A group of supervillains dubbed the “Miscreants” has been terrorizing the world since the 1980s and Emily Stanton (Octavia Spencer) has devoted her life’s work to developing a formula to create superheroes to fight against them. She has just finished perfecting a treatment – only to have her former best friend Lydia (Melissa McCarthy) accidentally inject herself with it. Now the pair must learn to come together again in order to save Chicago from the group.
I am not sure what I expected from Thunder Force, the fifth collaboration between McCarthy and her Writer/Director husband Ben Falcone. This film has a higher concept hook than their previous films, yet somehow is about what you expect it to be – a lame superhero movie with a few fun moments and a whole lot of world building nonsense. It takes a bit too long to really get moving (blame the endless training montages), but fans of McCarthy’s work will likely enjoy her commitment to every pratfall and asinine moment Falcone asks of her. Should it do well, I have no doubt Netflix will spin the film into a franchise that digs a whole lot deeper into the mythos behind the Miscreants and likely brings new superheroes into the mix to fight alongside McCarthy and Spencer.
Malcolm (John David Washington) is a filmmaker and Marie (Zendaya) is his long-term girlfriend and muse. They are tired, hungry and getting home late after the biggest premiere in Malcolm’s career. He is on edge as they await the first trade reviews. She is not feeling too appreciated after Malcolm missed thanking her in his film introduction. What starts as some mild bickering quickly morphs into a fight that will test the strength of their patience and their relationship.
Finally, the release of Malcolm & Marie is upon us. The film was hyped as one of the first major motion pictures filmed and produced during the COVID-19 pandemic (which was reason enough to be curious), but it has also been the source of immense controversy recently due to the large age gap between Washington and Zendaya. In a pre-pandemic world, this might have only created a light discussion that did not get much traction. But in a world dealing with an on-going pandemic, it took on a whole new meaning and dominated the conversation around the film after the marketing started to kick into high gear.
The Blooms were an adventurous family who loved spending time outdoors. That changes in an instant during a trip to Thailand when Sam Bloom (Naomi Watts) falls from a platform in a freak accident, breaks her back and becomes paralyzed from the waist down. While Sam and the family learn to cope and understand her new disability, they take in an injured magpie they affectionately name Penguin, or Peng for short. While this new member of the family is initially a burden on Sam, it slowly starts to aid in her recovery.
Penguin Bloom is an inspiring true story that would have really flourished if it were able to have a flashy physical premiere at last fall’s Toronto International Film Festival. The cast would have attended, and the real life Bloom family would have been there too. I can practically feel the energy and thunderous standing applause at the Princess of Wales when the real Sam Bloom wheeled herself out on stage. It would have been a triumphant and vividly emotional moment. Covid robbed us of that, and instead it premiered online and in sparsely attended Lightbox screenings because the festival was only able to sell a set number of seats to each screening. A far cry from the days of 2000+ people crammed in at Princess.
I missed Penguin Bloom at the festival and ended up watching it on Netflix from the comfort of my living room a week ago. I was safe from Covid, but it was an even further cry from that theoretically triumphant premiere that was never able to happen.
A mysterious catastrophe has destroyed the Earth as we know it as humanity is slowly poisoned by radiation. With little hope for survival, Arctic-stationed Scientist Augustine Lofthouse (George Clooney) refuses to evacuate. He wants to stay behind so he can warn the team on the Aether spacecraft orbiting Jupiter to not return. But impending radiation, bad connections, cancer and a young stowaway named Iris (newcomer Caoilinn Springall) all stand in the way of Lofthouse sending his warning.
The Midnight Sky is George Clooney’s most ambitious and large scale directorial undertaking to date. He has mainly gravitated towards period pieces in the past (and whatever the hell Suburbicon was supposed to be), so it was a bit of a surprise to hear he was taking on a meditative science fiction doomsday thriller. I feared he might be in over his head, but my concerns practically vanished within seconds of the film beginning. Everything about the look of this film is great, with the meticulously detailed Production and Set Design really standing out. The Special Effects are strong, but slightly dodgy in some cases (yet still some of the strongest of any Netflix film). The majority of action beats are appropriately thrilling as well, although two are a bit too chaotically confusing for their own good. And the Score by Alexandre Desplat is simply wonderful — alternating between whimsy, melancholy and white knuckle thrills on a dime. Everything about the way The Midnight Sky looks and sounds is terrific.
It has been a few weeks since I watched The Trial of the Chicago 7. And in that time, I have continually put off writing the review. Not because I did not like it and not because I did not want to discuss it. No, the reason I kept procrastinating was because of the nagging feeling I had every time I thought about the film, some nervous tick that kept telling me I should like it much more than I did; how I should be reflecting more fondly on such an important work. That feeling kept manifesting every time I even considered writing and reduced me to staring at a blank page when I should be writing endlessly on this future Oscar-nominee. Part of me wonders if Aaron Sorkin ever feels the same way.
He probably doesn’t. The man is a legendary Oscar-winning writer — to go along with his multiple Emmy and Golden Globes wins — who is more creative than I ever will be. There’s no way he has ever just been caught up in staring at a blank page, unable to get the words out, right? It would be pretty wonderful if he did, if only to make bouts of writer’s block seem a whole lot more acceptable for the rest of us. It’s doubtful he would ever admit that though.
