Halloween Ends (2022) Review

Title: Halloween Ends
Year: 2022
Director: David Gordon Green
Country: US
Language: English

Admittedly, I've never seen a Halloween movie, so starting at Halloween Ends is pretty darn strange. Best case scenario, I'm not tainted by the fandom of the original and can view this installment with fresh eyes. While I don't know much about the Franchise, I do know that the original was the best & every sequel "ruined" the canon for various reasons. For example, Rob Zombie's Halloween was bad because they tried to explain the character's backstory too much. 

Laurie (Jamie Lee Curtis), after allowing the specter of Michael to determine and drive her reality for decades, has decided to liberate herself from fear and rage and embrace life. But when a young man, Corey Cunningham, is accused of killing a boy he was babysitting, it ignites a cascade of violence and terror that will force Laurie to finally confront the evil she can't control, once and for all.

If you enjoyed the Halloween series solely due to Michael Myers then you will be very disappointed. He is only around for 15 minutes of the film, has no menacing qualities, and the story really doesn't revolve around him. I have no attachment to the character, so I found this film somewhat appealing! I like that this is a somewhat philosophical film about the nature of evil. Is Corey innately evil or is a cruel society pushing him towards it? 

This could be a pretty great thriller, but it is weighed down by its Halloween-ness. Its attempt to appeal to longtime fans, which is ultimately doesn't, makes the picture less compelling. The whole film builds up to Corey's serial killer origin story, but the last act forgets about him and instead gives us Laurie vs. Michael Myers. Haven't fans of Halloween seen that confrontation before? I think a "passing of the torch" scene between Michael & Corey would have been a great use for both characters. 

Halloween Ends is a film with a lot of potential. Its journey is intriguing, but the outcome isn't very satisfying and will leave many feeling like they wasted their time. If I were a Halloween fan, I would think the franchise needs to move on & stick with a new baddie. 

Bros (2022) Review

Title: Bros
Year: 2022
Director: Nicholas Stellar
Country: US
Language: English

The trailer for Bros looked unappealing to me. It makes the picture come across as obnoxious, condescending and preachy. Quite frankly, I didn't think Billy Eichner had the "leading man" appeal to carry a romantic comedy. I was wrong. Bros is one of the funniest comedies I've seen in a long time; perhaps producer Judd Apatow's best...and he made The 40 Year Old Virgin (2005) 

Two men with intimacy problems, Bobby (Billy Eichner) and Aaron (Luke Macfarlane), attempt to enter a relationship. 

Claimed to be the first feature film starring an all LGBTQ+ cast, and one of the rare queer films produced by a large studio, Bros is quite a daring endeavor. It is an innovative satire that makes fun of Hallmark Movies, "Woke" culture, Romantic Comedies, Cishet norms, Popcuture etc. while also weaving into a meaningful and heartfelt drama. I found myself literally laughing out loud as much as I did on the verge of tears. 

Under a less talented crew, Bros could have been overly preachy & lack any subtlety in regards to its messaging. Thankfully, Bros is a fairly smart picture that confirms the need of LGBTQ+ representation in mainstream pop culture. Perhaps, despite it bombing at the box office, this picture will be seen as the beginning of a new genre of popular pictures. 

Bros was sweet, funny, sad, heartwarming and, as stated before, absolutely hilarious. A particular scene I loved is when Eichner is full of "roid rage" and lesbians are pinning him down. Eichner's comedic timing is remarkable; on track with the best of comedians.

She-Hulk (2022) Review

Title: She-Hulk
Year: 2022
Director: Jessica Gao
Country: US
Language: English

She-Hulk has to be the most abysmal entry into Disney's Marvel Cinematic Universe. It's impossible to critique because Disney has successfully politicized the show. The character herself constantly breaks the fourth wall to mention her "haters", which are portrayed as vile incels who obsessively lurk about on the internet. Do you like patriarchy? If you're against She-Hulk you must be supportive of patriarchy!

Jennifer Walters (Tatiana Maslany)  navigates the complicated life of a single, 30-something attorney who also happens to be a green 6-foot-7-inch superpowered Hulk.

