Reviews by PvtCaboose91

All reviews - Movies (1630) - TV Shows (38) - DVDs (2)

Recaptures the magic of its predecessor

Posted : 1 year, 4 months ago on 10 January 2024 03:51 (A review of Deadpool 2)

Despite Fox's longstanding reluctance to produce a Deadpool movie, 2016's Deadpool was a massive hit for the studio, becoming an unmitigated box office success and establishing the iconic titular character as a pop culture force to be reckoned with. It was also something of an experiment, as viewers had no idea what to expect since the source material was not exactly mainstream before the film's release. A weight of expectations surrounds 2018's Deadpool 2, with film-goers now familiar with the exploits of Deadpool and wanting another round of entertaining, blood-soaked mayhem with a side serving of quips, meta humour and breaking the fourth wall. Although the brief two-year turnaround implies a rush job of a sequel, Reynolds's love and reverence for the property ensures that Deadpool 2 is another winner, with returning screenwriters Rhett Reese and Paul Wernick (Zombieland) recapturing what worked about the original movie. Deadpool 2 is a bigger, more expensive movie than its lightning-in-a-bottle predecessor, but it retains the same mischievous spirit and proclivity for ultraviolence and bawdy humour.

Two years after the events of Deadpool, Wade Wilson/Deadpool (Reynolds) is busy making his living as an international mercenary-for-hire and is now ready to have a baby with his girlfriend, Vanessa (Morena Baccarin). However, on their anniversary, Vanessa is killed by one of Wade's targets that he failed to kill. Deeply depressed, Wade wallows in self-hate and tries to commit suicide, but his regenerative abilities keep him alive, and he is forcefully taken to the X-Mansion by Colossus (Stefan Kapicic), who summarily recruits him into the X-Men. Starting his X-Men training, Wade accompanies Colossus and Negasonic Teenage Warhead (Brianna Hildebrand) to a standoff with an unstable young mutant, Russell (Julian Dennison), who was abused in a mutant rehabilitation home and wants revenge on the Headmaster (Eddie Marsan). The situation is complicated by the arrival of Cable (Josh Brolin), a cybernetic soldier from the future who lost his family and wants to kill Russell to save their lives. Determined to finally be a hero, Wade seeks to protect Russell and prevent him from becoming a homicidal monster.

Deadpool 2 almost immediately establishes itself as another humorous, meta-infused action-comedy instead of another generic comic-book film. Wade is as witty and foul-mouthed as ever, firing off an endless sequence of cheeky, fourth-wall-breaking one-liners, and the feature even kicks off with a ridiculously cheesy James Bond-style title sequence, complete with an original song by Celine Dion that sets the right mood. One-liners, jokes, bantering, and pop culture references are frequent, with the DC Universe and Green Lantern getting name-checks and 2017's Logan also receiving recognition. However, just as the original Deadpool is fundamentally a romantic comedy that tells a compelling story, Deadpool 2 is a family film with poignant moments and a thoughtful narrative. Cable is motivated by his desire to save his family, and Wade wants to start a family with Vanessa but forms a close familial bond with his mutant comrades. Assembling the X-Force (which was intended to lead into the now-cancelled spinoff) takes up a bulk of the picture's second half, with Wade working alongside the likes of Domino (Zazie Beetz) and Cable, but Reese and Wernick organically weave the team-building into the fabric of the narrative - the angle does not feel like studio-mandated meddling, and Wade is still the protagonist.

With Deadpool director Tim Miller departing this second instalment over creative differences, John Wick co-director David Leitch (Atomic Blonde) steps into the fold with sensational results. Leitch maintains the first film's devilishly enjoyable cheekiness while taking full advantage of the R-rating, staging playfully violent action scenes with tongue firmly planted in cheek. Like its predecessor, Deadpool 2 comes alive during the key set pieces, such as a goofy montage depicting Wade brutally slaughtering his way through countless targets in different countries, set to Dolly Parton's 9 to 5. Deadpool 2 is longer than its predecessor, with a runtime of a hair under two hours, but Leitch does a fine job working through the ample story material while maintaining an agreeably brisk pace, which is also a testament to the three credited editors. Additionally, Leitch displays fantastic comedic timing, never lingering on gags for too long. The soundtrack adds further personality to Deadpool 2, continuing in the tradition of the original film by including various left-field song choices for comedic effect, such as All Out of Love, In Your Eyes and Take on Me. Cable and Wade's discussion of dubstep also leads to the amusing use of the Skrillex song Bangarang. Less successful is Tyler Bates's score, which is admittedly generic and does not make much of an impact.

Luckily, Leitch here reteams with John Wick cinematographer Jonathan Sela, a talented visual craftsman. Whereas the original flick has a noticeably digital appearance, Deadpool 2 looks more tactile and cinematic thanks to Sela's superlative compositions and sophisticated lighting, including neon lighting that gives darker scenes a more pronounced visual personality. With a larger budget, Deadpool 2 is larger in scope compared to its predecessor, with sizeable set pieces of impressive scale, including an extended vehicular chase through city streets that results in abundant destruction. Leitch does not let the picture out of his control and never gives into mindless digital excess, as the set pieces remain thoroughly exciting and involving. Despite a comparatively short production period, Deadpool 2 is virtually flawless from a visual effects standpoint, with more refined CGI. Colossus looks noticeably more tangible, though some of Domino's digitally enhanced exploits are less convincing.

Reynolds is Deadpool, and it is genuinely impossible to imagine any other actor taking on the now-iconic Merc with a Mouth, a role the performer coveted for years. Luckily, he ably reprises the character without missing a beat, scoring endless laughs with his uproarious wisecracks. The performance goes deeper than just dialogue, though, as Reynolds's body language and goofy movements while inside the suit are also hysterical, turning simple staging into superb physical comedy. Many actors were rumoured to play Cable, including Stephen Lang, Michael Shannon and David Harbour, but Brolin eventually won. Cable is Brolin's second Marvel role as the actor also stars as the digitally-created, motion-capture Thanos, including in 2018's Avengers: Infinity War, which was released merely a few weeks before Deadpool 2. (Of course, Wade references the character.) Cable is a live-action role, and Brolin is in fine form here – he has the right gritty look for the character, which perfectly combines with his grizzled demeanour. Also making a great impression is newcomer Julian Dennison (Hunt for the Wilderpeople), who shows terrific comedic timing and handles the character's darker moments with confidence. Meanwhile, Zazie Beetz is a hugely appealing Domino, and Karan Soni makes a welcome return as taxi driver and Deadpool admirer, Dopinder. Another returning cast member is Brianna Hildebrand, who still makes for a terrific Negasonic Teenage Warhead and here has a love interest in the form of Shiori Kutsuna as Yukio. It is refreshing to see casual LGBTQ+ representation that does not feel contrived or "woke," nor is it framed to titillate the males in the audience.

