MOVIE REVIEW: SEPTEMBER 5

 

During the 1972 Munich Olympics, an American sports broadcasting crew finds itself thrust into covering the hostage crisis involving Israeli athletes.

Director: Tim Fehlbaum

Cast: Peter Sarsgaard, John Magaro, Ben Chaplin, Leonie Benesch, Zinedine Soualem

Release Date: December 13, 2024

Genre: Drama, History, Thriller

Rated R for language.

Runtime: 1h 35m

Review:

Tim Fehlbaum's September 5 is a tense retelling of the 1972 Munich massacre told with an "in the moment" immediacy that recounts the tragic events of that day and powered by an excellent ensemble cast.  Told almost exclusively from the ABC sport production point of view gives the audience a sense of the unexpected and unsettling nature of events as they unfold.  Events are condensed for maximum efficiency but it’s still a fairly accurate retelling that hits the main points of what occurred on that faithful day.  Fehlbaum creates an environment that leaves his cast of characters with a moral quandary the actual people had to deal with as events shifted over the course of the day.  There are more than a few bits of retroactive pontificating on how this moment could set journalism on a more sensationalized slant going forward which breaks up the sense of realism built up throughout.  Small moments like that do lean more towards didacticism, which feels unnecessary since we live in the reality of Sidney Lumet's classic film, Network, come to life.  His cast does manage to keep everything grounded performances that speak to humanity and the fallibility of people making decisions while traversing uncharted ground.  Peter Sarsgaard brings a decisive, unemotional pragmatism to his turn as ABC Sports president Roone Arledge who clearly grasp some of the larger scale implications of the situation.  John Magaro has a sort of nervous energy as the head of the control room, Geoffrey Mason, who is initially out of his depth before he slowly gains confidence despite any moral questions that continually arise.  Ben Chaplin brings a strong sense of journalistic integrity to Marvin Bader, the head of operation at ABC Sports, who consistently runs on a razors edge as he tries to counsel on the most prudent path to take.  Leonie Benesch's German translator, Leonie Benesch, a composite character of multiple real-life people who served in that capacity during the crisis serves as the film's tortured soul.  The ensemble works incredibly well together to reflect an authentic sense of fallible people with varying agendas flying by the seat of their pants in the face of an unprecedented situation.  Intersplicing bits of actual broadcast footage adds to the overall feeling of being in the room as these events occurred.  September 5 isn't interested in exploring the causes that led to this, but it excels as a singularly focused recreation. 

A

MOVIE REVIEW: ONE OF THEM DAYS

 

When her boyfriend takes her rent money, Alyssa and her roommate race against the clock to avoid eviction and keep their friendship intact.

Director: Lawrence Lamont

Cast: Keke Palmer, SZA, Vanessa Bell Calloway, Keyla Monterroso Mejia, Maude Apatow, Katt Williams, Joshua Neal, Aziza Scott, Patrick Cage

Release Date: January 17, 2025

Genre: Comedy

Rated R for language throughout, sexual material and brief drug use.

Runtime: 1h 37m

Review:

One of Them Days is a throwback to 90's comedies like Friday as we follow our central duo through a series madcap situation as they try to get their rent money before the end of the day.  Lawrence Lamont's film has a steady, breezy pace for the better part of its runtime that rarely lingers too long on any situation.  He gives the entire set up a fun, lived in feel with each location populated by a fun collection of characters.  Some are a bit more cartoonish than others but for the most part it works and gives them a varied collection of characters to play off.  The film wouldn't work nearly as well as it does if the central duo didn't share any sort of chemistry together.  Thankfully Keke Palmer and SZA make for a strong onscreen pairing with their excellent comedic timing and onscreen chemistry.  Palmer is the known commodity of the two and she's perfectly comfortable in her role from start to finish by bringing her natural, likable charisma to the role.  SZA is the real surprise with her naturalistic turn that gives their relationship an air of authenticity even during some of the film's wackier moments.  The pair work off each incredibly well and serve as the film's beating heart throughout as they manage to find some moments of real emotion between the pair.  There are a few clunky moments, particularly in the film's final act, but it doesn't keep One of Them Days from being a refreshing comedic surprise.  

