Mini-Reviews - 2021 Edition
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Usually, I prepare this type of article near the end of each year and upload mini-reviews that I have in store for a few films I didn’t have time to write a full opinion piece on. I’m going to do things differently in 2021 so that I can publish my thoughts on every movie I see this year without missing a single one. Even with much fewer films in 2020, I still found myself struggling with time, so I expect 2021 will go down the same road, sooner or later.
Therefore, this article will contain the same concise opinions you’ve seen in other pieces like this. Small reviews of some movies I can’t afford the time to write 800+ words on due to external situations that might occur in my life. In most cases, these are going to be films that won’t have that much of an impact on my year-end reflection of the best/worst movies I’ve seen in 2021.
This section will be updated each time I add a new entry, as well as its date of publication, so these compact opinions can be seen by everyone at any time.
Shadow in the Cloud Locked Down The Little Things
The Dig Nobody French Exit
Stowaway Things Heard & Seen Monster
The Woman in the Window Those Who Wish Me Dead Awake
Infinite The Hitman’s Wife’s Bodyguard Fatherhood
Pig Candyman Kate
Spencer
(seen 4th November)
Directed by: Pablo Larraín
Written by: Steven Knight
Starring: Kristen Stewart, Timothy Spall, Jack Farthing, Sean Harris, Sally Hawkins
Runtime: 111 min
Synopsis: The marriage of Princess Diana (Kristen Stewart) and Prince Charles (Jack Farthing) has long since grown cold. Though rumors of affairs and a divorce abound, peace is ordained for the Christmas festivities at the Queen’s Sandringham Estate. There's eating and drinking, shooting and hunting. Diana knows the game. But this year, things will be a whole lot different. Spencer is an imagining of what might have happened during those few fateful days.
Review: I knew absolutely nothing about this movie beforehand. I heard/read extraordinarily positive reactions that definitely elevated my expectations. And my actual knowledge about Princess Diana and her life was and still is extremely basic. Spencer is one of those rare examples where going into it completely blind didn't work in my favor at all. I found myself trying to look for something to grab on to, and despite some genuinely outstanding technical attributes, Steven Knight's (Locked Down) screenplay doesn't offer me enough to hold my attention.
Spencer is undoubtedly a fictional character piece that only stands on its feet due to one of the year's most mesmerizing lead performances. Kristen Stewart (Underwater), an actress who still gets a lot of unfair hate despite her clear evolution to one of the most underrated actors working today, delivers a career-defining portrayal of Princess Diana that viewers will hardly forget about. I can't recall the last time I witnessed an actor completely disappearing into their role. A true masterclass worthy of every single award. The rest of the cast is also superb.
Technically, I also have little to complain about. Pablo Larraín's (Jackie) distinct direction adequately fits the frustrating, claustrophobic story, and I love how Claire Mathon's (Portrait of a Lady on Fire) moves between the intimate close-ups and gorgeous wide shots. As expected, costume and production design look fabulous, but Jonny Greenwood's (You Were Never Really Here) score didn't work for me. The mix of jazz with high-tension sequences becomes too uncanny, distracting the viewers from the narrative, which leads me to my main issue.
For someone with my knowledge and expectations, Spencer becomes one of those "nothing happens" films that usually surprises viewers with its unique storytelling approach. I'm all-in for this type of work, but outside of Stewart's display, I struggled to feel captivated by whatever was going on. A supposedly consistently interesting character study transformed into an overlong, repetitive one-woman show, where I couldn't figure out what it was aiming for. I understand the purpose of making the audience feel how Diana felt during her marriage and living within British Royalty, but Larraín's execution somehow fails to leave me emotionally satisfied.
A second viewing will probably improve and strengthen my opinion about the movie. For now, I feel very mixed about Spencer, but I'll leave this as a positive review trusting that I'll gradually enjoy it more after each viewing.
Rating: B-
Army of Thieves
(seen 28th October)
Directed by: Matthias Schweighöfer
Written by: Shay Hatten
Starring: Matthias Schweighöfer, Nathalie Emmanuel, Guz Khan, Ruby O. Fee, Stuart Martin, Jonathan Cohen, Peter Simonischek
Runtime: 127 min
Synopsis: In this prequel to Zack Snyder's Army of the Dead, small-town bank teller Dieter (Matthias Schweighöfer) gets drawn into the adventure of a lifetime when a mysterious woman recruits him to join a crew of Interpol's most wanted criminals, attempting to heist a sequence of legendary, impossible-to-crack safes across Europe.
Review: Army of the Dead was far from surpassing any expectations, but amid its several issues, Zack Snyder actually created a rather interesting post-apocalyptic world. With Matthias Schweighöfer taking on two of the most significant roles in filmmaking - director and leading actor - Army of Thieves feels more like a character spin-off than an actual prequel to an apparently new franchise.
In that regard, the passionate protagonist, Dieter, is compelling enough to carry most of the stylized movie. Matthias delivers a fun, engaging performance that, unfortunately, is partially damaged by the excessive, dull jokes. The rest of the team follows incredibly cliche, forgettable archetypes, even though I can't really fault Nathalie Emmanuel's (F9) interpretation.