Deadpool 2's obligatory mid-credits sequence finds Reynolds and Leitch at perhaps their most unrestrained and indulgent, as Wade time-travels around to fix blunders and save characters...in addition to meddling with 2009's X-Men Origins: Wolverine and Reynolds's decision to star in Green Lantern. Although reviving dead characters undercuts the story's thematic relevance, the sequence is so fearless and hilarious that it is hard to hold anything against it. Deadpool 2 is a top-notch sequel, delivering the spectacle viewers desire from superhero cinema while finding a strong and evocative emotional core. Deadpool 2 was later re-edited into a PG-13 version with new scenes featuring Wade reading the story to Fred Savage, who reprises his role from The Princess Bride. However, this reviewer has neither the time nor the inclination to watch a watered-down PG-13 iteration.

8.2/10

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An intelligent, acerbic satire

Posted : 1 year, 5 months ago on 3 January 2024 06:23 (A review of Ace in the Hole)

An enduring classic from director Billy Wilder (The Apartment, Some Like It Hot), 1951's Ace in the Hole sparkles with irresistible wit from the very first scene and never lets up. An intelligent, acerbic satire that looks scarily prophetic and increasingly relevant in the 21st Century, Ace in the Hole ruthlessly skewers journalistic ethics and media sensationalism while exploring mankind's innate fascination with the lurid. These heady, controversial themes ended Wilder's winning streak with Paramount Pictures, foundering at the box office upon its release and drawing the ire of journalists and critics of the period. It took several decades before it received critical reappraisal, after which it deservedly developed into an iconic film with an esteemed reputation. Time has not only been kind to Ace in the Hole - it has actually elevated Wilder's film. With its boldly uncompromising portrayal of human nature at its ugliest and worst, Ace in the Hole is one of the most important and essential American movies of the 1950s.

Self-centred newspaper report Chuck Tatum (Kirk Douglas) has been fired by eleven major newspapers for reasons ranging from libel lawsuits to drinking alcohol and having an affair with a publisher's wife. Broke and unemployed, Chuck winds up in Albuquerque, where he bullies his way into a job at the tiny Albuquerque Sun-Bulletin newspaper run by Mr. Boot (Porter Hall). It's not a job that Chuck actually wants - he merely plans to find a big story, make it a national sensation, and use it to get a position at another big-city newspaper. While on an assignment to cover a rattlesnake hunt, Chuck and the newspaper's young photographer, Herbie (Robert Arthur), stumble upon another story: a local man named Leo (Richard Benedict) is trapped in a cave. The situation is somewhat unremarkable, however, and the engineering team can have him out within a day, but Chuck wants to extend the dilemma for maximum media coverage, conspiring with the Sheriff (Ray Teal) to hatch an alternative rescue operation that will last several days. Chuck's exaggerated news coverage triggers a frenzy of interest, with thousands of onlookers swarming the area, providing a boom for the local businesses. One such business is operated by Leo's wife, Lorraine (Jan Sterling), who is desperate to leave Leo but stays in town to reap the financial rewards of the media circus.

Ace in the Hole is loosely based on real events: in 1925, Floyd Collins was trapped in a Kentucky cave. An intense flurry of interest ensued, and newspaper reporter William Burke Miller received a Pulitzer Prize for covering the event, during which he participated in rescue efforts and had direct contact with Collins. Unfortunately, Collins did not survive the ordeal. Chuck knowingly references the Collins story after learning about Leo while talking to Herbie, further underscoring his conscious lack of morality in his hunger for a sensationalised human interest story. Mr. Boot's fundamental philosophy at the Albuquerque Sun-Bulletin is "Tell The Truth," putting him at odds with Chuck's desire to sell millions of papers by reporting a manipulated version of the truth, especially when he starts writing daily stories about Leo. Many critics in the 1950s found it preposterous that Chuck could use shady tactics to essentially call the shots on the rescue operation while keeping the story to himself, but it's important to approach Ace in the Hole as a satire, and the execution is sufficiently believable considering Chuck's unmatched gift of the gab.

Through a combination of sharp dialogue and note-perfect performances, Ace in the Hole does not feel like homework, nor is it the type of classic film you can only admire rather than love or enjoy. It's unfailingly engaging throughout, which is also a testament to the superb technical presentation that feels more dynamic than the stilted or static movies of this era. Most note-worthy is Charles Lang's cinematography, which is distinctly noir-esque. The compositions are consistently captivating, and Lang's use of lighting and shadows make the sets feel like authentic locations, rather than internal soundstages. This is particularly beneficial for the underground sequences; the cave where Leo is trapped looks incredibly convincing. It also helps that the main external set was constructed in an outdoor location, and it looks incredibly elaborate - it was actually the largest non-combat set ever built at the time. Admittedly, the rear projection techniques throughout Ace in the Hole do look dated in the 21st Century, particularly in vehicles or, in one case, inside the press tent near the cave. However, the illusion is convincing enough, and the minor technical shortcomings do nothing to tarnish Wilder's spellbinding vision.

As the sneaky, fast-talking, manipulative Chuck Tatum, Kirk Douglas delivers a first-rate performance and superbly handles all of the character's intricacies. His spiel towards Mr. Boot at the beginning of the movie makes you believe he can talk himself into gaining a job on the spot, and Douglas does not shy away from the darker aspects of the role, including a growing alcohol dependency or a shocking moment of Chuck slapping Lorraine. There's scarcely a dud performance in sight, with Richard Benedict also making a fantastic impression as Leo. Benedict comes across as naive and somewhat pathetic while talking to Chuck, as he believes that everyone actually cares about him and he trusts the newspaperman implicitly.

Wilder is renowned for being an astute social critic, using his films to critique American culture and shine a light on unsavoury parts of society. With Ace in the Hole (the title of which Paramount secretly changed to The Big Carnival without Wilder's permission), Wilder and co-writers Walter Newman and Lesser Samuels use a real-life story to explore the shamelessness and sordidness associated with major human interest stories, and the flagrant lack of humanity exercised by journalists to gain (or manipulate) big scoops for career advancement. Wilder also eschews a happy ending, with the film closing on a powerfully tragic and depressing note that remains true to the director's vision. Ace in the Hole is one of Wilder's defining masterpieces, which is a huge call considering his iconic body of work.

