CRIMES OF THE FUTURE (2022)

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Written & Directed By: David Cronenberg 
Cinematography: Douglas Koch
Editor: Christopher Donaldson 

Cast: Viggo Mortensen, Lea Seydoux, Don Mckellar, Kristen Stewart, Scott Speedman, Nadia Litz, Lihi Kornowski, Tanaya Beatty, Weller Bungue 

As the human species adapts to a synthetic environment, the body undergoes new transformations and mutations. With his partner, Caprice, Saul Tenser, a celebrity performance artist, publicly showcases the metamorphosis of his organs in avant-garde performances. Timlin, an investigator from the National Organ Registry, obsessively tracks their movements, which is when a mysterious group is revealed… Their mission – is to use Saul’s notoriety to shed light on the next phase of human evolution.

The film feels like director David Cronenberg chooses to begin the movie with a shock in the middle of beauty. As it shows how quickly things can go from simple to shocking. Which is to prepare the audience for what comes after and throughout. Even though the rest of the film is similar in quality though some might turn away because of the more graphic scenes. The film never feels like a horror film.

Not really a horror film. As it does involve what could be considered body horror even though in theory it does explore a society where bodies can create phantom limbs. Extends more into science fiction and in exploring that phenomenon where it is special but a little more commonplace. Thought leans itself towards science fiction or more hardcore fantasy as it does build not only a world only bit in visuals but more in small details that makes it more intimate and more disturbing how close it can be to more of a civilized reality in design. Which is a marvel In itself.

So that while the film might be disturbing to some. It never quite reaches the heights of disgust, but as with most David Cronenberg films, there is a sensational aspect that tries ti be subtle. That for some might be lightly provocative  but feels more there ti be provocative but that factor is more the director every day and for his audience, it might actually feel aggressive 

It tries to go to some extremes and while it might shock some audience members for Cronenberg’s fans or those used to his movies. It comes with the territory. If not expected when it comes to his films. If anything it is more shocking when his films are lighter or shows restraint. This isn’t a man you expect to take the road or provide any out-and-out comedy from.

The film for all of its raciness still strangely feels a bit tame, Never as exciting as it lets on or seems to be headed. Even one of the biggest stars in the movie comes off as more goofy than credible or irritating. 

Lea Seydoux is committed to her role and truly gives her all. One of her most expressive English language roles. She also adds a kind of European oddity to this artistic expenditure. She also adds a memorable nude scene. 

Cronenberg’s expression of ideas and imagination always seems to provoke. Who might believe he is out to shock though here it seems done to build a world.

One can’t say that they understood everything. Though you go with it as it keeps you invested, especially visually. As the effects are simple yet effective. It could be his presence his story and the effects matter of fact or rather than aiming to disgust 

The film does succeed in building a world where all of this is a result of one another.

The film feels experimental in lotus ten Stewart’s performance. As the rest of the film feels assured.

Not as shocking, not sure if that is due to what he has done before and we are used to it, or in this climate, it’s more here to shock us or move us. 

As this film feels more like a presentation than anything else. The film never quite feels full or it feels like a beginning to something but not a thorough ending. 

Grade: B-

BABY BLOOD (1990)

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Directed By: Alain Robak
Written By: Alain Robak and Serge Cukier 
Cinematography: Bernard Dechet 
Editor: Elizabeth Moulinier 

Cast: Emmanuelle Escourrou, Christian Sinniger, Jean-Francois Gallotte, Roselyne Geslot, Francois Frapier, Thierry Le Portier 

When a strange creature crawls into a woman’s uterus she becomes a killer in order to feed the tiny terror growing within her.

This is one of those movies that came from nowhere for fame. I had never previously heard of this film and decided to take a chance at it. While scrolling through Shudder.

This Is definitely a film made for horror fans. The theme of this film seems to be literally at first men’s horniness will be the death of them. Most don’t come off well throughout the film.

As the lead female played with total commitment and energy by Emmanuelle Escourrou.  who gets infected by this parasite at first is reluctant to go through with what the parasite is forcing her to do. Working her way as a seductress to entice more victims. As she already had men all over her, even when not trying, though she was in an abusive relationship and the one man she wanted to have no interest.

The parasite in her uterus wants her to kill but not for blood or the remains. The film never seems to answer the reasons why. Just the act sets this film apart from similarly themed films in its wake like GRACE or PREVENGE.

As the parasite grows into a baby after sex and while psychically communicating and controls her more through pain and threats. So it’s almost like she is in an abusive relationship again. 

