The Survivor (2022) Review

Title: The Survivor
Year: 2022
Director: Barry Levinson
Country: US
Language: English

Ever since I saw Ron Howard's Cinderella Man (2004) & Martin Scorsese's Raging Bull (1980) I found myself fascinated with the specific genre that is period piece boxing movies. The incredibly violent sport is rife for intense character studies about people who have gone through hell and back. 

The Survivor is about Harry Haft. He is a Holocaust survivor who was forced to use his boxing skills to fight fellow prisoners to the death. Haunted by his memories; he seeks to find love and redemption post WWII. 

Barry Levinson's The Survivor is a gritty psychological drama that deals with survivor's guilt and trauma. The story weaves throughout the past and present to tell the story of a man who is worn down by time. The cinematography and score compliment the thoughtful character study by providing a haunting atmosphere. 

Ben Foster's commitment to his character is startling. At 40yrs old the actor lost 52lbs to give himself a gaunty malnourished looks similar to photos one has seen from the Holocaust. His portrayal of Harry Taft is worthy of at least an Oscar Nomination. 

The pacing can be off near the middle of the film, resulting in some of this picture feeling a bit too slow, but ultimately The Survivor is a worthwhile watch if you're in the mood for an emotional tearjerker. 

Everything Everywhere All At Once (2022) Review

Title: Everything Everywhere All At Once
Year: 2022
Director: Kwan & Scheinert
Country: US
Language: English/Mandarin

Going head to head with Disney's Multiverse of Madness, A24's Everything Everywhere All At Once is doing incredibly well for itself in the box office, It shattered the studio's previous box office giant Uncut Gems and, in one weekend, doubled its budget in profit. It will definitely be an awards contender during the 2023 Oscars. 

In this, an aging Chinese immigrant (Michelle Yeoh) is swept up in an insane adventure, where she alone can save the world by exploring other universes connecting with the lives she could have led.

Kung Fu Hustle (2004) meets Jackie Chan, Everything Everywhere All At Once is an absurd yet touching film that plays around with genres in an imaginative mind-bending way. The cinematography is remarkable in the way it evokes an abundance of time periods, settings, and film references. For instance, in once Universe the atmosphere evokes a touch of Wong Kar Wai's In the Mood for Love. 

The special effects were helmed by a team of only 5 people! The editing, which is also impressive, was made on Premiere Pro. There are a lot of fight scenes in this film and the choreography excels in making each encounter look exciting. The fighting often looks like a throwback to Jackie Chan's early Hong Kong films. 

Everything Everywhere All At Once is not perfect however. The relentless quick pacing gives the story very little breathing room. Running at 139 minutes, the picture also feels about 20 minutes too long & big speeches near the end seem redundant as we already have a grasp on the film's themes and message by that point. 

Despite an abundance of multiverse material in mainstream pop culture, none use the concept in such an absurd thoughtful, heartfelt way. This film, and the studio A24, should be cherished for being so imaginative. 

Nightmare Alley (2021) Review

Title: Nightmare Alley
Year: 2021
Director: Guillermo Del Toro
Country: US
Language: English

 With a December release date, Searchlight Pictures positioned Nightmare Alley to be a late awards contender. Director Guillermo Del Toro won Best Picture and Best Director for Shape of Water (2017) and they were looking for similar success. Unfortunately, this decision pit Del Toro's latest against the cinematic giant No Way Home. This positioning guaranteed the film's fate of being overlooked among critics and public.

In this remake, a grifter (Bradley Cooper) working his way up from low-ranking carnival worker to lauded psychic medium matches wits with a psychiatrist (Cate Blanchette) bent on exposing him.

The production design of Nightmare Alley is simultaneously the best - and worst- part of the picture. Its elaborate sets dazzle the eye; looking both decadent and deranged. It really helps create an atmosphere of the macabre. At the same time, the sets don't really convey the time period of the film (1939) & don't express much about our characters. 

Nightmare Alley (2021) is a remake of a 1947 film-noir of the same name. Directed by Edmund Goulding, I feel the 47' version is better because Del Toro's picture reveals too much about the carnival, the geek & Stanton Carlisle. In addition, Goulding's picture is less bloated and is a smoother viewing at only 110minutes. Del Toro's film is 40 minutes longer; much of the extra content doesn't do anything to improve the story. 

I do, however, like Del Toro's ending over Goulding. In 1947 there was an extremely strict Hays' code in place that required a certain outcome. Del Toro was free from this restriction & ended the film exactly where I thought the previous should have. Does the improved ending mean this is a required viewing? No. Watch the 47' version instead. 

Love Affair (1939) Review

Title: Love Affair
Year: 1939
Director: Leo McCarey
Country: US
Language: English

When one ponders the great films of 1939 (Gone with the Wind, Wizard of Oz, Mr. Smith Goes to Washington) Leo McCary's Love Affair often is overlooked. It is one of the greastest romance films of the studio era that, much like Capra's It Happened One Nigh (1934), combines melodrama with screwball comedy. 

In this, a French playboy (Charles Boyer) and an American former nightclub singer (Irene Dunne) fall in love aboard a ship.

Many of Leo McCarey's films are unique because they present romance from the woman's point of view. In Love Affair Irene Dunne plays a character of great sophistication. She is not shamed for her feelings, but rather embraced for them. The strict Production Code at the time had a fit over a woman having such freedom. 