10/10

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An old-fashioned, well-made superhero movie

Posted : 1 year, 5 months ago on 27 December 2023 10:41 (A review of Blue Beetle)

Sandwiched between the big-budget blockbusters of The Flash and Aquaman and the Lost Kingdom, 2023's Blue Beetle represents an unusual and unexpected diversion for the last act of the now-defunct DC Extended Universe. With the superhero genre slowly fading due to viewer fatigue as a result of oversaturation and lazy productions, Blue Beetle was always going to be a tough sell at the box office. Without any big-name stars, established DC characters in supporting roles, or notable universe connections or events, it's essentially a standalone superhero movie that happens to take place in the DCEU. Indeed, Blue Beetle feels more like a pared-down, more straightforward Phase One Marvel movie than a continuation of the DCEU originally established by Zack Snyder, but that's not necessarily a bad thing. Directed by Ángel Manuel Soto (Charm City Kings), Blue Beetle is surprisingly entertaining and compelling, surpassing most recent offerings from both Marvel and DC. It's not particularly ambitious, and it does not try to reinvent or subvert the overcrowded genre - it's just a well-made, old-fashioned superhero movie that gets it right where it counts the most.

After graduating from Gotham Law University, Jaime Reyes (Xolo Maridueña) returns home and reunites with his family in Palmera City. However, eviction looms for the family and job opportunities are scarce, adding to their financial anxieties. In desperation, Jaime takes a job working at a resort with his sister, Milagro (Belissa Escobedo), where they encounter the ruthless Victoria Kord (Susan Sarandon), CEO of Kord Industries. However, Jaime loses his job when he intervenes in a heated confrontation between Victoria and her niece, Jenny (Bruna Marquezine), who takes pity on the optimistic college graduate and invites him to explore job opportunities at Kord Tower. However, during the subsequent meeting, Jenny entrusts Jaime with a stolen alien artifact known as the Scarab, the power of which Victoria intends to harness to create soldiers. When Jaime opens the box containing the Scarab, it fuses to his body, giving him an armoured exoskeleton and superhuman abilities. However, Victoria is unwilling to let Jaime keep the Scarab or its powers.

Written by Gareth Dunnet-Alcocer (Miss Bala), Blue Beetle's narrative resembles 2008's Iron Man in some respects, though the initial pairing of Jaime and the Scarab, and the testing of his powers, is reminiscent of Spider-Man. However, the cultural change of scenery is welcome here, with Jaime's Mexican heritage and family giving the production a distinctive flavour. The story has genuine heart to boot, with themes of familial unity and loyalty, and the emotional beats are surprisingly effective instead of perfunctory. However, at over two hours long, Blue Beetle outstays its welcome, as the flick is not sharp or energetic enough to sustain momentum or interest. The script thankfully does not go heavy on political commentary, but lines like "Batman's a fascist" are unnecessary and threaten to ruin the experience, while the script does suggest that Jaime's family are disadvantaged and generally frowned upon due to their Mexican heritage. This angle is surprisingly underdeveloped, however, and the themes feel like an obligatory afterthought that might stir up controversy but will not satisfy anybody.

Blue Beetle's tone is lighter compared to other DCEU projects, with a brighter colour palette that is nothing like the visually dim Snyderverse. In keeping with the traditional superhero formula, humour livens the proceedings, and the jokes actually land more often than not. Some of the material is childish, but the "bug fart" moment during the climax made this viewer smirk from ear to ear. With about half the budget of a regular superhero movie, Blue Beetle is not an excessively digital-looking, CGI-laden blockbuster extravaganza. The scope is smaller and there is no numbing CGI excess, which makes it even more refreshing in 2023. There are set pieces, but the astonishingly convincing digital effects enhance rather than overwhelm, with practical sets, location filming and actual costumes (Jaime's armour is not purely digital) adding an appreciable tangibility to the overall aesthetic. Soto admirably acquits himself with the action sequences, which are mostly reserved for the final third but are enormously entertaining and exciting. The battles are more grounded than regular big-budget blockbusters, immediately making Blue Beetle more engaging than other, more indulgent genre offerings.

The characters inhabiting Blue Beetle are mostly likeable, played by a perfectly competent selection of actors who seem invested in the material and give it their all. This is Cobra Kai star Maridueña's first leading role in a major movie (hell, it's his first major movie, period), and he absolutely nails it. He's a charming and genuine screen presence able to handle the character's various intricacies and emotions, and it's easy to see why he landed this role. Alongside him, Jaime's family are endearing and actually emerge as distinctive people instead of cardboard cutouts. The standout is Jaime's uncle, Rudy (George Lopez), who's resourceful and amusing in equal measure. Also worth mentioning is the intimidating Raoul Max Trujillo as Victoria's bodyguard, Carapax, who's a legitimate threat and receives more character depth than anticipated. Less interesting is Victoria, who's as generic and one-dimensional as they come. Sarandon is a fine actor, but this is not the role for her, as the screenplay only asks for a broad, bone-headed caricature that she fails to do anything interesting with.

As with most mainstream superhero movies, Blue Beetle relies on contrivance, convenience and ludicrously precise timing to smoothly navigate from A to B. For example, Jaime arrives at Kord Towers just as Jenny is stealing the Scarab, the security surrounding the much-sought-after Scarab is incredibly flimsy, Rudy's technical know-how proves useful for disabling security systems, and so on. None of this is overly detrimental as we are dealing with a mainstream Hollywood blockbuster, but it's noticeable all the same. Despite its missteps, Blue Beetle is far better and more worthwhile than anticipated, delivering satisfying spectacle with a smidgen of emotion. If more DCEU movies were like this, a hard reboot would not have been necessary.

6.7/10

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Grimy, nasty festive grindhouse flick

Posted : 1 year, 5 months ago on 26 December 2023 05:12 (A review of Christmas Bloody Christmas)

Santa slasher movies set at Christmastime are nothing new, as we've seen serial killers dressed as jolly old Saint Nicolas in cult flicks like Silent Night, Deadly Night (plus its sequels) and Christmas Evil, among many others. 2022's Christmas Bloody Christmas is the latest feature from wunderkind director Joe Begos (VFW, Bliss), and it essentially amounts to another Santa slasher movie...but with an unstoppable killer robot instead of a disgruntled psychopath who hates the festive season. In this sense, it's more like The Terminator than Silent Night, Deadly Night. Excessively violent and relentlessly paced when the shit fits the fan, Christmas Bloody Christmas is a grimy, nasty festive grindhouse flick, and an immediate holiday cult classic.