Doing a prequel to an original zombie film with no zombies instantly drops the excitement levels, but the heist sequences are reasonably entertaining. Hans Zimmer and Steve Mazzaro's score definitely makes this movie feel much more epic and emotionally powerful than it truly is. Overall, Army of Thieves overextends its stay, and the safe-opening scenes get less and less exciting with a gradual lack of creativity taking over each robbery.
In the end, I admit that this universe has some potential, but so far, I'm still waiting for a flick I can genuinely love and support.
Rating: C
Kate
(seen 10th September)
Directed by: Cedric Nicolas-Troyan
Written by: Umair Aleem
Starring: Mary Elizabeth Winstead, Miku Martineau, Woody Harrelson, Michiel Huisman, Tadanobu Asano
Runtime: 106 min
Synopsis: Meticulous and preternaturally skilled, Kate (Mary Elizabeth Winstead) is the perfect specimen of a finely tuned assassin at the height of her game. But when she uncharacteristically blows an assignment targeting a member of the yakuza in Tokyo, she quickly discovers she's been poisoned, a brutally slow execution that gives her less than 24 hours to exact revenge on her killers. As her body swiftly deteriorates, Kate forms an unlikely bond with the teenage daughter of one of her past victims.
Review: Action films with long, uncut, well-choreographed fighting sequences starring a couple of well-known actors seem to be one of the newest Hollywood trends. Kate is yet another entry in the exponentially growing list of action flicks boasting extraordinary stunt work but lacking compelling character work and an original story.
Mary Elizabeth Winstead (Birds of Prey) proves her worth in the combat department, carrying the otherwise dull movie on her shoulders. Unfortunately, the remarkable actress isn’t strong enough to elevate what’s just another female assassin derivative narrative that viewers have witnessed countless times before.
Rating: C+
Candyman
(seen 26th August)
Directed by: Nia DaCosta
Written by: Jordan Peele, Win Rosenfeld, Nia DaCosta
Starring: Yahya Abdul-Mateen II, Teyonah Parris, Nathan Stewart-Jarrett, Colman Domingo
Runtime: 91 min
Synopsis: In present day, a decade after the last of the Cabrini towers were torn down, Anthony McCoy (Yahya Abdul-Mateen II) and his partner, Brianna Cartwright (Teyonah Parris), move into a loft in the now gentrified Cabrini. A chance encounter with a Cabrini-Green old-timer (Colman Domingo) exposes Anthony to the true story behind Candyman. Anxious to use these macabre details in his studio as fresh grist for paintings, he unknowingly opens a door to a complex past that unravels his own sanity and unleashes a terrifying wave of violence.
Review: I rewatched the 1992's Candyman in preparation for Nia DaCosta's (Little Woods) direct sequel, so I could get the most out of it without having to force my memory to kick in. Despite being addicted to Philip Glass' score of the original film, Bernard Rose's take on Clive Barker's short story isn't exactly one of my favorite classics, even though I appreciate it quite a bit. Expectations-wise, I didn't know the director beforehand, but I was curious to see what DaCosta could bring to the famous tale.
Unfortunately, I'm not the right person to tackle the heavy themes depicted in the filmmaker's sophomore flick. From an evident, strong opinion about gentrification to the biased white critical lenses, the director has a clear vision and firm messages concerning cultural injustice. As a white European young man, I'm not going to pretend to have experience or even enough knowledge to approach these necessary, sensitive debates, so I'll let other critics, namely Black authors, spread their voices.
Nevertheless, I have mixed feelings about this sequel. Despite being beautifully shot (John Guleserian), edited (Catrin Hedström), and scored (Robert A. A. Lowe), the thematically driven screenplay often feels forced and occasionally preachy. Characters are thinly developed through an uncommonly too short runtime. The never-ending silhouette recaps of the previous movie are unnecessary, and weirdly enough, a major revelation of this sequel is partially ruined by simply (re)watching the original film. The extreme gore is still present, though slightly toned down, at least from my perspective.
Technically and visually, it's truly one of the most interesting movies of the year. Sadly, it isn't able to transmit the same quality to the two pillars of filmmaking - story and characters.
Rating: C
Pig
(seen 12th July)
Directed by: Michael Sarnoski
Written by: Michael Sarnoski
Starring: Nicolas Cage, Alex Wolff, Adam Arkin
Runtime: 92 min
Synopsis: Living alone in the Oregon wilderness, a truffle hunter (Nicolas Cage) returns to Portland to find the person who stole his beloved pig.
Review: Not watching trailers has infinite pros. From going into the theater without a visual clue about what's going to be seen on the big screen to the ability to avoid spoilery clips that ruin supposedly surprising moments, this is a methodology I've been strictly employing in my life. So far, I've had nothing but spectacular screenings. Watching a movie completely blind is an experience I recommend to every film lover. This intro serves to explain why I was so impressed by Pig's grounded, action-less, character-driven storytelling.
