MOVIE REVIEW: SAINT MAUD

 

Maud is a reclusive young nurse whose impressionable demeanour causes her to pursue a pious path of Christian devotion after an obscure trauma. Now charged with the hospice care of Amanda, a retired dancer ravaged by cancer, Maud's fervent faith quickly inspires an obsessive conviction that she must save her ward's soul from eternal damnation, whatever the cost.

Director: Rose Glass

Cast: Morfydd Clark, Jennifer Ehle, Lily Knight, Lily Frazer, Turlough Convery

Rated R for disturbing and violent content, sexual content and language

Release Date: January 29, 2021

Genres: Drama, Horror, Mystery

Runtime: 1h 24 min

Review:

Saint Maud is one of the most impressive debut films from a horror director since Ari Aster’s Hereditary.  Writer director Rose Glass delivers a self assured, prestige horror film which echoes classic like Possession, Rosemary’s Baby and Don't Look Now.  There’s a sense of uneasiness and dread from the opening frame of the film.  It’s a slow burn of a film but you can sense something off kilter from the start.  There’s something unsettling and pervasive while never being over the top, it’s definitely a film that uses mood over gore.  Welsh actress Morfydd Clark carries the majority of the film and does so with impressive subtly and bite.  Clark’s performance is the driving force of the film as we follow her religious/psychotic journey down the rabbit hole.  Jennifer Ehle is the primary supporting player with Clark and the pair shares an interesting type of chemistry that pays off in the long with horrific results.  Once the film kicks into its final act, Glass lets the sparks fly with impressive creativity and maximum impact.  Saint Maud is the type of horror film the burrows into you mind leaving a lasting impact long after it’s over.

A

MOVIE REVIEW: THE LITTLE THINGS

Deputy Sheriff Joe "Deke" Deacon joins forces with Sgt. Jim Baxter to search for a serial killer who's terrorizing Los Angeles. As they track the culprit, Baxter is unaware that the investigation is dredging up echoes of Deke's past, uncovering disturbing secrets that could threaten more than his case.

Director: John Lee Hancock

Cast: Denzel Washington, Rami Malek, Jared Leto, Chris Bauer, Natalie Morales, Terry Kinney

Release Date: January 29, 2021

Genre: Crime, Drama, Thriller

Rated R for violent/disturbing images, language and full nudity

Runtime: 2 h 7 min

Review:

There’s plenty that will feel familiar about The Little Things, it’s a film that feels stuck in the past on multiple levels.  John Lee Hancock’s film is methodically paced and well filmed but all of it feels perfunctory and familiar.  The character’s all have specific quirks or demon’s they are dealing with but the story never gives us anything new or revelatory about these tortured men.  Instead its stellar cast is stuck making the best of this script which feels like it’s from another era, mainly because it is.  This script has been languishing in development since the 90’s and so much about it feels like it would have been fresh back then but now some of these tropes have been done multiple times over.  It’d be easy to get some Seven vibes here and there but its never as polished or refined as that film.  Denzel Washington leads the film ably and honestly he can play this type of character in his sleep so it’s not a challenging role for him.  That being said, he’s able make his character interesting enough to keep the proceedings engaging enough to keep you moving forward.   Rami Malek feels miscast as the young rising detective, something about Malek’s talents and this type of role just don’t mesh in a believable fashion.  Jared Leto’s performance here lacks any sort of subtly which takes you out of the film once he gets the spotlight.  The third act can be described as problematic without giving anything away.  The Little Things is saved from being a complete mess by top tier talent but even then it’s decidedly middle of the road.

C

Cindy Prascik's Review of The Little Things

My dear reader(s), this weekend the streaming services offered up a gift to the the homebound and weary: The Little Things, starring Academy Award (tm) winner Denzel Washington, Academy Award (tm) winner Rami Malek, and Academy Award (tm) winner Jared Leto. 

Spoiler level here will be...uh...mild, I guess. If you saw a trailer, there's not likely anything here you didn't see or guess from there. 

Two cops risk everything in the hunt down a serial killer. 

So, you got that the Little Things stars some ACADEMY AWARD (tm) winners, right?? All that hardware is the film's chief selling point, and, for my money, anything that has Denzel Washington's name at the top of the list is worth a look. I don't think the Little Things strains Denzel's exceptional skillset, but, as usual, he carries the picture with ease. I've fallen out of love with Rami Malek since his Oscar win, so if he's any better than serviceable here, it's lost on me. Jared Leto is laughably bad in a poorly-crafted role. I actively despised every minute he was onscreen, and I'm not normally a Leto-hater. I even liked his Joker. (Don't @ me.)

Outside of its acting heavyweights, the Little Things is a creepy but predictable procedural. The cops rough up persons of interest and deliver tone-deaf dialogue as reliably as if it were an old Starsky & Hutch episode. Everybody makes bad choices. You get a bad choice! You get a bad choice! And YOU get a bad choice! Where those choices lead may surprise you...or not...depending on how much of this sort of thing you watch. The Little Things looks, sounds, and feels suitably bleak, with muted colors and a grim score by Thomas Newman. Outside of Leto, it's a pretty well-crafted work that suffers only for feeling like it should be more, somehow. Maybe not worth subscribing to HBO Max, but if you're already a subscriber, definitely worth a look. 

The Little Things runs 127 minutes and is rated R for "violent/disturbing images, language, and full nudity." The Little Things is a passable yarn that features some nice work by Denzel Washington. In Covid times, we can't ask for much more...apparently. Of a possible nine Weasleys, the Little Things gets six and a half. 

The Little Things is now streaming on HBO Max. 

Until next time...