It's Christmas Eve, and record store owner Tori (Riley Dandy) is preparing to close her shop for the night with the assistance of her employee, Robbie (Sam Delich). Tori is only interested in binge drinking and partying to avoid thinking about the holiday, and Robbie convinces her to ditch her Tinder date to spend time with him at a bar. Their liquor-fuelled flirtations result in an evening of drunken passion, but the fun does not last. At a nearby toy store, a robotic Santa Claus (Abraham Benrubi) malfunctions and transforms into a violent killing machine, going on a rampage and brutally murdering everyone in its path. Tori and Robbie witness Santa's attack on a neighbouring house and attempt to flee, leading to an intense fight for survival on Christmas Night.

Those familiar with Begos's previous films will know what to expect here, as his cinematic aesthetic remains unchanged: grainy 16mm cinematography, gory practical effects, neon lighting, an 80s-inspired visual style, and a moody synth score. The movie earns its R rating, too, and it's even verging on NC-17 territory - there are plenty of creatively gory and vicious kill scenes throughout, and the camera does not shy away from the violent details. Begos appears to actively avoid digital effects, with the seemingly paltry budget allocated to creative practical effects and makeup. For good measure, the writer-director even throws in some nudity and sex scenes, making Christmas Bloody Christmas feel like an authentic '80s cult movie instead of a poor contemporary imitator. The only problem from an aesthetic standpoint is that it's occasionally difficult to discern what is happening due to the dim lighting and confusing framing, but these moments are thankfully scarce enough not to cause a major problem.

Before the robotic Santa begins his killing spree, Christmas Bloody Christmas lets us spend time with the characters, with Riley and Robbie receiving the most attention and development. The first half-hour or so amounts to characters discussing pop culture and sharing their opinions, reminiscent of something you would expect to see from Quentin Tarantino but not quite as absorbing. These scenes are hit and miss, and your mileage may vary depending on how your opinions compare to the characters (one amusing barb about Blumhouse's atrocious Black Christmas remake made this reviewer smirk), but it's never painfully dull - it's just a touch mundane. However, when the rampage begins, it rarely stops - the movie transforms into a relentless chase movie.

Whereas most slashers meander from one victim to the next, there's more momentum to Christmas Bloody Christmas, which primarily stays with the character of Tori throughout the entire movie as the events happen around her. Consequently, there's more momentum and tension, mainly since Begos is a legitimately good filmmaker who doesn't simply rely on the gore to see him through. Indeed, there is far more editorial and directorial skill throughout Christmas Bloody Christmas than all the other Santa slashers combined. The second hour, in particular, is relentlessly thrilling and fast-paced, but Begos also knows when to call it quits; the 87-minute running time feels perfect, and the movie doesn't outstay its welcome. The performance by Riley Dandy as Tori also deserves a mention; she truly throws herself into the character with spectacular results, handling the role's different emotions and moods with confidence.

Christmas Bloody Christmas is not as great as VFW, but it is better than every other Christmas slasher movie I have seen, and it's a cut above the usual low standard for Hollywood's festive output. It's a wild, enjoyably gory ride that delivers precisely what it advertises on the tin.

7.9/10

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A captivating Australian Christmas movie

Posted : 1 year, 5 months ago on 24 December 2023 11:58 (A review of Christmess)

Unlike cheery, upbeat mainstream Christmas movies from major studios and streaming services, 2023's Christmess is a more solemn and dramatic festive movie about addiction, depression and loss. Australian Christmas movies are suddenly an annual occurrence thanks to streaming services, but Christmess stands out from the pack because it's not just a quality festive flick but also a genuinely good movie that resonates and lingers. Written and directed by Heath Davis, this is the first Australian Christmas movie with the potential to appeal to international audiences due to its universal themes and its focus on human drama. With an affecting story grounded in realism, along with an exceptional cast, Christmess is absorbing viewing no matter the time of year.

Once-famous actor Chris Flint (Steve Le Marquand) suffers a sharp fall from grace due to his alcohol addiction, falling out of favour with virtually everybody in his life. After leaving rehab, Chris gains a sponsor in Nick (Darren Gilshenan), and he relocates to a halfway house in Sydney's western suburbs, where he also lives with a musician, Joy (Hannah Joy). Chris hopes to get his life back on track, avoiding alcohol and gaining a job as a shopping centre Santa Claus. Through his work, he encounters his estranged daughter, Noelle (Nicole Pastor), who wants nothing to do with him after his previous misgivings. With support from Nick and Joy, Chris hopes to win Noelle back over, organising a special lunch for Christmas Day and extending an invitation to her. But Chris still struggles to suppress his demons, which threaten to undo his hard work and his progress.

The Christmas setting is fundamentally window dressing, as Christmess is not necessarily about Christmas or intrinsically linked to the festive season - instead, this is primarily a character study and a drama. Davis lets the narrative unfold at a measured but captivating pace, facilitating smaller moments of contemplation and conversation, and allowing the characters to grow and develop properly. Davis works through ample dramatic material without devolving into boredom, a testament to the calibre of the movie's writing, directing, editing and acting. Christmess does not skimp on the laughs, as there are hilarious moments scattered throughout, but the humour is character-based, emerging organically from the conversations between the characters. The laughs ensure that Christmess is not too gloomy or one-note, but they also don't cheapen the material. It's a tricky balancing act, but Davis miraculously negotiates the tonal changes with the confidence of a seasoned professional.

Shot in authentic Western Sydney locations, Christmess is thick with atmosphere, encapsulating the general feeling that surrounds the Christmas season in Australian suburbia. Although a low-budget movie, it looks astonishingly expensive thanks in large part to the achingly gorgeous cinematography courtesy of Chris Bland and the low-key, affecting score by Matt Sladen. Western Sydney is not exactly eye-catching, but Bland's compositions are incredibly striking, making Christmess feel cinematic through and through. The technical execution is immaculate, with the limited budget never becoming apparent or detrimental.