B+

MOVIE REVIEW: WOLF MAN

 

Blake and his family are attacked by an unseen animal and, in a desperate escape, barricade themselves inside a farmhouse as the creature prowls the perimeter. As the night stretches on, however, Blake begins to behave strangely, transforming into something unrecognizable that soon jeopardizes his wife and daughter.

Director: Leigh Whannell

Cast: Christopher Abbott, Julia Garner, Matilda Firth, Sam Jaeger

Release Date: January 17, 2025

Genre: Horror

Rated R for bloody violent content, grisly images and some language.

Runtime: 1h 43m

Review:

Leigh Whannell's first go around reimaging one of the classic Universal Monsters was a pleasant surprise in the form of 2020's The Invisible Man.  Whannell's second attempt, Wolf Man, similarly tries to bring a different slant to the basic story but with far clunkier, underwhelming results.  Using elements of The Shining throughout he manages to deliver a handful of well-constructed scares as we follow Christopher Abbott's transformation in the titular Wolf Man while he and his family are being stalked by another beast.  There's a breakneck pace to the film that’s in such a hurry to get to the gory scares that it never bothers to give the central characters much time to get fleshed out which leaves us with the most generic married couple going through issues.  The audience is only given the slightest hint about what sort of martial issues Christopher Abbott's Blake and Julia Garner's Charlotte are going through before things quickly spiral out of control.  It doesn't help that the film is peppered with incredibly clunky dialogue that lacks any sort of subtly about the themes at play.  Additionally, this is the kind of horror film where people continue to make increasingly stupid decisions that don't make much sense.  An interesting werewolf POV, sort of like a Predator view, is played with but never really explored enough to make much of an impact.  Christopher Abbott and Julia Garner are both strong performers but they're noticeably flat for the most part since the film doesn't really ask for much outside of terrified reaction shots.  Abbott is given the short end of the stick as his character slowly disappears under layers of practical make-up, which looks gross but not very wolfy, that leaves him practically mute, leaving him to rely on his physical performance.  Julia Garner is left carrying the lion’s share of the action, delivering an admirable job that leaves you wishing she'd been given a meatier role.  Once it’s all said and done, Wolf Man, proves to be little more than a bit of disposable January horror that toys with some interesting concepts but doesn't fully explore or take advantage of them.  

C

MOVIE REVIEW: BETTER MAN

 

The true story of the meteoric rise, dramatic fall, and remarkable resurgence of British pop superstar Robbie Williams.

Director: Michael Gracey

Cast: Robbie Williams, Jonno Davies, Steve Pemberton, Kate Mulvany, Alison Steadman, Damon Herriman

Release Date: December 25, 2024

Genre: Biography, Fantasy, Musical

Rated R for drug use, pervasive language, sexual content, nudity and some violent content.

Runtime: 2h 15m

Review:

Better Man is a rare music biopic that shakes up the standard formula to deliver something much more emotionally authentic and impactful even though Robbie Williams' role is played by CGI simian.  Your familiarity with Williams' life and career isn't much of an issue as Michael Gracey delivers an engaging and fanciful musical trek through his life's highs and lows.  The choice to use a CGI monkey, a blunt metaphor to say the least, is initially jarring but it becomes surprisingly digestible as the film goes on.  It’s a fully realized creation thanks to a confluence of technical wizardry, excellent motion capture/voice work from Jonno Davies and Williams to create a living, breathing character.  They are capable of ringing out a full range of emotions throughout the film such as Williams’ persistent self-doubt and increasingly detached sense of self as his fame grows.  The unfiltered honesty that is offered up is truly impressive, reflective of the passion behind the project.  The film's large musical sequences as just as inventive and effective with each bringing a different emotion to the screen ranging from sheer jubilation to deep heartbreak.  A raging internal battle is visualized during the peak of Williams popularity highlighted by his performance at Knebworth which brutal sense of devastation laid bare onscreen.  It’s one of the bolder choices that shouldn't work as well as it does, serving as a testament to overall craftmanship on display.  There are a few issues with the supporting characters which are far more one-dimensional and underwritten, leaving his parents and Nicole Appleton feeling underserved by the script.  It’s one of the few missteps the film makes but that doesn't keep Better Man from being an impressive achievement in the genre.