Without watching any trailer, just by reading the synopsis, it's impossible not to expect an absurdly crazy revenge flick starring the one and only Nicolas Cage (Prisoners of the Ghostland). Well, Michael Sarnoski delivers a subversive directorial debut, focusing on the always heavy theme of grief. Cage's character is a retired chef who lost someone he truly loved, and the (adorable) pig is the only living being he can associate with his former lover. Instead of following an action-heavy, bloody path of murder to help deal with his emotional loss like John Wick, Pig draws attention to the protagonist's feelings.
It's a wonderfully written character piece, featuring a beautiful score (Alexis Grapsas, Philip Klein), and incredibly captivating, unforgettable dialogues that replace the expected action sequences. Cage offers one of the most nuanced performances of his career, proving he's one of the most talented actors of his generation. It's a shame that most people only recognize him as Hollywood's main source of memes. Alex Wolff (Hereditary) is also outstanding as a young man with father issues, though his character's subplot isn't as interesting as the main narrative, slightly affecting the overall pacing.
Despite anticipating several action scenes, the lack thereof didn't result in disappointment but instead in a pleasant surprise. Highly recommend checking this one if you have the chance.
Rating: B+
Fatherhood
(seen 18th June)
Directed by: Paul Weitz
Written by: Dana Stevens, Paul Weitz
Starring: Kevin Hart, Alfre Woodard, Frankie R. Faison, Lil Rel Howery, DeWanda Wise, Anthony Carrigan, Melody Hurd, Paul Reiser
Runtime: 110 min
Synopsis: A widowed dad (Kevin Hart) copes with doubts, fears, heartache and dirty diapers as he sets out to raise his daughter on his own.
Review: There are many films about parenthood, but Fatherhood caught my attention due to the main actor and the director. Kevin Hart (Jumanji: The Next Level) is one of the most recognizable, famous faces in comedy, so seeing him bring it down to portray a more grounded character dealing with an emotionally devastating moment in life is captivating, to say the least. In addition to this, Paul Weitz, one of the directors of American Pie, is directing this Netflix flick. How can someone not feel remotely interested in watching the final result?
Fatherhood may go through the usual plot developments and character building of the genre, but Hart offers a brilliant performance as the compelling protagonist who will grab every viewer's attention. The actor proves yet again that he isn't a one-trick pony, seamlessly incorporating the complex feelings of his character. From losing the woman he loves to raising a child on his own, the accumulated emotions keep the movie worth investing in. Alfre Woodard (The Lion King) is terrific as always, but Lil Rel Howery (Judas and the Black Messiah) isn't really able to overcome the script issues when it comes to the comedic bits.
The jokes themselves are acceptable, but they're often inserted at the wrong moment. There are many scenes where a joke could have helped lighten the heavy, depressing atmosphere, but they're saved for dialogues that don't require them. Howery is usually hilarious, but in this film, his character genuinely feels a bit irritating. Despite the overlong stay, it's a movie I can see helping a lot of parents in similar situations while being entertaining and enlightening at the same time for other viewers.
Rating: B-
The Hitman's Wife's Bodyguard
(seen 17th June)
Directed by: Patrick Hughes
Written by: Tom O'Connor, Brandon Murphy, Phillip Murphy
Starring: Ryan Reynolds, Samuel L. Jackson, Salma Hayek, Richard E. Grant, Frank Grillo, Tom Hopper, Antonio Banderas, Morgan Freeman
Runtime: 100 min
Synopsis: The world's most lethal odd couple - bodyguard Michael Bryce (Ryan Reynolds) and hitman Darius Kincaid (Samuel L. Jackson) - are back on another life-threatening mission. Still unlicensed and under scrutiny, Bryce is forced into action by Darius's even more volatile wife, the infamous international con artist Sonia Kincaid (Salma Hayek). As Bryce is driven over the edge by his two most dangerous protectees, the trio get in over their heads in a global plot and soon find that they are all that stand between Europe and a vengeful and powerful madman (Antonio Banderas). Joining in the fun and deadly mayhem is Morgan Freeman as... well, you'll have to see.
Review: Despite holding one of the worst sequel titles ever created, The Hitman's Wife's Bodyguard was always going to be a film I'd be interested in watching. The original flick was a straightforward, dumb action-comedy movie with a bunch of Hollywood stars attached to the project, which was always going to be financially successful. Fan-favorite comedic actors like Ryan Reynolds (Pokémon Detective Pikachu) and Samuel L. Jackson (Spiral) bantering for over an hour-and-a-half? Of course, viewers will run to the theaters…
This sequel follows pretty much the same formulas of its predecessor. Every remotely emotional moment or storyline is replaced by a random joke or nonsensical action sequence. A vast majority of the dialogues feel like stand-up comedy or improv from the actors. Even the villain portrayed by Antonio Banderas (Dolittle) checks all the caricatural boxes of the "bad guy". From the writing to Patrick Hughes' (The Hitman's Bodyguard) direction, it all feels too familiar and unexciting.