The actors are a huge asset, perfectly bringing the material and these characters to life while alternating between drama and comedy. Rather than casting for star power or eye candy, the performers here were clearly selected for what they bring to their respective roles. Steve Le Marquand is the standout, ably embodying the washed-up actor and always coming across as incredibly authentic. Also worth mentioning is Hannah Joy, a musician who makes her feature film debut here. On top of skillfully handling the dramatic material, she shows off her musical talent as well, performing several original songs that provide a refreshing change from the usual Christmas tunes we usually hear in these types of movies. Rounding out the central trio is a highly endearing and believable Darren Gilshenan, who is perhaps best known for playing Terry Moody in A Moody Christmas.

Do not expect a happy ending from Christmess, with Davis more interested in life's harsh realities than wrapping everything up with crowd-pleasing sentimentality. This is not to impugn sentimental Christmas movies as a whole, as they are perfectly satisfying when executed correctly, but Davis does right by this story with its downbeat conclusion. As a result, Christmess is not easy to forget. There are not many Australian Christmas movies as of 2023, but Christmess is one of the best, standing alongside Da Kath & Kim Code and the superb miniseries A Moody Christmas.

7.7/10

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An unexpectedly wonderful Christmas gem

Posted : 1 year, 5 months ago on 24 December 2023 08:25 (A review of This Is Christmas)

A festive movie offering from the United Kingdom, 2022's This Is Christmas is a pleasantly surprising gem that is destined to become a cherished holiday favourite in the same league as Nativity! and Love Actually. Despite the poster, title and premise suggesting another disposable Hallmark-like production, the resultant movie is a charming delight from start to finish, benefitting from a winning ensemble cast and a touching message. There are amusing moments, but This Is Christmas does not live and die by its comedy - it's not a frenzied, fast-paced slapstick affair that lurches from comedic set piece to comedic set piece. Rather, the pacing is measured and thoughtful, with strong and considered storytelling, and the movie is first and foremost about the story and its characters. Without a doubt, This Is Christmas is one of the best Christmas movies of the last ten years.

Idealistic advertising executive Adam (Alfred Enoch) undertakes a daily commute on a train from Langton to London for work, and always encounters the same group of passengers with whom he never converses. With Christmas approaching, an unexpected show of support from his fellow commuters towards Dean (Jack Donoghue) during a confrontation with the conductor (Steve Oram) inspires Adam to plan a Christmas party for the Langton to London cohort. Although the idea is immediately met with scepticism, Adam finds a kindred spirit in a chef, Emma (Kaya Scodelario), who volunteers to help plan and organise the party. As the date draws closer, the event motivates the passengers to begin talking and bonding with one another, learning more about these strangers they see on a daily basis.

Scripted by Alastair Galbraith (a long-time television actor), the message at the core of This Is Christmas is simple but worthwhile, underscoring the importance of getting to know people and not passing judgment on strangers. Everybody has their own lives and problems, and some people's personal circumstances might be less than ideal. It also posits that talking to strangers in your lives - such as your neighbours or fellow commuters - might lead to something great. Although This Is Christmas has its flights of rom-com fancy, the victories throughout the story are earned instead of contrived, making the clichés virtually invisible and preventing the narrative from feeling generic. Additionally, the characterisations and relationships that develop throughout the story are engaging, and it's easy to grow to care about this group of people. Most heartwarming is Dean's friendship with Ray (Timothy Spall), an older man with an intriguing past who is poised to spend another Christmas alone.

The immaculate execution separates This Is Christmas from similar productions - it looks thoroughly cinematic despite its meagre budget, with gorgeously slick and colourful visuals, while the story is grounded in reality. Director Chris Foggin (Fisherman's Friends) takes the material seriously, while cinematographer David Mackie likewise brings his A-game to the production. Even though production took place during warmer months, This Is Christmas effortlessly captures the feeling and atmosphere of the festive season; the sense of time and place is authentic, and it never looks like the action is occurring on cheap sets or backlots. The tender original score by Christian Henson (Triangle, Black Death) enhances the picture's emotion and sense of whimsicalness, and it does not lather on the Yuletide-flavoured music, which is refreshing for a Christmas movie. Naturally, a collection of Christmas songs pepper the soundtrack, and the selection is surprisingly thoughtful - it does not feel like the filmmakers chose obvious festive songs for their popularity. The construction of This Is Christmas is anything but slapdash, and it's a shame that the movie did not receive the major theatrical release that it richly deserves.

The casting is flawless across the board, with the endearing Enoch and Scodelario an ideal screen pair who share superb chemistry. More seasoned actors like Spall, Ben Miller and Rebecca Root contribute further gravitas to the production, elevating the material. This Is Christmas is not garishly sentimental or cheesy, nor does it feel like a cheap or nasty Christmas movie that was hurriedly thrown together to take advantage of the festive season. There is a genuine, thoughtful story here with ample relevance and emotional resonance, and it successfully depicts a variety of people during the holiday season of different backgrounds and ethnicities. Christmas is a vast and crowded cinematic arena, but This Is Christmas is worth your attention.

7.9/10

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A spirited, slick Santa Claus action-comedy

Posted : 1 year, 5 months ago on 19 December 2023 01:19 (A review of Violent Night)

Another "alternative" Hollywood Christmas movie in a sea of festive romantic comedies from Hallmark and various streaming services, 2022's Violent Night situates an embittered, alcoholic Santa Claus (David Harbour) in a Die Hard scenario with satisfying, crowd-pleasing results. Although the one-joke premise is decidedly B-grade and suggests a cheap, trashy, straight-to-video distraction, Violent Night is a spirited and slickly-executed action-comedy that delivers ample violence and laughs without any unwelcome pretensions. Directed by Norwegian filmmaker Tommy Wirkola (Dead Snow, Hansel & Gretel: Witch Hunters), the film does not take itself too seriously, as the director adopts a devilishly enjoyable tongue-in-cheek approach while exploring the premise's ludicrous potential. For viewers who wanted 2020's Fatman to be more action-packed, Violent Night is the Santa action movie you seek.

On Christmas Eve, Jason Lightstone (Alex Hassell) takes his estranged wife, Linda (Alexis Louder), and their daughter, Trudy (Leah Brady), to visit his extended family for the holidays. The celebration is at a luxurious mansion owned by Gertrude (Beverly D'Angelo), a powerful corporate titan and the family's matriarch who holds her wealth over everybody. The dreary gathering is interrupted by the arrival of Mr. Scrooge (John Leguizamo), whose crew of armed mercenaries kill the staff and seize control of the lavish estate, taking the family hostage as they work to unlock Gertrude's secret vault to steal the vast fortune stored inside. Their only hope for rescue is Santa Claus, who drunkenly visits to deliver gifts but is stranded when gunfire scares away his reindeer. With no other choice, Santa begins killing his way through Mr. Scrooge's crew one by one, fighting for his survival and the survival of the dysfunctional Lightstone family.