A-

MOVIE REVIEW: DEN OF THIEVES 2: PANTERA

 

Lawman "Big Nick" O'Brien gets embroiled in the treacherous and unpredictable world of diamond thieves as he pursues career criminal Donnie Wilson to Europe.

Director: Christian Gudegast

Cast: Gerard Butler, O'Shea Jackson Jr., Evin Ahmad, Salvatore Esposito, Swen Temmel

Release Date: January 10, 2025

Genre: Action, Crime, Drama, Thriller

Rated R for pervasive language, some violence, drug use and sexual references.

Runtime: 2h 10m

Review:

Den of Thieves 2: Pantera refreshes the formula from the first film, which played like a poor man's Heat, to give the sequel a different, more international dynamic for the central caper with Gerard Butler and O'Shea Jackson Jr chemistry powering the film.  This entry plays things a bit more lighthearted than the overly macho original which allows the director and cast to have a bit more fun with the Ocean's 11 style heist that drives the central plot.  Christian Gudegast delivers a film that is more visually stylish taking advantage of the European back drop much in the way that he used Los Angeles' grimy backdrop to great effect in the original.  Gudegast still has pacing issues as he takes his time getting to the climatic action sequence.  That sequence, outlandish as it is, is well constructed as he creates an impressive air of tension on various occasions before things start to go sideways.  It ends the film on a strong note but getting there is peppered with several superfluous scenes that don't really add much to the film overall.  We are introduced to another set of characters that make up the central crew, but they are all underwritten across the board.  Gerard Butler carries the lion's share of load here with Big Nick's roughish energy coming through the screen along with the smell of booze and cigarettes.  The decision to have his character switch sides and work with O'Shea Jackson Jr.'s Donnie avoids some of the issues of retreading story points.  It also allows Jackson Jr. to flesh out his character a bit more which makes him more likable this go around.  It helps he and Butler have fun chemistry that makes their friendship feel authentic.  Sadly, nobody around them gets that kind of treatment from the script with Evin Ahmad intriguing ringleader, Jovanna, getting the short end of the stick.  There's a set up for a continuing franchise near the end which could be interesting if Gudegast could streamline his pacing and give us more than a couple of three-dimensional characters to flesh out the world.

B

MOVIE REVIEW: THE LAST SHOWGIRL

 

A seasoned showgirl must plan for her future when her show abruptly closes after a 30-year run.

Director: Gia Coppola

Cast: Pamela Anderson, Jamie Lee Curtis, Dave Bautista, Brenda Song, Kiernan Shipka, Billie Lourd, Jason Schwartzman

Release Date: January 8, 2025

Genre: Drama

Rated R for violence, some sexual content, graphic nudity and language.

Runtime: 1h 29m

Review:

Gia Coppola's The Last Showgirl stripped down tale of a fading showgirl is powered by a reflective, sorrowful turn from Pamela Anderson that propels the film's straightforward narrative.  Coppola style is naturalistic with moments that capture an almost dreamlike quality to the setting and subjects.  There are echoes of Darren Aronofsky's The Wrestler on multiple occasions although the script lacks that film's depth in terms of character development.  This works more as a pensive piece that takes advantage of Anderson's lived experiences.  Anderson's wispy voice vacillates between inspired by nostalgia and sadness as the present collapses on her.  She's given a handful of moments where she channels her own experiences to deliver some of the film's more powerful moments, particularly in the film's latter half.  It’s an impressive performance that gives the character a level of realistic humanity as she tries to keep up a brave face while she's slowly cracking underneath.  The supporting cast is solid even though they all suffer from being terribly underwritten which mostly wastes the talents of Brenda Song, Kiernan Shipka, Dave Bautista and Billie Lourd.  Jamie Lee Curtis though manages to make the most of her screentime as an over tanned, well past her prime cocktail waitress.  Anderson and Curtis make for a strong pair onscreen, but the film never takes full advantage of it to really flesh out their relationship.  It’s a similar situation with her much younger coworkers, played dutifully by Song and Shipka, as the film gives us only the most simplistic version of their relationships.  The Last Showgirl provides Anderson a perfect showcase to shine but once the credits roll you are left feeling there was a better film in there somewhere.

B