The bloated runtime, the overwhelming amount of jokes, and some rough language might be a tad too much for some audience members, but the phenomenal chemistry between every cast element is enough to compensate for an otherwise forgettable flick. Hopefully, a more than certain third film won't add more apostrophes to its title…
Rating: C
Infinite
(seen 10th June)
Directed by: Antoine Fuqua
Written by: Ian Shorr
Starring: Mark Wahlberg, Chiwetel Ejiofor, Sophie Cookson, Jason Mantzoukas, Rupert Friend, Liz Carr, Toby Jones, Dylan O'Brien
Runtime: 106 min
Synopsis: For Evan McCauley (Mark Wahlberg), skills he has never learned and memories of places he has never visited haunt his daily life. Self-medicated and on the brink of a mental breakdown, Evan is sought by a secret group revealing to him that his memories may be real - but they are from multiple past lives. With critical secrets buried in his past, Evan must unlock the answers in his memories in a race against time to save humanity from one of their own (Chiwetel Ejiofor).
Review: I really appreciate Antoine Fuqua's career as a director. From the beloved classic Training Day to the highly entertaining The Equalizer films, Fuqua has demonstrated skillful handling of action sequences. As expected, Infinite delivers several fighting scenes and car chases, mostly riveting and quite enjoyable. The third act gets extremely over-the-top concerning the action set pieces, which are only tolerable due to a special yet underdeveloped character trait that ultimately justifies the more absurd moments. Mauro Fiore's camera work and Conrad Buff IV's editing are decent enough, but the last act features too much shaky cam and excessive cuts for my taste.
Story-wise, that's where things get tricky. Ian Shorr's screenplay boasts a genuinely interesting premise with exciting world-building to support it. However, the tiresome voice-over from Mark Wahlberg - who offers a good performance just as the rest of the cast - holds heavy exposition that's then repeated in dialogues across the movie, stretching the runtime unnecessarily. This narration rarely adds anything relevant to the story or impacts the viewer's opinion about the protagonist.
In addition to this, it's one of those films that carries tremendous storytelling potential but never reaches it. Personally, I truly find the concept intriguing, but its development doesn't leave the base of its premise. In fact, just by watching the main trailer, most of the world-building is given to the audience in those few minutes. Honestly, in better hands, this movie could have been the beginning of a new franchise with infinite - no pun intended- possibilities to make sequels, prequels, spin-offs, or even trigger the start of a TV show.
As it is, Infinite is nothing more than an inoffensively entertaining flick that could have been much, much better.
Rating: C
Awake
(seen 9th June)
Directed by: Mark Raso
Written by: Joseph Raso, Mark Raso
Starring: Gina Rodriguez, Ariana Greenblatt, Frances Fisher, Shamier Anderson, Finn Jones, Lucius Hoyos, Gil Bellows, Barry Pepper, Jennifer Jason Leigh
Runtime: 96 min
Synopsis: Global hysteria ensues after a mysterious catastrophe wipes out all electronics and takes away humanity's ability to sleep. Scientists race against the clock to find a cure for the unexplained insomnia before its fatal effects eliminate the human race. When Jill (Gina Rodriguez), a former soldier, discovers her young daughter (Ariana Greenblatt) may be the key to salvation, she must decide: protect her children at all costs or sacrifice everything to save the world.
Review: Disaster movies are probably the closest type of film to being a "guilty pleasure" of mine. I strongly defend that every single genre has phenomenal and awful movies, all of which should be seen by audiences. Often, people ignore "bad films" as if they're not necessary, but without them, cinephiles wouldn't be able to truly appreciate when a gem comes around. Awake is neither, but it does feature an original idea that could have been much better explored.
Gina Rodriguez (Kajillionaire) is quite good as the worrying mother, but performances can only carry the movie until a certain point. Joseph Raso and Mark Raso's screenplay isn't able to develop a unique "end-of-the-world" concept in a surprising, captivating manner, following the generic plot points and predictable outcomes. Despite the short runtime, it still holds some pacing issues that unnecessarily drag the film. As with every other flick of this genre, questionable actions and events must be blindly accepted by the audience to avoid nitpicking logical issues.
It's still somewhat entertaining due to the genre itself, but it all feels underwhelming compared to the genuinely interesting premise.
Rating: C-
Those Who Wish Me Dead
(seen 15th May)
Directed by: Taylor Sheridan
Written by: Michael Koryta, Charles Leavitt, Taylor Sheridan
Starring: Angelina Jolie, Nicholas Hoult, Finn Little, Aidan Gillen, Medina Senghore, Tyler Perry, Jake Weber, Jon Bernthal
Runtime: 100 min
Synopsis: A smoke jumper and a 12-year-old boy fight for their lives as two assassins pursue them through the wilderness.
Review: Despite absolutely loving Taylor Sheridan's last attempt at directing (Wind River), this action-thriller lacks that incredibly captivating element of his previous screenplays (Hell or High Water, Sicario). Boasting remarkable performances from Angelina Jolie (The One and Only Ivan), Nicholas Hoult (True History of the Kelly Gang), and Aidan Gillen (Bohemian Rhapsody), the well-directed narrative misses the necessary creativity and energy to elevate the overall flick.