The film presents the killings not from a need, not from a maternal instinct of trying to help her child survive. As it says it wants blood but we rarely see her take it. 

The first half of the film is presented episodically like short stories of her next kill. While still on the run. 

The film offers plenty of nudity and some sex, but it’s never quite erotic, exotic, or sexy. The filmmakers do have some artistic tendencies in the film, but it seems like with a Troma Studios-type budget. That ends up having the movie feel slightly exploitative. 

The film at times feels quite silly, but it never lets loose to have fun with its wacky premise.

The film never goes where you expect. As once you believe you have it figured out. It goes another way.

GRADE: B

WATCHING THE DETECTIVES (2007)

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Written & Directed By: Paul Soter 
Cinematography By: Christophe Lazenberg 
Editor: Jeff Canavan 
Music By: Nathan Barr 


Cast: Cillian Murphy, Lucy Liu, Jason Sudeikis, Heather Burns, Ali Reza, Steve Lemme, Erik Stolhanske, Brett Gelman, Callie Thorne, Josh Pais, Lonny Ross, Paul Scheer, Josh Gad

Neil, a self-proclaimed film geek, and owner of Gumshoe video, has always been content to live vicariously through his favorite film noir. But when he meets Violet, a real-life femme fatale, his mundane world gets turned upside down and the line between reality and the movies quickly begins to blur. Will Neil step up and embrace a life full of adventure or retreat back to his comfortable couch?

The title of the film is taken from a 1977 Elvis Costello song, from the album “My Aim Is True”. An offbeat romantic comedy with Cillian Murphy whose character runs a video store. When one day Lucy Liu comes to rent some films. Through a matter of cons. She gets him To take her out to dinner, throughout the rest of the film they date and get to know each other. The only problem is, she is always coming up with elaborate situations and stories to test his reactions. Soon he can’t tell what is real and what’s make-believe. This is an interesting concept pulled off somewhat successfully.

I like this movie and I could have given it a better grade. The premise is unpredictable ad constantly keeps you on your toes, but it comes off for some reason rather bland

It just feels like it never truly comes alive as much as it could. Especially with so many recognizable names cast. If it had been made more with lesser-known actors it would be excusable and charming, but watching it you have a constant feeling that everyone knows better.

The movie ends up feeling like it never reaches its full potential. Not because of its low budget but maybe. Like ALLY MCBEAL some things seemed quirky for no other reason than just to be quirky. Also, some scenes just seem to lay there limp, but for a movie that’s so quirky the supporting characters could have been a bit more interesting. Or at least better dialogue. I liked them but there really seemed to be no reason for them or they didn’t feel like complete characters. They could have been extras who showed up that day and got lucky.

The film is an offbeat romantic comedy. It’s like a subdued screwball comedy. Situated in the real world.

Cillian Murphy is a good actor but I don’t know if the role was underwritten or he worked with what he had or was internationally trying to underplay his character to be more subtle, but he seems iffy miscast. Lost when not having any motivations or maybe an actorly distraction. His character needed to be a little more broad.

Lucy Liu though is a doll not totally a manic pixie dream girl, but a bored dream girl looking for an adventure and doubling as a femme-fatale for a mystery she is creating. I’m happy to see her change up her roles. Playing more softer, nice, happy characters. Instead of the ice queens, she usually has played to perfection In the past. I really like her as an actress and feel she deserves more work.

I know it sounds like I’m bad-mouthing the film but I liked it. It’s probably more me. I just expected more from it.

The film’s director Paul Soter is a member of the comedic improv group Broken Lizard who made the films SUPER TROOPERS, CLUB DREAD, BEERFEST,  and THE SLAMMIN SALMON. So we know he knows comedy as being funny on fact 2 other members Steve Lemme and Erik Stolhanske of the troupe make cameos. His direction is subtle, but needs to be a bit more colorful and pick up the pace, it’s a good movie definitely one you should check out

Grade: C+

NOTHING COMPARES (2022)

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Directed By: Kathryn Ferguson 
Written By: Kathryn Ferguson, Eleanor Emptage and Michael Mallie 
Cinematography: Luke Jacobs 
Editor: Mick Mahon 

The story of Sinéad O’Connor’s rise to worldwide fame, and how her iconoclastic personality resulted in her exile from the pop mainstream. Focusing on prophetic words and deeds across a six-year period (1987-1993), the film reflects on the legacy of this fearless trailblazer, through a contemporary feminist lens.