There is legitimate criticism of She-Hulk beyond "I dislike this female character because I dislike women." For one, the episodes seem to be written at random with no thought of the next. One episode ends with Wong as a fugitive & in the next it's completely forgotten about. Very emotionally heavy issues, such as Walters being assaulted, are laughed about moments later. Her character arc is pretty much non-existent. The CGI looks awful. 

She-Hulk tries to be cute by breaking the fourth wall and, for some inexplicable reason, openly trolling its viewers. "Not EVERY episode is going to have a cameo." (spoilers: every episode except that one is held together by cameos) You like Deadpool, but not She-Hulk? Misogynism! Ok, but Deadpool doesn't break the fourth wall solely to troll us or comment on "the haters". 

but...context!

She-Hulk's method of addressing patriarchy is creatively bankrupt. Visual media has a near endless supply of creative & artistic ways of exploring themes, messages, motifs etc. Having the character look at the camera & vent to us is insulting to the viewers' intelligence. "You need this spelled out for you." 

No Rating

 

Carrie (1978) Review

Title: Carrie
Year: 1978
Director: Brian De Palma
Country: US
Language: English

Based on the first published novel of acclaimed writer Stephen King, Carrie would seem to be a challenging film to adapt onscreen for a director of lesser talent. Too much or too little of one element could make the picture tasteless, misogynistic or exploitative. Thankfully Brian De Palma is immensely talented; he takes Kings' heavy text and creates a meaningful feministic drama. 

Carrie White (Sissy Spacek), a shy, friendless teenage girl who is sheltered by her domineering, religious mother, unleashes her telekinetic powers after being humiliated by her classmates at her senior prom.

Carrie is a story wherein the most horrific elements come from society itself. Our cruelty towards women speaks volumes & inevitably comes back to bite us. De Palma manages to use his camera to create stunning visual thematic elements that highlight our contempt for women. The picture is a punishing experience as we are faced with the worst of our misogynistic tendencies, but incredibly necessary. 

Carrie is a remarkable socio-political picture that ought to be elevated above the rest of the horror genre. Beloved film critic Pauline Kael once wrote, “No one else has ever caught the thrill that teenagers get from a dirty joke and sustained it for a whole picture.”  It is quite fascinating that Carrie is written to be a sympathetic figure and yet, as the climax happens, we are not happy by the comeuppance. We feel bad for being bystanders of this cruelty. 

The film represents the frustration women as a collective unit have over their many battles against a tyrannical patriarchal system that often leaves them behind. Our fear of women create this monster; we can only expect tragedy if we continue down a patriarchal road. 

The Girl Can't Help It (1956) Review

Title: The Girl Can't Help It
Year: 1956
Director: Frank Tashlin
Country: US
Language: English

Currently Netflix's Blonde (2022), a biography about Marilyn Monroe, is roused in controversy due to the exploitative nature of its content. While I love the blonde bombshell. particularly in Some Like It Hot (1959) I felt like watching another film starring an equally talented Playboy Playmate; the stunning Jayne Mansfield. Her film, The Girl Can't Help It (1956), is a remarkable window into the late 50's. 

A gangster  (Edmond O'Brien) hires a down-and-out press agent (Tom Miller) to make his airheaded girlfriend (Jayne Mansfield) a singing star.

The Girl Can't Help It is a beautiful time capsule of 1950's pop culture. It is both a critique and a celebration of the era's manic teeny bopper capitalism. The colours are as brash and bold, vibrant and pop as much as the musical acts featuring Little Richard and and the Platters. Much of the double entendre visuals, which include Mansfield holding a pair of jugs, push the envelope of what was acceptable in Cinema. 

Jayne Mansfield is presented as a huge star. Her Va-Va-Voom figure rivals Jessica Rabbit (Who Framed Roger Rabbit?) Only the magic of cinema could produce a woman so mesmerizing. Hired by Fox as a counterpart to Monroe; Mansfield was a once in a lifetime actress who excelled in comedic and dramatic roles. 