A not-that-suspenseful story that contains too many ups and downs for a continuously engaging viewing.
Rating: C
The Woman in the Window
(seen 14th May)
Directed by: Joe Wright
Written by: Tracy Letts
Starring: Amy Adams, Gary Oldman, Anthony Mackie, Fred Hechinger, Wyatt Russell, Brian Tyree Henry, Jennifer Jason Leigh, Jeanine Serralles, Mariah Bozeman, Julianne Moore
Runtime: 100 min
Synopsis: Anna Fox (Amy Adams) is an agoraphobic child psychologist who finds herself keeping tabs on the picture perfect family across the street through the windows of her New York City brownstone. Her life is turned upside down when she inadvertently witnesses a brutal crime.
Review: How many times have you heard something along the lines of "oh, this film has phenomenal actors, surely it must be great"? Obviously, countless examples defend or contradict this last statement, but unfortunately, the average moviegoer often gives more credit to the cast than to the director(s) and/or writer(s). This means that when a movie is truly amazing, actors receive the best compliments even if they didn't contribute as much as the other two filmmaking roles. However, when a film turns out to be a massive disappointment, the cast rarely gets the worst commentaries.
The Woman in the Window is the perfect example of a movie that should have never created high expectations. Contrary to what people might think, this Joe Wright's film went through non-stop delays, even before the pandemic began. Netflix wasn't even the original distributor, but the general audience doesn't care about production issues. If the cast boasts some well-known, fan-favorite actors, most viewers will highly anticipate that movie without ever thinking about who's directing or writing it. It's no surprise that this adaptation of A. J. Finn's novel is a strong contender for the following year's Razzies…
From the confusing editing work (Valerio Bonelli) - probably due to the constant re-edits - to the tremendously forced dialogues, Tracy Letts' screenplay is packed with problems concerning basically every single character interaction. The overall narrative is an utter mess that never finds its footing, ending in a convoluted, nonsensical, incredibly fake-looking film. Everything feels overdramatic, extremely fictional, and emotionless. Amy Adams, Gary Oldman, Julianne Moore, and all the other popular actors struggle so much with their scripts that some of them genuinely deliver an awful caricature of themselves.
Honestly, the only reason this doesn't get my lowest grade is due to a couple of actors that actually try to make the story a little less unbearable.
Rating: D-
Monster
(seen 7th May)
Directed by: Anthony Mandler
Written by: Radha Blank, Cole Wiley, Janece Shaffer
Starring: Kelvin Harrison Jr., Jennifer Hudson, Jeffrey Wright, Jharrel Jerome, Jennifer Ehle, Rakim Mayers, Nasir ‘Nas’ Jones, Tim Blake Nelson, John David Washington
Runtime: 98 min
Synopsis: Monster tells the story of Steve Harmon (Kelvin Harrison Jr.) a seventeen-year-old honor student whose world comes crashing down around him when he is charged with felony murder. The film follows his dramatic journey from a smart, likeable film student from Harlem attending an elite high school through a complex legal battle that could leave him spending the rest of his life in prison.
Review: I've written this a thousand times, but I'll repeat it once again: I absolutely love one-location movies. I don't know exactly if most of Monster is actually developed inside the courtroom, but it genuinely feels like it. In fact, I believe every scene outside this place is told through extended flashbacks with narration from Steve Harmon about what happened before and on the day of the crime. Since the protagonist is a film student, his voice-over contains descriptions often seen in screenplays, which it's pleasant at first, but then gets overdone.
The trial is definitely the most captivating part of the story. Anthony Mandler (directorial debut) and his team of writers demonstrate perfectly some real-life aspects of how the law works. From the well-known emotional disconnect of (some) lawyers with their clients to the prejudiced treatment of people of color, the courtroom sequences keep the movie interesting until its somewhat predictable, unsurprising conclusion. However, despite the exceptional performances from everyone involved, especially Kelvin Harrison Jr. (The Trial of the Chicago 7), the case itself wraps up with unanswered questions and some messages lost in the transmission.
While the viewers spend the entire runtime following Steve being a good son, brother, and friend, the other Black characters being accused don't receive the same treatment. At one point in the film, someone says "you must consider him innocent until evidence proves him guilty", but this only applies to the protagonist since everyone else is presumed to be guilty from the get-go without the audience ever seeing or hearing their point of view or knowing why they committed that crime. Furthermore, even though the viewers get to know the verdict, Steve's true impact on the murder remains questionable due to the last couple of flashbacks, which begs the question: "are we really supposed to root for him?"
Rating: C
Things Heard & Seen
(seen 27th April)
Directed by: Shari Springer Berman, Robert Pulcini
Written by: Shari Springer Berman, Robert Pulcini
Starring: Amanda Seyfried, James Norton, Natalia Dyer, Rhea Seehorn, Alex Neustaedter, F. Murray Abraham, Jack Gore
Runtime: 119 min
Synopsis: Catherine Clare (Amanda Seyfried) reluctantly trades life in 1980s Manhattan for a remote home in the tiny hamlet of Chosen, New York, after her husband George (James Norton) lands a job teaching art history at a small Hudson Valley college. Even as she does her best to transform the old dairy farm into a place where young daughter Franny will be happy, Catherine increasingly finds herself isolated and alone. She soon comes to sense a sinister darkness lurking both in the walls of the ramshackle property and in her marriage to George.