This documentary offers a deeper look at Sinead O’Connor, especially if like me you only know her from her hit single NOTHING COMPARES 2 U (written by Prince. Whose estate refused to let it be used in this film) and tearing up a picture of the pope, live on SATURDAY NIGHT LIVE.

The film offers a biography of sorts that chronicles her life and career pretty much up to the point of the infamous incident. It shows her during the backlash and a little after. Where we are told she survived but never quite goes as in-depth as it does with her earlier life.

The documentary does not feature talking heads interviews. It’s more narration by various friends, family, associates, and herself. As well as old interview snippets and performances. It definitely helped me to discover more about her. As well as illuminate her beliefs and music.

She deserves more respect. What she did then might be shocking but not as controversial today. As she was truly trying to open the audience’s eyes to the abuses of the Catholic Church. Especially when it came to priests who were accused of sexually abusing children and just got reassigned. There were other issues, but at least the documentary tries to vindicate her or pays attention to her side.

The most dramatic moment is her getting booed at the Bob Dylan memorial concert. As she faces the crowd acknowledges them and performs sting and defiantly. Which she has always been even when it came to her getting a contract and the release of her first record 

The documentary not only opens your eyes but adds a new respect for her. Immediately afterward you want to check out her music. As you hear so many songs that you never realized 

She had or was so good. As she always seems to be a person who sings with passion and feeling. No songs are filler or throwaways. 

This documentary is done so well and so intimately. Whoever watches it will be enthralled and sympathetic. 

Grade: A

JARHEAD (2005)

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Directed By: Sam Mendes
Written By: William D. Broyles Jr. 
Based on the book By: Anthony Swafford 
Cinematography: Roger Deakins 
Editor: Walter Murch 

Cast: Jake Gyllenhaal, Jamie Foxx, Peter Sarsgaard, Lucas Black, Ming Lo, Brian Geraghty, Scott Macdonald 

A psychological study of Marine’s state of mind during the Gulf War. Told through the eyes of a U.S. Marine sniper who struggles to cope with boredom, a sense of isolation, and other issues back home.

This film is a visually stunning coming-of-age story set in the armed forces. That might be a great Anti-war film in itself. As it shows men who believe in their country and want to go to war to defend it, but not that much happens as there is no war really going on. So we see the rigors of the day-to-day life of the platoon and how they slowly become disillusioned.

Though there are still plenty of stories to tell as we get more into their backgrounds and day-to-day lives. Much of it seems like much ado about nothing.

That provides a portrait of the rage and frustration of a group of soldiers. Who joined up looking to spill blood and kill but rarely ended up seeing any action. So they end up trying to find outlets for their aggression. 

Jamie Foxx plays their angry commander. Who is also looking for glory days, but keeps coming up short. 

While feeling the soldiers’ frustration is the film’s aim. You also feel frustrated with the film at times, for while it is vivid, barely anything happens.

So it ends up becoming a character study that truly only explores two characters deeply. Those played by Jake Gyllenhaal and Peter Sarasgaard. As the rest are more comedic.

So that the film offers a grand scale presentation and dark comedy throughout. Though more built around its star.

Despite all this, the film manages to make a small impact, more than some other films about the military or even war. The movie CHERRY with Tom Holland comes to mind. Even if at times it feels like it is presented as pop art of military life. Like a modern-day CATCH-22 only not as deep. 

As the film is based on a book, really a memoir by the author of his time in the armed forces. So that it becomes a character study of the situation of the young man. The deprivation he experiences through it all. It seems more about the frustration of joining, thinking you will be a hero and make a difference, and then coming back home feeling like a failure and that you really had no impact. Though still a one-of-a-kind experience of male bonding. 

Grade: C+

THE BOSS (2016)

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Directed By: Ben Falcone
Written By: Steve Mallory, Melissa McCarthy & Ben Falcone
Cinematography: Julio Macat 
Editor: Craig Alpert

Cast: Melissa McCarthy, Kristen Bell, Ella Anderson, Tyler Labine, Peter Dinklage, Kathy Bates, Cecily Strong, Kristen Schaal, Annie Mumolo, Dax Shepard, Ben Falcone, Margo Martindale, Michael McDonald, Cedric Yarbrough 

A titan of industry is sent to prison after she’s caught insider trading. When she emerges ready to rebrand herself as America’s latest sweetheart, not everyone she screwed over is so quick to forgive and forget.

A kind of comedic take on money managers and lifestyle icons. That is a pure comedy even if at times it might come off as a spoof that thinks It’s a satire. 