With a screenplay by Pat Casey and Josh Miller (Sonic the Hedgehog), Violent Night lovingly homages several Yuletide classics: plot points are reminiscent of Die Hard and Die Hard 2, the family dynamics are similar to The Ref, there are multiple references to Home Alone (including a terrific Home Alone-inspired set piece), Beverly D'Angelo's presence pays tribute to National Lampoon's Christmas Vacation, and the opening scene of Santa drinking in a bar invokes Bad Santa. With no originality to the story, it all comes down to the execution, and Violent Night is a sure-fire winner in this respect. Frequently fast-paced and brutal, the picture lives up to its title by lathering on the violence during the entertaining action set pieces, and it's pitched at precisely the right tone. After all, this is a movie about the real, magical Santa Claus fighting a group of terrorists - and the flick gleefully embraces the inherent ridiculousness of the premise.

With Wirkola at the helm, Violent Night has ample personality, which allows the movie to shine and feel like more than a lifeless Hollywood holiday offering. Wirkola brings his distinct European tendencies to the flick, particularly in terms of tone, and he even uses recognisable Christmas tunes during the action sequences. Dark humour permeates the action beats, with moments spotlighting Santa taking a leak off the side of his sleigh in mid-flight, and chastising the baffled terrorists as he rattles off their childhood Christmas wishes. Santa also uses his Christmas magic in creative ways, including going through his sack to find any toy he can use as a weapon. (Die Hard on Blu-ray is one gift that emerges from the magical bag.) Although the digital effects are a little rocky at times, Violent Night otherwise looks splendid, with colourful, vivid cinematography by Wirkola regular Matthew Weston that smoothly captures the carnage.

Clocking in at nearly two hours, Violent Night has room for the characters and story to breathe. The Lightstone family receive sufficient development, allowing the ensemble to feel like more than one-dimensional hostages, while several of the cannon fodder henchmen (with their amusing Christmas-themed callsigns) actually possess distinct personalities. It's a pleasure to see D'Angelo in anything, and she makes for a wonderful Gertrude, scoring many laughs with her acerbic wit. Cam Gigandet is another standout, clearly having a ball as a cheesy, over-the-top, self-serious action star named Morgan Steel, who has an inflated opinion of himself and his work. It's possibly the actor's best role. But the star of the show is Harbour, who's note-perfect as Santa. Violent Night presents a unique interpretation of the jolly old fat man, revealing his backstory as a brutal warrior who killed many people on ancient battlefields and who revives his barbaric tendencies in the action sequences here. Harbour receives confident support from Leah Brady as Trudy, who still believes in Santa and everything that Christmas represents. Essentially the Al Powell to Santa's John McClane, the two interact over two-way radios throughout the night, and the chemistry between the pair thoroughly sparkles. Also of note is Leguizamo, who was actually in Die Hard 2 in the early stages of his career, and who plays a fine, scenery-chewing villain.

In the tradition of Die Hard and Lethal Weapon, Violent Night works as a Christmas movie and an action flick, and it is enjoyable at any time of year. Although it's not exactly deep or meaningful, the film's ending is surprisingly touching, reinforcing the importance of believing in Santa to keep the magic of Christmas alive. Those who prefer sentimental and romantic Christmas movies should stay clear of Violent Night, but it's recommended viewing for those seeking a fun and funny festive offering with a unique take on the legendary Father Christmas.

7.8/10

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Stiller's most accomplished directorial work

Posted : 1 year, 6 months ago on 3 December 2023 06:55 (A review of The Secret Life of Walter Mitty)

"Life is about courage and going into the unknown."

Before Ben Stiller signed on to direct and star in 2013's The Secret Life of Walter Mitty, numerous esteemed filmmakers - including Gore Verbinski, Steven Spielberg and Ron Howard - were in talks to helm the picture. Stiller, therefore, is a peculiar candidate for the film considering his comedic background, but the director's attempt to expand his artistic horizons thankfully pays off. Loosely based on the short story by James Thurber (which was also adapted into a 1947 film starring Danny Kaye), The Secret Life of Walter Mitty is enchanting - a heartfelt, visually accomplished gem, and one of the most refreshing motion pictures of 2013. It feels like an authentic cinematic experience, offering gorgeous locations, a touching narrative, gentle humour, and some poignant underlying themes. I loved it.

The lonely and meek Walter Mitty (Stiller) is a negative assets manager for Life Magazine in New York City who's responsible for developing the images he receives from various photographers for use in the publication. His life is uneventful and adventure-free, but he's a chronic daydreamer, frequently slipping into elaborate fantasies to cope with his shortcomings, and he quietly crushes on his female co-worker, Cheryl (Kristen Wiig). With the magazine now led by a snobby executive, Ted (Adam Scott), Life is about to become an online-only publication, which means job cuts. As the team begins working on the magazine's final physical issue, Walter receives a roll of film from esteemed photojournalist Sean O'Connell (Sean Penn). Sean has an image in mind for Life's last issue that he believes captures the "quintessence of life," but the negative for the photograph is missing from the roll. Panicking, and with his job hanging in the balance, Walter seeks to track O'Connell down, setting off on a perilous multi-country odyssey to retrieve the image before the deadline.

Although The Secret Life of Walter Mitty is technically an adaptation of Thurber's short story and a remake of the 1947 film, this version is its own distinctive entity, with screenwriter Steve Conrad (The Pursuit of Happyness) plotting his own path to bring the tale into the 21st Century while retaining the same spirit. How amusing that one of the most refreshing and, frankly, original movies of 2013 is a loose adaptation of pre-existing material. Stiller's most notable directorial efforts tickle the funny bone (Tropic Thunder, Zoolander), but he dabbled in drama with Reality Bites in 1994, and The Secret Life of Walter Mitty is more of an adventure and a drama than a comedy. Conrad's screenplay concerns itself with weighty themes, as this is a touching meditation on not taking risks and letting fear hold you back in life. Nevertheless, humour is not absent from the picture, as some interactions are amusing - just see Walter's fantasies when he insults Ted, or a scene in Greenland of Walter talking to an alcoholic helicopter pilot (Ólafur Darri Ólafsson).