Review: Horror is definitely one of my favorite genres. I find this type of film extremely impactful when done right. From sleepless nights to unforgettable images, I can never get enough of horror. However, just like every other popular genre, it reached a point where studios care more about building franchises set on formulaic screenplays than actually delivering original, creative, unique stories. Netflix isn’t known for exceptional horror content, so I was skeptical going into this movie.
Things Heard & Seen may hold a generic premise, but Shari Springer Berman and Robert Pulcini are able to add enough substance to make it interesting. Amanda Seyfried (Mank) and James Norton (Little Women) offer two remarkable performances, portraying two distinct characters that somehow ended up together. Both have their own flaws, but the husband is depicted in such a negative manner that it becomes challenging to follow someone so despicable. The main narrative contains a slight twist on the usual ghost story, making it more than just a creepy jumpscare festival, as well as possessing a particularly violent scene that’s no short of surprising.
Despite the suspenseful atmosphere, the slow pacing drags an overlong film that unfortunately features an underwhelming ending. The beginning of the third act reaches the peak of excitement, boasting attention-grabbing character decisions that will surely raise the entertainment value. Sadly, the mix of feminist themes with the supernatural narrative is far from getting the right balance, ending as yet another horror flick that had everything to be much, much better.
Rating: B-
Stowaway
(seen 22nd April)
Directed by: Joe Penna
Written by: Joe Penna, Ryan Morrison
Starring: Anna Kendrick, Daniel Dae Kim, Shamier Anderson, Toni Collette
Runtime: 116 min
Synopsis: On a mission headed to Mars, an unintended stowaway accidentally causes severe damage to the spaceship’s life support systems. Facing dwindling resources and a potentially fatal outcome, the crew is forced to make an impossible decision.
Review: I’m a genuine lover of every genre in cinema, but sci-fi is one of my absolute favorites. Within this area of storytelling, I find one-location space movies - usually inside a spaceship of some kind - incredibly captivating when done right. Joe Penna (Arctic) directs and co-writes his sophomore film in a challenging environment for any renowned filmmaker, let alone someone who’s starting to build his career. Creating a story and developing it through the same halls, walls, and rooms for two hours is definitely not an easy task if the goal is to convince viewers to stick around until the end. Entertainment and filmmaking-wise, it’s a tremendous challenge.
With that said, Stowaway is the first big surprise of 2021. Penna and Ryan Morrison put together an emotionally compelling screenplay, packed with excruciating moral dilemmas and a career-best performance from Anna Kendrick (A Simple Favor, Pitch Perfect). The actress raises to the occasion of being the protagonist of a movie that also has Daniel Dae Kim (Raya and the Last Dragon, Hellboy) and Toni Collette (I’m Thinking of Ending Things, Knives Out), stealing the spotlight by demonstrating her more dramatic side instead of her comedic comfort zone. Shamier Anderson (Destroyer, Love Jacked) also offers a remarkable display, which will probably catapult him into making more appearances with more recognizable actors.
The trailers might lead some viewers into believing Stowaway holds a fast-paced, entertainment-driven narrative, but the generic yet interesting premise is taken through a much more human, grounded perspective on life’s most complex decisions. With the exception of Collette’s character arc, every other astronaut receives a well-written script that gives them a fully developed personality with a complete backstory and dynamic, authentic dialogues. Unfortunately, even though Collette delivers a fantastic interpretation as always, her character spends most of her screentime talking with a random, invisible Earth engineer in a separate room, almost as if the actress was kept apart from the rest of the cast. The slow pacing is negatively impacted by this questionable narrative decision.
Technically, huge praise to the futuristic set design, which allowed the camera to move across the space station with ease, giving Penna and Klemens Becker (cinematographer) the chance to employ long, tracking shots that help make the atmosphere feel less monotonous. The VFX artists also deserve massive compliments for everything the viewers see outside the spaceship. Gorgeous, wallpaper-worthy images are spread throughout the runtime. The last act features suspenseful, nerve-wracking situations, but most importantly, it possesses an ending that will spark conversation after the credits roll. Is it a predictable, formulaic screenplay? Kind of, but it’s beautifully made by an extraordinarily dedicated, talented filmmaker who I recommend everyone to follow closely.
Rating: B+
French Exit
(seen 1st April)
Directed by: Azazel Jacobs
Written by: Patrick deWitt
Starring: Michelle Pfeiffer, Lucas Hedges, Valerie Mahaffey, Imogen Poots, Susan Coyne, Danielle Macdonald, Isaach de Bankolé, Daniel Di Tomasso, Tracy Letts
Runtime: 110 min
Synopsis: “My plan was to die before the money ran out,” says 60-year-old penniless Manhattan socialite Frances Price (Michelle Pfeiffer), but things didn’t go as planned. Her husband Franklin has been dead for 12 years and with his vast inheritance gone, she cashes in the last of her possessions and resolves to live out her twilight days anonymously in a borrowed apartment in Paris, accompanied by her directionless son Malcolm (Lucas Hedges) and a cat named Small Frank - who may or may not embody the spirit of Frances’s dead husband.
