Mangold

Cast: Timothée Chalamet, Edward Norton, Elle Fanning, Monica Barbaro, Boyd Holbrook, Dan Fogler, Norbert Leo Butz, Scoot McNairy

Release Date: December 25, 2024

Genre: Biography, Drama, Music

Rated R for language.

Runtime: 2h 20m

Review:

A Complete Unknown serves as a time capsule that focuses on four formative years of Bob Dylan's career in the 60s that places you firmly in the moment although it never gives you any insight into his headspace.  James Mangold's second foray into musical biopics finds the director in his wheelhouse as he recreates the look and feel of the early 60's folk music scene that Dylan walks into.  He directs the performances with ease allowing the performers and music to take center stage while avoiding some of the more obvious pitfalls and tropes that Walk The Line fell into.  There aren't nearly as many contrived moments were moments immediately lead into the creation of signature songs although there is still of relationship melodrama which just seems baked into these kind of stories.  As a result, the film has a more naturalistic and organic feel to it as we follow Dylan's rise from obscurity to mega stardom.  Interlaced into his personal journey are newsclips woven into the background about the major political and cultural events occurring during these nascent years of his career.  We assume these moments lead to the creation of some of Dylan's most famous songs but the film never overtly connects the two.  This is partly due to the fact that we are kept at arms length from Dylan's internal motivations as the audience is given very few glimpses into his psyche outside of being a mysterious, ambitious iconoclast.  There's painfully little insight provided throughout the film's runtime perhaps by design as we get little more than he's a genius but self centered jerk.  The supporting characters don't fare much better as we're given only the most basic information about everyone we meet.  Its a testament to the cast that they're performances are as engaging and effective as they are given the script's shortcomings. Timothée Chalamet leads the film by dissolving into Bob Dylan's mannerism and vocal inflections to deliver a truly impressive bit of cinematic mimicry.  Where his performance truly shines is during the musical portions of the film as Chalamet sings and plays Dylan's songs rarely missing a bit along the way.  Its an impressive fully formed performance that goes the extra step above the usual imitation game although you wish the script had given him a bit more meat to work with.  Edward Norton's Pete Seeger proves to be more fleshed out as the folk stalwart that is desperately hoping to fight back the electrical musical revolution.  It's a measured and thoughtful turn that humanizes the character by giving him varying levels of depth.  Elle Fanning and Monica Barbaro deliver strong performances as parts of the central love triangle although neither is given much depth on their own and an on stage moment between Dylan and Baez that feels lifted from Mangold's own Walk The Line comes off as overkill. Boyd Holbrook is solid in spots as Johnny Cash while we are left wishing Scoot McNairy had been given a bit more to do as Woody Guthrie.  A Complete Unknown lives up to its name as it gives the audience just enough about the people we are watching while never letting us truly understand them in any meaningful way.  

B+

MOVIE REVIEW: MUFASA: THE LION KING

 

Lost and alone, orphaned cub Mufasa meets a sympathetic lion named Taka, the heir to a royal bloodline. The chance meeting sets in motion an expansive journey of an extraordinary group of misfits searching for their destinies.

Director: Barry Jenkins

Cast: Aaron Pierre, Kelvin Harrison Jr., Tiffany Boone, Mads Mikkelsen, Thandiwe Newton, Lennie James, Anika Noni Rose, Blue Ivy Carter, John Kani, Seth Rogen, Billy Eichner, Donald Glover, Beyoncé Knowles-Carter

Release Date: December 20, 2024

Genre: Animation, Adventure, Drama, Family, Fantasy, Musical

Rated PG for action/violence, peril and some thematic elements.

Runtime: 1h 58m

Review:

Mufasa: The Lion King manages to improve on the 2019 remake on multiple levels, but its uneven pacing and overlong runtime keep it from being truly special.  Academy Award winning director Barry Jenkins delivers a visually impressive film across the board with the technical aspects of the photo realistic imaginary providing a venerable feast for the eyes.  Action set pieces are well constructed and do a strong job of putting the audience in the middle of the chaotic action to great effect.  Through all the technical wizardry Jenkins uses his talent to give his characters a real sense of emotion and depth something that was missing in the hollow 2019 remake.  Aaron Pierre and Kelvin Harrison Jr. deliver strong work as the pair of accidental brothers at the center of the story by giving each character a real sense of brotherly connection throughout.  Pierre's deep tenor fits well as the younger version of James Earl Jones Mufasa to reflect his innate nobility and courage paired with youthful naiveite.  Kelvin Harrison Jr. turn as the future Scar, Taka, is measured with an air of undeserved entitlement and cowardness but very little conniving until the later portion of the film as the story reveals the cause of their fractured relationship.  The story stumbles a bit with that reveal since there's plenty of room to play with the concepts of entitlement vs earning your position but instead it falls back on a simple conflict over unrequited love which is underwhelming.  Mads Mikkelsen's provides the voice of Kiros who serves as the menacing villain pursuing the group.  Mikkelsen clearly relishes the villainous role with impressive glee that's highlighted by the song Bye Bye a rather chipper song about murdering another group of lions.  Lin Manuel-Miranda's song are catchy as usual and work well for the most part with Kelvin Harrison Jr. final song, Brother Betrayed, proving to be a highlight.  Unfortunately, there are handful of stumbles along the way with the most egregious being the framing device ramming in unnecessary silly sequences from Seth Rogen's Pumbaa and Billy Eichner's Timon which breaks up the film's flow on multiple occasions.  Those moments could have been excised entirely and it would have made the overlong film a more effective and emotionally impactful experience.  As is, Mufasa: The Lion King brings enough to the table to make it a worthwhile exercise just not quite a special one.  