This is one of those films that checks your brain at the door. As it is silly and never truly takes itself seriously and that is what is enjoyable about the film. You know what you are going to get. while you enjoy how you get there. 

Another fact of the fun is that it’s another role for Melissa McCarthy where her character is silly but not stupid. So that there is a brain in her character and can be witty while doing over-the-top physical comedy. Surprisingly one of her better films where she isn’t annoying or gets tired of her character swiftly. 

Though not one of her most memorable comedies. I think this is truly an unsung movie and performance and put it up as a favorite and one of her better ones.

She is the center of attention but Kristen Bell is the one who has more of the story and who you root for. Whereas McCarthy is the one who breaks it all up with her behavior and bad decisions. As she lets loose and lets everything fly. Mrs. Bell is more the straight woman with the responsibilities and gets more of a romantic storyline to boot 

As the comedy is sedate yet can be raunchy as it is another film where half the fun is watching at times the child characters act more responsibly than the adults but also watching kids behaving badly and with the foul language they shouldn’t even know. 

Having Peter Dinklage here as the villain is a stroke of genius as he truly gets to cut up and be just as silly. 

The film has a sweetness that Even when the film passes over into rated R, territory.  It feels a little shocking but tries to stay in line with a more general audience feeling.

GRADE: C+

LITTLE BLACK BOOK (2004)

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Directed By: Nick Hurran 
Written By: Melissa Carter and Elisa Bell
Cinematography: Theo Van De Sande
Editor: John Richards 

Cast: Brittany Murphy, Holly Hunter, Ron Livingston, Kathy Bates, Julianne Nicholson, Kevin Sussman, Stephen Tobolowsky, Rashida Jones, Josie Maran, Sharon Lawrence, Cress Williams, Yvette Nicole Brown, Jason Antoon, Gavin Rossdale, Dave Annabale 

A woman snoops through her boyfriend’s palm pilot and reveals his former girlfriends, which causes her to question why they’re still listed in his little black book.

This could have been an effective comedy. If it maybe had gone more silly, slapstick and screwball. As the film has an interesting premise though film offers very little follow-through on that promise.

This plays like one of those disposable movies. One where you can tell everyone involved put in a minimal amount of effort to earn their paychecks.

The late Brittany Murphy seems like she is too tired to put up much energy or even too much of a performance and seems to be just coasting on her cuteness here like a young Sandra Bullock. As we know she can do better than what she can usually do with a role like this. She just seems like she is held back here. In one of the few starring roles, she got she never seemed to showcase what made her so endearing in her supporting roles. 

Ron Livingston’s character is supposed to be this dream boyfriend, but he comes off as charmless.

The talk show she works on is horrible. The way it ties into the story could have been used more creatively.

The film isn’t even really a romantic comedy it’s more a character comedy where an annoying woman learns that feeding her fears will only lead to the worst possible scenario and has to learn self-worth. That she is enough and that anyone she is I. A relationship is lucky enough to have her and also for her to be not as trusting. 

In the end, the film just seems to be about manipulation and treachery. The characters of his ex-girlfriends are one-dimensional and come off as cruel caricatures except for Julianne Nicholson’s character. Who also wisely gets most of the screen time. She comes through as a real character even though they seem to be setting her up as a victim. Maybe if the roles were reversed and the movie was about her and Brittany Murphy’s character was one of his exes. This would have worked but alas there One goes thinking again.

Here was a chance to make an original comedic character or an original romantic comedy with some satire about media and models. As even the model ex-girlfriend never comes off as a girlfriend more like a one-night stand or friend with benefits, but certainly not a girlfriend. The less said about Rashida Jones’s character of the gynecologist the better.

Even the ever-dependable holly hunter is a let down maybe because her last-minute character ark is surprising but truly comes from nowhere. Maybe it’s because she wasn’t directed to play a believable person, More a plot point and the script is so haywire her character is like crossed wires short-circuiting.

What is most disappointing is that the film has a heavy-hitting cast and the material is so forgettable and seems more of the time. That it seemed outdated by the time it hit theaters.

Here was a chance to make a slapstick film with elements of the hardships of women working in the industry and being successful and in the end, it became more about jealousy and backstabbing to a degree.

This Movie Is A definite skip. The only reason it’s not a complete failure was Julianne Nicholson’s character who Deserves better the character and the actress.