Review: I find surreal comedy one of the most challenging subgenres to appreciate. In my experience, the humor must be pitch-perfect in order for me to actually laugh throughout the runtime of a purposefully absurd film. In addition to this, I need to feel some sort of connection with the protagonist(s). Otherwise, I’ll struggle to truly enjoy the fun inside all the chaos. I’ve never seen a movie by Azazel Jacobs (The Lovers, Terri), who brings the same screenwriter of the latter film, Patrick deWitt.
Michelle Pfeiffer delivers a phenomenal performance, showing tremendous emotional range and an acting experience that allows her to seamlessly navigate any script thrown at her. Ultimately, Pfeiffer proves that she still has what it takes to lead the biggest movies of each year. Unfortunately, I found French Exit an incredibly tough film to enjoy. From the remaining disappointing performances - Lucas Hedges is frustratingly annoying in this role - to the lack of interest in the overall narrative, it’s one of those movies that either the viewers connect with immediately, or it’s not going to be an easy watch.
Surreal comedy implies a nonsensical screenplay, which might trigger some people to dislike it from the get-go. It’s an extremely specific type of humor that doesn’t usually reach big groups of people. Azazel Jacobs brings Patrick deWitt’s screenplay to the screen with remarkable commitment, but in the end, it’s a slow, stretched-out film with not that many laughs to offer.
Rating: C-
Nobody
(seen 26th March)
Directed by: Ilya Naishuller
Written by: Derek Kolstad
Starring: Bob Odenkirk, Connie Nielsen, RZA, Aleksei Serebryakov, Christopher Lloyd
Runtime: 92 min
Synopsis: A docile family man slowly reveals his true character after his house gets burgled by two petty thieves, which, coincidentally, leads him to go to a bloody war with a Russian crime boss.
Review: With exceptional stunt work (Greg Rementer, Dan Skene) and remarkable directing (Ilya Naishuller), Nobody mainly works due to the surprising casting of Bob Odenkirk (Little Women) as the badass yet vulnerable protagonist. Derek Kolstad - creator of the John Wick franchise - basically writes what could easily be characterized as a spin-off of the popular action saga starring Keanu Reeves, which has its pros and cons.
On one hand, the formulaic narrative isn’t unique in the slightest, holding a cliche, weak villain, and a lack of compelling characters besides the main one. On the other hand, it features insanely gory, bloody, well-choreographed fighting sequences, where Odenkirk absolutely shines - the actor performs a shockingly impressive amount of stunts.
Expectations-wise, it offers the high entertainment levels audiences crave, so I can’t help but recommend it.
Rating: B
The Dig
(seen 29th January)
Directed by: Simon Stone
Written by: Moira Buffini
Starring: Carey Mulligan, Ralph Fiennes, Lily James, Johnny Flynn, Ben Chaplin, Ken Stott, Archie Barnes, Monica Dolan
Runtime: 112 min
Synopsis: An excavator and his team discover a wooden ship from the Dark Ages while digging up a burial ground on a woman's estate.
Review: Before watching this film, I had absolutely no idea who Basil Brown (Ralph Fiennes), Edith Pretty (Carey Mulligan), or even Peggy Piggott (Lily James) were and what they did. As an engineer and a science enthusiast myself, I rarely struggle to find some sort of enjoyment in movies based on true stories about scientific discoveries, technological advancements, or impactful historical events. Therefore, despite a premise that doesn't immediately catch my attention, Simon Stone does a wonderful job in making this film quite interesting.
Mike Eley's cinematography produces some of the most gorgeous shots of the year, transforming The Dig into a visually satisfying movie to look at. The main narrative focuses on the excavation itself and the findings of a shockingly old (Anglo-Saxon) ship, which turns out to be more captivating than I ever anticipated. However, the romantic subplot involving Peggy Piggott feels out-of-place and rather dull considering the objective of this film. It really hurts the overall pacing, dragging an otherwise well-balanced flick.
Moira Buffini's already excellent screenplay is still elevated by the remarkable cast. Fiennes (Harry Potter) and Mulligan (Promising Young Woman) share a heartwarming chemistry that really suits their characters. Lily James (Rebecca) also demonstrates her impressive emotional range once again. Overall, I recommend it to any viewer who's interested in knowing more about the real-life story or who's simply a fan of this specific genre.
Rating: B
The Little Things
(seen 28th January)
Directed by: John Lee Hancock
Written by: John Lee Hancock
Starring: Denzel Washington, Rami Malek, Jared Leto, Chris Bauer, Michael Hyatt, Terry Kinney, Natalie Morales
Runtime: 127 min
Synopsis: Deputy Sheriff Joe "Deke" Deacon (Denzel Washington) joins forces with Sgt. Jim Baxter (Rami Malek) to search for a serial killer who's terrorizing Los Angeles. As they track the culprit, Baxter is unaware that the investigation is dredging up echoes of Deke's past, uncovering disturbing secrets that could threaten more than his case.