B-

MOVIE REVIEW: CONCLAVE

 

Cardinal Lawrence is tasked with one of the world's most secretive and ancient events -- participating in the selection of a new pope. Surrounded by powerful religious leaders in the halls of the Vatican, he soon uncovers a trail of deep secrets that could shake the very foundation of the Roman Catholic Church.

Director: Edward Berger

Cast: Ralph Fiennes, Stanley Tucci, John Lithgow, Sergio Castellitto, Isabella Rossellini

Release Date: October 25, 2024

Genre: Drama, Thriller

Rated PG for thematic material and smoking.

Runtime: 2hrs 

Review:

Conclave is a fascinating blend of striking visuals paired with the pulpy, political machinations in selecting a new pope led by a wonderfully layered turn from Ralph Fiennes.  Edward Berger's film is wonderfully shot, taking full advantage of Catholic Church's ornate iconography to great effect serving as a stark contrast to the power struggles on display.  It sets up the overall themes at play throughout as we follow the contrasting ideologues battle for the papal crown.  It creates a vaguely claustrophobic feel to the proceeds that puts the collection of characters in small rooms or narrow hallways more often than not which ramps up the tension.  Ralph Fiennes leads the whole thing with a multilayered incredibly subtle turn that puts his immense talent on display.  Fiennes' conveys his character rotating sense of duty, self doubt and faith with incredible ease as he tries to lead the Conclave.  It’s one of his best performances simply due to the fact that he does so much with small nuanced moves, looks or inflections to exemplify his character’s inner turmoil and drive.  His supporting cast is made up equally impressive albeit more showy turns from a collection of veteran performers such as Stanley Tucci, Lucian Msamati, John Lithgow, and Sergio Castellitto. These characters are written more broadly and representative of their contrasting ideologies with each actor turning in strong work in their limited screentime.  Isabella Rossellini has a small but important supporting role which is pivotal to the story as a series of revelations unfurl with each refocusing the spotlight on a different player.  Once the dominos start to fall it leads Conclave to a finale that leaves an open question about the concepts of belief and faith. 

 

A-

MOVIE REVIEW: NIGHTBITCH

 

An artist who pauses her career to be a stay-at-home mum seeks a new chapter in her life and encounters just that, when her nightly routine takes a surreal turn and her maternal instincts begin to manifest in canine form.

Director: Marielle Heller

Cast: Amy Adams, Scoot McNairy, Arleigh Snowden, Emmett Snowden, Mary Holland, Ella Thomas, Archana Rajan, Jessica Harper

Release Date: December 6, 2024

Genre: Comedy, Horror

Rated R for language and some sexuality

Runtime: 1h 38m

Review:

Marielle Heller's Nightbitch is perfectly set up to offer up a boundary pushing dissection of modern motherhood, but it never fully delivers on its promise despite a fully committed turn from Amy Adams.  Heller's film plays its fairly straightforward with a handful of moments internal monologues sprinkled throughout that feel like they should lead up to something revelatory by the time the film ends.  The thing is that moment never really comes as the script toys with a handful of ideas that have been done before in better films like 2018's underappreciated Tully.  It’s strange that the film spends nearly its entire runtime with Adams' character but there's no real depth to her just the pervasive sense of desperation.  Amy Adams does everything she can to make the film work as she indulges every bit of insanity thrown at her.  It’s an incredibly unglamourous role fully realized via a physical transformation to really hammer home the loss of identity at the center of the film.  Adams maintains a glazed, detachment for nearly the entirety of the film which slowly simmers over to rage in spots.  There are darkly funny moments which she manages with impressive ease before shifting back to more solitary moments.  Scoot McNairy does what he can with an underwritten role as the husband who is clueless to his wife's distress.   There's plenty of fertile ground to be tilled in their relationship but the script never delves into anything deeper than the most obvious tropes.  The more gonzo ideas of transformation and generational pain never really coagulate to deliver the sort of impact intended.  It doesn't help that for all the pain and resentment the wife suffers through in Nightbitch the script decides to tie everything up with a tidy bow that ties everything up far too neatly making it all feel sort of hollow. 

B-