The Girl Can't Help It is a fun comedy that is filled with smart insight, clever visual gags and entracing writing. The music itself would be a standout in any film and, while the numbers somewhat interrupt the flow of the picture, make for good re-watch viewing. 

Lightyear (2022) Review

Title: Lightyear
Year: 2022
Director: Angus MacLane
Country: US
Language: English

Pixar's first film, Toy Story, was a monumental commercial and critical success. The first fully computer generated feature length film, the picture was a huge step in the evolution of animated cinema. Though there were a few years of hand-drawn animation post Toy Story, this new CGI animation would be the industry standard from 1995 until present day. 

While spending years attempting to return home, marooned Space Ranger Buzz Lightyear (Chris Evans) encounters an army of ruthless robots commanded by Zurg who are attempting to steal his fuel source.

Lightyear is a fun animated film that embraces sci-fi cliches in an ironic self-aware way, making allusions to not-for-children pictures like 2001: A Space Odyssey. Costing Pixar an estimated $200-million, the visuals are nothing short of an impressive spectacle. We get a varied array of set pieces, including  massive jungle, volcanic terrain, and “beyond the infinite”. 

Chris Evans replaces Tim Allen as the voice of Buzz in Lightyear. Evans' voice adds a new dimension to the character; giving Buzz more flaws and a less certain demeanor. Much of the picture is a conventional action romp, but the third-act presents more complicated social implications. Perhaps in order to move forward we must be quick to embrace new ideas & be less interested in preserving the past. 

Lightyear manages to presents its social discussion without being preachy and, thankfully, with a little bit of subtlety. Considering a lot of Disney products need to loudly proclaim to be progressive, this picture is a refreshing departure. This film is a worthwhile viewing, albeit a younger audience will get more out of it. 

Pinocchio (2022) Review

Title: Pinocchio
Year: 2022
Director: Robert Zemeckis
Country: US
Language: English

Aside from possibly The Jungle Book (2016) all these live-action Disney remakes have been varying degrees of terrible. The only way they can get a small fan-base to approve of their pictures is if they manufacture controversy via twitter trends (The Little Mermaid). The only positive response to these movies is backlash against perceived bigotry, rather than actual enjoyment of the picture. Sigh. Lets get this Pinocchio review over with! 

A puppet (Benjamin Evan Ainsworth) is brought to life by a fairy, who assigns him to lead a virtuous life in order to become a real boy.

Recycled from the 1940 classic, Pinocchio hits all the same storyline beats yet feels incredibly hollow and without heart. Our main protagonist puppet goes through each scene without any real agency, which undermines the point of the original; to earn the ability to be a "real boy" he had to CHOOSE to do good. Pinocchio is an endearing character because he is flawed in his ethics & his hero's journey is becoming somebody who wants to do good. 

In the 1940 film Pinocchio loves Pleasure Island. He indulges in gambling, beer and other addictive activities. His donkey transformation is comeuppance for his "jackass" behavior and he learns a well-deserved lesson. The Disney+ version gives us a Pinocchio who is timid and scared of Pleasure Island. This kid doesn't even want to try the more tamed down "root beer". The "lesson" (can you call it a lesson if the character already knows the action is bad?) has no emotional impact. 

This Disney+ iteration of Pinocchio misses the point of the original film & ultimately feels like a pointless remake. The 1940 version still packs an emotional punch & can still serve great lessons to new generations. Watch that one instead. 

No Stars

Elvis (2022) Review

 Title: Elvis
Year: 2022
Director: Baz Lurhmann
Country: US
Language: English

I have a love/hate relationship with Director Baz Luhrmann. His hyperactive editing, combined with frenetic camera work & spectacular imagery can be used creatively (Romeo + Juliet) but often distract from the story he is trying to tell by relying far too much on style over substance. Moulin Rouge (2001) is beloved for being such an outlandish musical, but I found myself quite overwhelmed by the nonstop fast pace. 