Wonderfully written, the dialogue in Love Affair flows smoothly and packs a punch when it needs to. RKO's musicial Roy Webb composes a remarkable score that plucks at your heartstrings. Cinematgrapher Rudolph Mate pulls off very memorable shots, particularly the shot where the two lovers first meet is in excellent display of camerawork. 

They don't make films like this anymore! Modern romance movies are often too obnoxious or contrived to really pack a punch. Love Affair (1939) is a sweet, simple picture that I will revisit many times in the future. 

Kids in the Hall (2022) Review

Title: Kids in the Hall
Year: 2022
Producer: Lorne Michael
Country: Canada 
Language: English

Kids in the Hall was a Canadian sketch comedy show that aired from 1989-1995 on CBC. Unfortunately for me, I was too young to enjoy its original run. Thankfully, due to YouTube, I've been able to enjoy their most beloved sketches. Their eight episode revival season recently aired and its been a treat for me to watch new content of theirs for the first time. 

Produced by Lorne Michaels, Kids in the Hall is a Canadian comedy troupe consisting of Dave Foley, Bruce McColluch, Mark McKinney, Kevin McDonald and Scott Thompson.

Reviving such a beloved Canadian staple HAS to come with a tremendous amount of trepidation. The original run is comedy legend, and the high expectations of a revival ought to have the cast clinching their buttchecks. Thankfully, for all Canadians alike, this new season of  Kids in the Hall delivers with bold and inspiring laughs. 

Much like Monty Python before it, Kids in the Hall is not afraid to delve into the absurd and outrageous to make a good sketch. We START at naked bank robbers, go to a glory hole celebration and end up with a Doo-Doo joke gatekeeper. It's so weird. Not every sketch hits its mark, but the majority are superb. 

Can Kids in the Hall go on forever? Such a satisfying comedy is a rare sight in a world that walks on eggshells. Fans of the original run will have quite the nostalgia trip. Highly recommended. 

The Batman (2022) Review

Title: The Batman
Year: 2022
Director: Matt Reeves
Country: US
Language: English

Every cinematic interpretation of Batman seems to be grittier and darker than the last; this film is no exception. Feeling more like a crime thriller (akin to Fincher's Se7en) director Matt Reeves gives us an anti-superhero flick that puts Batman's longstanding moniker "the World's Greatest Detective" to the test. 

When a sadistic serial killer (Paul Dano) begins murdering key political figures in Gotham, Batman (Robert Pattison) is forced to investigate the city's hidden corruption and question his family's involvement.

Production designer James Chinlund creates a Gotham City out of cobblestone and perpetual rain reminding film enthusiasts of dystopian pictures like Blade Runner (1982). The score, which has music by Michael Giacchino, Nirvana ("Something in the Way") and Schubert ("Ave Maria"), adds to a grim temperamental atmosphere.

Robert Pattison does a remarkable job with his younger, more tormented version of Batman. Paul Dano proves to be a top tier villain with his demented incel Riddler.

The Batman is a well made film, albeit I do have issues with the writing. The whole film seems to lead up to a big "I am Ironman" moment and it just never comes. Themes like unmasking, telling the truth, revealing true intentions all felt like the screenplay was going towards a shocking never-been-done-before conclusion. Perhaps I am alone on this, but the lack of self-reveal kept The Batman from "great" to just "good". 

Multiverse of Madness (2022) Review

Title: Multiverse of Madness
Year: 2022
Director: Sam  Raimi
Country: US
Language: English

Sam Raimi's cult classic  Evil Dead Trilogy (Evil Dead, Evil Dead II & Army of Darkness) was a remarkable work of cinema that blurred the lines between horror and comedy.  His distinct visual style proved he was a creative force & thus was given the helm of the incredibly popular, albeit certainly flawed, Spiderman Trilogy (2001-2007). In 2022 Raimi returns to prominence with the ever anticipated Multiverse of Madness. 

The Scarlet Witch  (Elizabeth Olson) finds herself utterly wrecked after the events of WandaVision (2021). She wants to find her two imaginary children & thinks the multiverse is a possible solution to her problems.

Sam Raimi's trademark visuals appear everywhere in this film, satisfying fans of Army of Darkness (1992) due to a fair amount of references sprinkled in. With the help of cinematographer John Mathieson (Gladiator), there is no end to the kaleidoscopic visuals,  cockeyed angles, and heightened POV shots. The images onscreen are quiet odd; evoking comedy & horror, with a mix of the surreal. Raimi really pushes Madness' PG-13 rating to its limit. 

The pacing of Madness is relentless & Elizabeth Olson's frantic transition from sympathetic hero (Wanda) to unhinged maniac (Scarlet Witch) is a sight to behold. In some ways, Madness reminds me of Terminator 2: Judgement Day. Danny Elfman's score adds to the absurdity of the visual elements & the overall situation. It really helps set an atmosphere that feels like anything could happen at any given moment. 

Audiences will complain about the lack of character development, but I feel we were treated to a satisfactory amount of MADNESS. This Doctor Strange sequel was a thrilling popcorn munching horror comedy that left me on the edge of my seat. I thought this was much better than Marvel's last cinematic venture No Way Home.