The sedate tone makes The Secret Life of Walter Mitty so enthralling: it feels like a proper film instead of a cheap Hollywood comedy, which is a testament to the talented creative team behind the picture. Stuart Dryburgh's cinematography is breathtaking, ensuring the movie always looks striking and expensive. Dryburgh marvellously captures the picturesque land and water locations, superbly showing off the natural beauty of countries like Greenland and Iceland. Gorgeously shot on 35mm film, The Secret Life of Walter Mitty looks gloriously cinematic, with a mature visual appearance adding genuine gravitas to the picture. With digital photography more prevalent than ever (especially in 2023), the decision to shoot on celluloid is enormously appreciable, resulting in a luscious filmic texture that digital cameras cannot satisfactorily imitate. Additionally, the special effects give vivid life to Walter's heroic fantasies and his actual exploits, including a tense shark encounter. One of the film's highlights involves Walter imagining himself battling Ted in the streets of midtown Manhattan with displays of superpowers - the set piece is as good as almost anything from big-budget superhero movies. Perfectly accompanying the accomplished visuals is the lovely soundtrack, a mix of gentle music composed by Theodore Shapiro, and a carefully curated selection of songs (including original songs). The remarkable music gives The Secret Life of Walter Mitty its most definitive touch. David Bowie's song Space Oddity also plays an essential role in the movie, signifying the moment when Walter's fantasies finally collide with reality.

Stiller tempers his over-the-top comedic instincts to play a restrained, grounded Walter, and it's hard to imagine any other performer taking on this role as effectively or as convincingly. It's tricky material that asks a lot of Stiller, but he is up to the task, generating crucial pathos and making the character relatable and sympathetic. He shares delightful chemistry with Wiig, who's quirky but credible as Walter's love interest, while Kathryn Hahn also makes a terrific impression as Walter's sister. The brilliant Shirley MacLaine provides further gravitas as Walter's mother; her performance is heartfelt and convincing despite her small role. Sean Penn, meanwhile, only shows up right at the very end, and his single scene with Stiller is worth the wait, leading to an extremely touching moment. The only downside from an acting standpoint is Adam Scott. Although Scott's performance might be what Stiller asked for, his role is too broad and cartoonish, giving the film an unnecessary and mean-spirited villain.

Not everything about The Secret Life of Walter Mitty gels, as the film seems a little bit too pleased with itself at times, and it never really soars to unimaginable heights, but these are minor foibles. It's a visually striking big-budget character piece that prioritises characters and themes over action or explosions, which is hugely refreshing in this cinematic landscape. Poignant and captivating, The Secret Life of Walter Mitty is Stiller's most accomplished directorial work to date, making it all the more disappointing that he followed it up with 2016's borderline unwatchable Zoolander 2.

7.9/10

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A side-splitting unintentional comedy

Posted : 1 year, 6 months ago on 19 November 2023 07:53 (A review of Big Shark)

Arriving twenty years after the infamously terrible The Room, 2023's Big Shark is Tommy Wiseau's second feature film as writer, director and lead actor, and it's clear that he learned absolutely nothing about the art of filmmaking in the interim. Overwhelmingly incompetent and thoroughly nonsensical, Big Shark can only be viewed as an unintentional comedy since it's impossible to take any scenes or moments seriously. Indeed, just like The Room, Big Shark is the type of bad movie that cannot be deliberately manufactured - it must happen organically, masterminded by a filmmaker who genuinely believes in their vision. The flick ostensibly takes place in some alternate universe populated by aliens who have taken alien form and are trying to mimic human behaviour. For those in the right mindset, Big Shark is absolutely hilarious and is best experienced in a crowded theatre with others who respond to this brand of cinematic diarrhea.

Patrick (Wiseau), Tim (Isaiah LaBorde) and Georgie (Mark Valeriano) live together in New Orleans and work as firefighters. Soon after being hailed as heroes for saving two children from a house fire, a 35-foot shark begins a rampage, roaming the streets through flood waters to eat everybody in sight. The city's only hope is Patrick, Tim and Georgie, who are determined to kill the gigantic shark. They also acquire a treasure map from a mysterious old bar patron that shows where the shark sleeps and might be able to help them in their mission.

Despite Wiseau receiving a writing credit, the existence of an actual screenplay for Big Shark is highly debatable because there is no coherence to the story, and there is scarcely any cause and effect. Hell, in one instance, two versions of the exact same scene (with similar dialogue and the same characters) occur within 10 minutes of each other. Events happen that are not acknowledged, and the movie often cuts away in the middle of certain scenes to something completely different. For example, the central trio arrive to fight a fire at one stage, but an awkward cut gives way to another scene with the men now at home bickering over hot water usage. What happened to the fire? No idea. Additionally, vehicles change between cuts, which is especially noticeable since the film is full of driving scenes. Even in the midst of the Big Shark's rampage, characters still visit bars to drink beer and play pool, and nobody seems too fazed by the ever-increasing body count.

The pacing is all over the place, momentum is wholly absent, and the narrative lacks a cohesive rhythm, not to mention that there's no semblance of a three-act structure in place here due to the film's disjointed nature. Although the picture does drag a lot, it's at least livened by side-splitting scenes like the characters running around trying to catch squealing pigs or having a game of beer pong in slow motion. Other moments, such as a random basketball game, have no logical place in the story and are haphazardly thrown in. Although the military is apparently on the way to take control of the situation and fight the shark, they are never seen, and their absence is not explained. Hell, everybody seems to forget the military is on the way, as everybody quickly forgets this subplot. Given that the first teaser trailer for Big Shark landed in 2019 and there is scarcely any concrete production information, it's clear that pieces of the movie were filmed over several years whenever Wiseau had the financing to shoot something.

The cinematography is mostly acceptable, and things are in focus, at least, but whatever money was available for the cameras and lenses did not extend to the rest of the production. The sound mixing is particularly awful - some lines of dialogue are piercingly loud, while other lines are barely audible or are muffled by things like characters hugging. There is no consistency to background noises, either; an early scene in an auditorium is a mess, with the sounds of applause and cheering abruptly changing from shot to shot. Furthermore, it should almost go without saying, but the digital effects are awful, and Wiseau clearly has no clue how to stage CGI-heavy sequences effectively. In one scene, Wiseau uses the same shot twice, and this shot features different VFX assets in each iteration with no explanation for this discrepancy. The shark animation is reused often, especially when it rampages through the streets to eat people, and the shark seems to flee from its prey whenever it has an opportunity to eat any of the leads. There is no consistency to the shark's behaviour, either, which saps the movie of tension. In other scenes, the streets fill with water, but the water promptly disappears in the next shot. Indeed, even though New Orleans floods whenever the shark goes on a rampage, the water recedes within the space of a cut with no explanation for what the fuck is happening. Big Shark clearly did not receive any quality control before sneaking into cinemas.