Elvis follows the story of infamous rock 'n' roll star Elvis Presley (Austin Butler) seen through the eyes of his controversial manager Colonel Tom Parker (Tom Hanks).

Too many biopics of Elvis are long tedious drolls; retelling the same story we have heard countless times. Luhrmann's take is unique because his off-the-wall film-making style zaps a much needed burst of energy into our iconic historical character. His visuals paint the man as larger than life; the camerawork explores how truly legendary Elvis was. 

Lurhmann's script underlines Elvis' controversial role American culture. Finally, we are shown his black inspiration & Elvis' role in racial desegregation. Portrayed as an agent of change, it's nice to see Elvis' contribution to humanity through a socio-political lens. Luhrmann's film is a demonstration of how great art can push beyond the acceptable limits of culture. 

The film isn't perfect by any means; its exploration of why Elvis stayed with his manager is surface level at best. Lurhmann also isn't too keen on exploring Elvis' own seedy side; such as his inteerest in teenage girls. Still; I found the film very entertaining and informative. There is a lot to like about this picture. 

Thor: Love and Thunder (2022) Review

Title: Love and Thunder
Year: 2022
Director: Taika Waititi
Country: US
Language: English

I first heard of New Zealand Director Taika Waititi when Jo Jo Rabbit won People's Choice at Toronto International Film Festival in 2019. His brand of off-beat humor was controversial and subversive considering the subject matter at hand. We had great hope that his brand of film-making would change cinematic language, but instead it seems he's content on making  Marvel films where the "highlight" is screaming goats. 

Thor (Chris Hemsworth) enlists the help of Valkyrie, Korg and ex-girlfriend Jane Foster (Natalie Portman) to fight Gorr the God Butcher (Christian Bale), who intends to make the gods extinct.

Love and Thunder attempts to weave dramatic & comedic tones, but does so in an unbalanced awkward way that derails our interest in the story. In one scene Jane is struggling with cancer & a minute later we're expected to laugh at bumbling Thor. The villain of the film is a frightening force to reckon with, but our intimidation of him plummets as characters make cutesy one liners towards him. 

Its structure is messy and, although at times Love and Thunder feels like a spectacle, the picture leaves audiences unsatisfied. Christian Bale was a huge remarkable standout as The God Butcher, but he was limited by the vast tonal and visual shifts. There are four credited editors to this film; one wonders if they actually spoke to each other during the process. 

Love and Thunder is a fun, mindless popcorn munching picture that will leave your mind as soon as you leave the theatre, Forgettable. The "funny" goat screams may make you annoyed enough to never watch this film again. 

Three Thousand Years of Longing (2022) Review

Title: Three Thousand Years of Longing
Year: 2022
Director: George Miller
Country: US
Language: English

George Miller's Three Thousand Years of Longing (2022) is a magical - yet frustrating- film that strays from the conventional Hollywood Blockbuster by telling stories within a story to convey the importance of storytelling as whole. The trailers make it look as off-the-wall as Everything Everywhere All At Once (2022), but unfortunately this is not very mind melting at all. 

A lonely scholar (Tilda Swinton), on a trip to Istanbul, discovers a Djinn (Idris Elba)  who offers her three wishes in exchange for his freedom.

There’s “no story about wishing that isn’t a cautionary tale,” Swinton tell the Djinn, as he then proceeds to tell very cautionary tales about the destructive quest for love, knowledge & power. This is the most interesting part of the film as we are treated to the ancient mysticism of King Solomon and we bear witness to the gorgeous Queen Sheba. The set design, costuming. and cinematography shines in these scenes. 

The third act is where the film falls flat. Her first wish completely defies everything we have been told about the sinister history of wishes. The chemistry between the two characters is completely void; they don't even look like they'd make causal friends. It's a letdown, which is unfortunate, because the build up to Swinton's first wish was so well written. 

Three Thousand Years of Longing has a different feel from the usual Hollywood affair. I admire George Miller's tenacity to take such big creative risks, even though I feel he was a little misguided. The majority of the picture is fantastic, but the overall package leaves much to be desired from the remainder of the story.