Review: Boasting some of the worst editing of the last couple of years, John Lee Hancock (The Highwaymen) delivers a Se7en's copycat narrative that lacks the overall interest and impact of the classic film. Despite good performances from the (type)cast, the supposedly mysterious, suspenseful story surrounding a serial killer is just another variation of the same formula people have seen hundreds of times.
Characters, relationships, and plot points are far from compelling, making the whole movie feel extremely forced and somewhat predictable. With no surprise factor and zero innovative developments, the overextended runtime simply becomes heavier and heavier…
An utter waste of remarkable actors.
Rating: D
Locked Down
(seen 14th January)
Directed by: Doug Liman
Written by: Steven Knight
Starring: Anne Hathaway, Chiwetel Ejiofor, Stephen Merchant, Mindy Kaling, Lucy Boynton, Dulé Hill, Jazmyn Simon, Ben Stiller, Ben Kingsley
Runtime: 118 min
Synopsis: Just as they decide to separate, Linda (Anne Hathaway) and Paxton (Chiwetel Ejiofor) find life has other plans when they are stuck at home in a mandatory lockdown. Co-habitation is proving to be a challenge, but fueled by poetry and copious amounts of wine, it will bring them closer together in the most surprising way.
Review: Watching a film set during a global pandemic while actually going through a global pandemic can have a significant negative impact on the viewer, depending on how the latter feels about the real-life problem. Honestly, my expectations were pretty low, but Locked Down is one of the most pleasant surprises I've had the luck of coming across in the last few months.
Steven Knight's screenplay is humorously clever, packed with jokes about humanity's silliest behaviors during a lockdown. From the ridiculously amount of toilet paper rolls to the arguing about the most irrelevant, unimportant things at home, Anne Hathaway and Chiwetel Ejiofor deeply elevate a simple yet entertaining narrative with two incredibly amusing performances. Their chemistry is on-point, and their characters are equally funny. Doug Liman crafted a two-hour enjoyable, inoffensive, mostly realistic story of a couple in need of finding what made them fall in love… at least until the beginning of the utterly absurd third act. Yes, the whole movie follows a generic formula filled with cliches, but the last half an hour switches to a ridiculous heist mission that doesn't really connect with the characters or the story until that point (besides the dozens of logical issues it raises).
Overall, I recommend it to anyone who has a couple of extra hours to watch something light on TV, but if you genuinely want to escape or forget about the current global situation, then maybe it's better to save this one for another time.
Rating: B-
Shadow in the Cloud
(seen 2nd January)
Directed by: Roseanne Liang
Written by: Max Landis, Roseanne Liang
Starring: Chloë Grace Moretz, Taylor John Smith, Nick Robinson, Beulah Koale, Callan Mulvey
Runtime: 83 min
Synopsis: In the throes of World War II, Captain Maude Garrett (Chloë Grace Moretz) joins the all-male crew of a B-17 bomber with a top-secret package. Caught off guard by the presence of a woman on a military flight, the crew tests Maude's every move. Just as her quick wit is winning them over, strange happenings and holes in her backstory incite paranoia surrounding her true mission. But this crew has more to fear... lurking in the shadows, something sinister is tearing at the heart of the plane. Trapped between an oncoming air ambush and an evil lurking within, Maude must push beyond her limits to save the hapless crew and protect her mysterious cargo.
Review: I consider Chloë Grace Moretz (Greta) one of the best actresses of her generation. I would be pretty surprised if she doesn't get at least an Oscar nomination in the next ten years. While it's true that her choices don't always end up being good movies, she's rarely the one to blame when things don't work out. In Roseanne Liang's film, she's undoubtedly the glue that holds everything together. Moretz perfectly handles what it's close to being a solo movie - she's literally stuck inside a tiny turret - demonstrating extraordinary emotional range.
For most of the runtime, the viewers are placed inside a claustrophobic place, watching the protagonist communicate through radio with the other crew members, who so happen to be extremely sexist, annoying male characters. While I do understand the intent behind this character archetype, it becomes so on the nose that it almost makes the director and her co-writer, Max Landis, the ones who seemingly never met any other type of army men. The narrative holds so many distinct ideas that go from a monster flick to a war drama, and their balance is all over the place, just like the score (Mahuia Bridgman-Cooper).
Once the mystery surrounding her package is revealed, and the action sequences start taking the front stage, the story takes a huge leap into the utterly absurd. From one of the most shockingly hilarious uses of an airplane explosion to the unbelievability of everything that happens in the third act, it isn't easy to shut down my brain when the film until that point was going more for the grounded depiction of how it is to be an isolated woman in the Air Force than a straight-up sci-fi/monster/action flick.
Despite all that, I can't deny its entertainment value and the exceptional lead performance.