The dialogue is clearly improvisation, as the actors frequently appear unsure of what to say, and conversations lack direction. Like The Room, the characters say bizarre non-sequiturs and random things. There is no convincing acting anywhere within the production, as the performers look and sound thoroughly unenthusiastic. Wiseau, of course, is the only enthusiastic one in the ensemble, and he fully commits to the material. Anybody familiar with Wiseau's acting approach, as depicted in 2017's The Disaster Artist, will better understand the sheer craziness on display throughout Big Shark. Unfortunately, even though Wiseau's The Room co-star Greg Sestero starred in the teaser trailer, he is not in the finished movie.

By Wiseau's own admission, many of Big Shark's odd creative decisions are direct responses to criticisms directed at The Room. For example, The Room was filmed on obvious sets and against green screen, so Big Shark was shot on location in New Orleans. In addition, The Room features atrocious ADR, so Big Shark only uses production recordings, with minimal (if any) foley and dialogue of wildly varying volume. The Room is full of horrendous dialogue, so Big Shark's dialogue was largely improvised. The Room is directionless and lacks plot, so Big Shark has more stakes and is about firefighters battling a shark. The resulting experience is undeniably unique. For better or for worse, you will never see another movie quite like this.

The editing mistakes throughout Big Shark are too omnipresent and noticeable to be accidental, but one supposes that Wiseau can rationalise each error with some peculiar logic. Your enjoyment of Big Shark relies entirely on your tolerance for bad movies. If you found no enjoyment in The Room, it's best you stay far away from Big Shark. But if Wiseau's brand of hilariously terrible filmmaking tickles your funny bone, Big Shark is an essential watch, particularly with an audience of like-minded people. I can say with absolute confidence that I have never laughed as frequently or as hard in a cinema before Big Shark, which left me rolling on the floor in fits of laughter with tears streaming down my face. I have no defence for the film's enormous errors and shortcomings, but it did make me laugh harder than any comedy.

4.5/10

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One of 2023's most unexpected gems

Posted : 1 year, 7 months ago on 11 November 2023 07:00 (A review of BlackBerry)

In contrast to similar 2023 movies like Air and Tetris, director Matt Johnson's BlackBerry is not an upbeat underdog story with an uplifting ending about a successful company. Instead, BlackBerry is about the rise and fall of the once-popular smartphone, with the screenplay showing as much interest in the company's failures as its successes. Sharply scripted by Johnson and Matthew Miller, the movie was adapted from the novel Losing the Signal: The Untold Story Behind the Extraordinary Rise and Spectacular Fall of BlackBerry, and it's easily one of 2023's most unexpected gems. Brilliantly performed by a powerhouse ensemble cast and superbly executed by Johnson and his team, BlackBerry is a serious awards contender that deserves more attention.

In Canada in 1996, Research in Motion CEO Mike Lazaridis (Jay Baruchel) and co-founder Douglas Fregin (director Johnson) hatch an idea to create an integrated mobile phone which works like a computer. They pitch the idea to businessman Jim Balsillie (Glenn Howerton) who despises the pitch but believes the project has moneymaking potential, and buys into the company as Co-CEO to lead the group of gifted tech geeks who are clueless about the corporate world. Jim pushes the team to hurriedly build a prototype to show as a proof of concept, which leads to the birth of the "BlackBerry" phone. The phone rapidly takes off in popularity, but the company is not immune from the shady dealings of the corporate world, and the government soon begins to pursue them.

BlackBerry delves into several key periods in the company's history, with creative title cards to inform us of the year. After dealing with the company's beginnings leading up to the launch of its first mobile phone in the late 1990s, the script skips ahead to the 2000s when the cracks begin to show. Although the company manages to recover from the tech limitations of network providers in 2003, as well as an attempted hostile takeover, the 2007 launch of the iPhone immediately causes serious trouble, with the new smartphone quickly being perceived as the BlackBerry killer. By zeroing in on just three critical periods of time, rather than running through everything from the company's inception through to its collapse, BlackBerry does not feel like a fluffy Wikipedia biopic (see 2013's Jobs).

Armed with an R rating, BlackBerry is full of sharp, punchy, humorous dialogue, and the sense of authenticity is omnipresent as these characters walk and talk like real, fleshed-out people. A talky drama like this fundamentally lives and dies on the strength of the dialogue and cast, and BlackBerry is an easy home run in both of these departments. Howerton's powerhouse performance as Jim is the standout; he dominates every frame with his commanding, foul-mouthed portrayal of the unscrupulous businessman. This could also be Baruchel's most nuanced and adult performance to date, truly coming into his own as an actor after years of fluffy comedies. BlackBerry is primarily concerned with the clashes between the three poorly-matched central characters who are continually at odds with each other, and the movie undeniably soars thanks to the excellent casting. Outside of the leads, BlackBerry has further assets in veteran actors like Cary Elwes, Michael Ironside and Saul Rubinek who are sensational in their respective roles.

Despite being produced for a scant $5 million sum, BlackBerry never feels like a cheap television movie or even like a made-for-streaming affair. Instead, it feels cinematic and theatrical all the way through; the cinematography radiates immediacy and gravitas while the pulsing score drives the proceedings, ensuring that the picture is never boring or humdrum. Eclectic soundtrack choices provide the movie with more flavour, including songs from Joy Division, Moby and The Kinks. Furthermore, the era-specific recreations throughout BlackBerry are dead-on, with Research in Motion's original offices looking drab and dingy with a distinct appreciation for nerdiness as opposed to the flashy product of a Hollywood production designer. (Even when the company moves into a bigger office space, the walls remain adorned with film posters and the workers still engage in film nights.)

A story of genius and hubris, BlackBerry succeeds because it's all about great screenwriting, captivating acting and top-notch filmmaking in every respect. It's also a rare movie for adults that respects its audience. It's a bold move to produce something like this in 2023 for the theatrical market with multiplexes mostly full of expensive blockbusters, and the movie deserves to find a wider audience.

8.8/10

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