I had the opportunity to watch 6 Underground in the theatre last week, and tried my best to start writing the review on the train ride home. But with every word I typed, the more I got distracted. My pounding headache did not help, nor did the burning smell in the train car I was sitting in. It was so awful, so putrid that I could taste it. While it was not ideal conditions to write a review, I feel like it was an apt comparison to watching a Michael Bay film. Especially one like 6 Underground.
It is not that I dislike Bay as a filmmaker. Yes, I hate
the very existence of the majority of the Transformers movies (and was
so burnt out seeing the first four in theatres that I still have not even
bothered to watch Transformers: The Last Knight, or Bumblebee for
that matter), but I really dug Pain & Gain, have a special spot in
my heart for Bad Boys II and absolutely adore The Rock. For me,
that specific film is one of the best the 1990s have to offer – and it remains
one of my absolute most favourite action movies ever. The cast, the score, the
editing, the pulse pounding thrills. Literally everything in that movie is
working on overdrive, and I feel like Bay has not been nearly as precise,
nearly as dialed back nor as in tune with the macho-action bullshit as he was
when he was making The Rock back in 1996. Everything since has just been
so excessive and overdone. I admire his tenacity, but the majority of his films
have become the punchline in a bad joke.
And I mention this all in a long-winded preamble to say
that I actually really wanted to like 6 Underground. The trailer was
slick, the action looked suitably ridiculous, and my feelings on Ryan Reynolds
as an actor have been in constant flux since Deadpool.
So why is it that watching the film felt so exhausting? Why did this film, clocking in at 2 hours and 7 minutes, feel substantially longer and more drawn out than Martin Scorsese’s The Irishman, which clocks in at 3 hours and 29 minutes? How can that possibly happen?
Charlotte (Allison Williams) was a teenage cello prodigy on
her way to being a star. But she had to leave her illustrious school when her
mother fell ill. Flash to ten years later, where her mother has passed away and
Charlotte is not sure what to do next. She decides to take a trip to Shanghai
and there she encounters Elizabeth (Logan Browning), the school’s new rising
star. They have an instant rapport and comradery, but it does not last for
If you are squeamish, or prefer the movies you watch to feature less bugs, blood, and vomit, than this might not be the film for you.
I have already said far too much for my own good. Saying any more would rob you of the deliriously twisted pleasure in seeing how The Perfection plays out for the remainder of its 90-minute running time. The film was a huge hit at last year’s Fantastic Fest – and after watching, it is plainly obvious to see why.
For as far back as I can remember, I have had Sundance Film Festival FOMO. Going to Cannes will likely remain a pipe dream for the foreseeable future, but the prospect of going to Sundance is much more attainable — just a matter of the stars lining up in just the right pattern (and my wife granting me permission to skip her birthday to spend a week in Utah). Until both of those things happen or Hell freezes over, I will continue to sit by idly paying attention to all of the buzz coming out of the festival every January and make a mental list of all my must-see films.
Extremely Wicked, Shockingly Evil and Vile was one of those films and was one I assumed I would have to wait until the Fall to see at TIFF. Thankfully, the film showed up a whole lot earlier. The buzz has remained high ever since the January premiere and I have heard and read the word “Oscar” being thrown around in a completely serious way. And when that happens, it can go one of two ways: it can be warranted or absolutely preposterous. And despite the lengthy and obnoxious title, I hoped it was the former and not the latter on this one.
The premise of The Last Summer revolves around that small window of time for high school grads just before they go to college and continue their march towards jobs, adulthood and the real world. It is a magical time because you are on the precipice of a new adventure and are literally about to turn your back on who and what you were in the past. I do not really remember my own “last summer” much — I think I went to a few parties, hung out with my now ex-girlfriend, went on one small trip and definitely watched a ton of movies. I spend more time thinking nostalgically about that entire school year, what a wild adventure that was, all the friends I made (and the few I still remain in contact with) and all the memories I made that continue to bring me great joy.
I think that is why I was really cautiously optimistic about checking out The Last Summer when I saw the trailer a few weeks back. I was hoping it would evoke nostalgic memories for me and think about those friendships and adventures. And having Riverdale‘s K.J. Apa as the lead of a fairly recognizable ensemble didn’t hurt either.
Jenny (Gina Rodriguez) and Nate (LaKeith Stanfield) have just broken up. They were dating for 9 years in New York City, but decided to end their relationship when Jenny gets her dream job at Rolling Stone magazine in San Francisco. With one week until the big move, she looks to her friends Erin (DeWanda Rise) and Blair (Brittany Snow) to help cheer her up and go on one last adventure.
It took me two tries to watch Someone Great. Admittedly, I was extremely tired the first time I watched first-time director Jennifer Kaytin Robinson’s film and fell asleep after about 20 minutes. But I watched it again from the start the next day, and immediately realized what a terrible mistake I made. Robinson has created a raw, emotional, and charming film that speaks to what friendship means in the face of becoming an adult — and the maturity on display here may catch you off guard.