Cindy Prascik's Review of One Night in Miami

 

My dear reader(s): Last weekend I caught up with One Night in Miami, a fictionalized account of a gathering of luminaries: Malcolm X, Cassius Clay, Sam Cooke, and Jim Brown. 

I've been pushing my notes on this around for a week, and I think this may wind up more discussion than review, so expect some spoilers. Maybe. 

Since normally this *would* be a review, I will say, first, if you're on the fence about seeing One Night in Miami, please climb down and watch. The movie features stellar performances, important conversations, and a pretty polished bit of directing from Regina King, in her feature directorial debut. 

One Night in Miami feels like a pretty big deal, especially as we get accustomed to "cinema worthy" efforts hitting our TVs the same time as they hit big screens. That's largely due to Oscar winner King's star power, but, if I take an objective half-step back, I realize it's also because — if the names Kingsley Ben-Adir, Aldis Hodge, and Leslie Odom, Jr. aren't quite Hollywood A-List — they're definitely Cindy A-List. Kingsley Ben-Adir, in particular, is a favorite in my household, and seeing his name heading the cast of a film of this caliber made me pretty happy. Top to bottom, the cast turns in exceptional work with a talky script that asks a lot of them. 

For a picture without a beginning-middle-end type story, One Night in Miami is well paced and never seems to drag. Hair, costumes, and makeup are authentic to the time and characters, and overall the film looks good. Given the subject matter and time frame, I expected a contentious movie; however, like the Boys in the Band, surprisingly more conflict came from within than without. Also like the Boys in the Band, I found the characters' language and general treatment of one another jarring, and sometimes wondered why they called themselves friends at all, they were often so disdainful of one another. Arguments between Malcolm X and Sam Cooke, in particular, mirror those I continue to hear all these years later: If we're all working towards the same end, who has the right to tell someone else how best to achieve that end? It's a hard conversation with no firm answer, which makes it all the more exhausting. The fact that One Night in Miami is a worthwhile watch doesn't make it an easy one. 

One Night in Miami clocks in at 114 minutes and is rated R for "language throughout." 

One Night in Miami is an exceptional bit of filmmaking that sets the 2021 movie bar pretty high indeed. 

Of a possible nine Weasleys, One Night in Miami gets seven. 

Until next time...

MOVIE REVIEW: ONE NIGHT IN MIAMI

 

On the night of Feb. 25, 1964, in Miami, Cassius Clay joins Jim Brown, Sam Cooke and Malcom X, and they discuss the responsibility of being successful black men during the civil rights movement.

Director: Regina King

Cast: Kingsley Ben-Adir, Eli Goree, Aldis Hodge, Leslie Odom Jr., Lance Reddick, Joaquina Kalukango, Nicolette Robinson, Beau Bridges

Release Date: December 25, 2020

Genre: Drama

Rated R for language throughout

Runtime: 1 h 54 min

Review:

Regina King’s directorial debut is a confident refined film that tackles some big racial issues.  King displays a keen eye for setting helped greatly by the fact that this script is adapted from a stage play confined to one location.  The dramatized relationships and dialogue humanizes these legendary figures.  The script shines by displaying layered and nuanced people rather than demigods.  Kingsley Ben-Adir leads the foursome of the actors at the center of this film.  His performance as Malcom X is an impressive turn which is sure to lead to awards chatter.  He’s the beating of heart of the story but that doesn’t mean any of the supporting players are outshined.  Eli Goree delivers an equally impressive turn as Cassius Clay where he’s able to capture his spirit and sound to an uncanny degree.  Leslie Odom Jr.’s Sam Cooke is a bit more challenging but it fit perfectly into his wheelhouse.  Odom Jr’s captures his vocals while still bringing a strong sense of heart to his performance.  Aldis Hodge has the least showy part but he turns in a wonderful performance as Jim Brown.  Hodge must have put in an exceptional amount of research because he captures the tenor of his voice perfectly along with his movements.  The actor’s definitely make the film work since very little actually happens with the dialogue driving the narrative while discussing important issues that have modern day relevance.  There’s a sense of hope and melancholy engrained through every frame of the story that makes every word have more impact and resonance with the film leaving a lasting impression.   

A

MOVIE REVIEW: THE MARKSMAN

 

Jim is a former Marine who lives a solitary life as a rancher along the Arizona-Mexican border. But his peaceful existence soon comes crashing down when he tries to protect a boy on the run from members of a vicious cartel.

Director: Robert Lorenz

Cast: Liam Neeson, Jacob Perez, Katheryn Winnick, Juan Pablo Raba, Teresa Ruiz

Release Date: January 15, 2021

Genre: Action, Thriller 

Rated PG-13 for violence, some bloody images and brief strong language

Runtime: 1 h 48 min

Review:

There's an overwhelming sense of mediocrity at the center of The Marksman, Liam Neeson's latest action flick.  Robert Lorenz knows how to shoot scenic vistas and Neeson makes a for surprisingly  effective Client Eastwood proxy in this straightforward film.  Neeson, for his part, is earnest and believable even as his southern drawl comes and goes throughout the film.  The film's main problem is it's plot and script which is filled with plot holes and cardboard cut out characters.  As such there's zero emotional weight or heft to the primary relationship between Neeson's character and Jacob Perez's Miguel.  Sadly,Jacob Perez isn't a talented enough child actor to add anything to his character, making him slightly more grating as the film moves along.  The villain's in the piece are equally one note with random character moments that point to a more nuanced script which the film never explores.  As such the film plays out in an almost perfunctory manner with things happening simply because they have to.  The Markman is a slower paced action vehicle for Neeson's late stage action period and if he had a better script he might have delivered a more memorable entry into his lengthy resume. 

C