Grade: F

EMPIRE OF LIGHT (2022)

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Written & Directed By: Sam Mendes 
Cinematography: Roger Deakins 
Editor: Lee Smith 

Cast: Olivia Colman, Michael Ward, Colin Firth, Toby Jones, Tom Brooke, Tanya Moore, Hannah Onslow, Crystal Clarke, Monica Dolan, Rob Cook 

Hilary is a cinema manager struggling with her mental health, and Stephen is a new employee longing to escape the provincial town where he faces daily adversity. Together they find a sense of belonging and experience the healing power of music, cinema, and community.

This is pretty much what a prestige film is these days. An acclaimed director with a noteworthy cast. Offers a slice of life here a semi-autobiographical tale. That includes social issues, romance, and mental illness. As well as it is a character piece and a period piece.

This is also a love letter first and foremost it is the magic of Movies and their presentation houses. Theaters are treated like not only churches here but castles with many hidden passages and discoveries to be made.

The main story involves characters who are misfits in some way or another and considered different who find each other and inspire one another to be brave and believe in themselves and engage more in life.

While the romance feels a little far-fetched the performers make it believable. As the racial prejudice the film. Deals with is an issue that is dealt with wholeheartedly in one scene showing the ugliness and senseless violence it inspires and lives in. Though the scene should feel mroe powerful and better put together. It is a showpiece but Never quite has that energy. 

In fact, an earlier scene with a disgruntled grumpy customer has more tension and says more than the mini-riot scene. 

As usual, the film is beautifully filmed. As that might be sort of the problem. It is beautifully presented and is gorgeous on its own, but it’s never quite as deep as it should be. That it feels more like a showpiece. That has a bunch of intentions but never quite feels natural. It always feels like a production and you can see It’s Directions and manipulations. That comes off a bit corny and too idealistic.

Olivia Colman gives a good performance but again it feels like a performance that she has been there and done. Though she is the most memorable in the film. As she is pretty much one of the leads.

Michael’s award offers youth, innocence, and some charisma. I only wish the film would allow him to be a little more lively and less passive all the time. It is understandable in that climate why he might want to be, but he is also young and only wants nice does he show that righteous anger. 

Colin Firth has a smaller supporting role and it seems as he gets older and once he won the Oscar. A lot of his roles are like this kind of an in-and-out. He is a major character in the story but only comes around when it needs him or he is available. He never seems to be in the leading roles he used to. He is a vital part of things but seems to be cameoing

This is a film foremost for people who love movies. The presentation and magic behind the scenes as well as in front.

As this film presents movie theaters and movies in a way that I have been talking about for years in writing and in conversations, but this film diverges in a different path. While still subtly spouting the gospel. 

It can feel like a religion. As you base a lot of faith into these escapes and wish fulfillment 

It also feels like after covid a kind of statement to show how beautiful and one-of-a-kind movie theaters are and that we should take full advantage of them to keep them here and alive. As streaming takes over and business practices theaters are trying to implement more to stay afloat financially are shooting themselves in the foot and really doing a disservice to the fans that still attend movies at theaters. It feels like a shakedown for staying faithful. 

It’s a film you will enjoy though you might not take to heart as much as the film intended. 

Grade: B-

GREATFUL DEAD (2013)

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Directed By: Eiji Uchida
Written By: Eiji Uchida and Etsuo Hiratani
Cinematography: Shin’Ya Kimura

Cast: Kumi Takiuchi, Takashi Sasano 

Nami is a young woman with numerous hangups sprouting from a dysfunctional childhood. She inherits a small fortune that allows her to pursue various interests, many of which are abnormal.

This film is definitely the work of a singular vision of director Eiji Uchida 

This is a strange character piece about a girl so encased by the loneliness that she takes to watching people not ordinary people but people who are on the outs of society and seem to have been broken or rail against the Norm.

She ends up Also giving them chances at life. As her main subject not only seeks to revitalize his life before she injects herself into it but also gives him something to love when she attacks him and tries to kill him for making a connection. She also brings him back to his war days as just trying to survive.

The film offers a few surprises such as their past together and some unsettling scenes of her trying to sexually assault him.

Though the film also seems to have something to say about religion how for some it is a savior and for others it is a tool of resentment 

This film is definitely a conversation starter if you make it through as it is at times too intense for some and maybe a little too slow for others 

There seems to be a fetishism in effect, you just keep waiting for it to surface but alas it never quite does fully. Though it does go there more than his later film LOVE AND OTHER CULTS, which may compare to the movie LOVE EXPOSURE, Which is itself a love story built around fetishes.

Until then the film stays subdued but creepy. You wish we could learn more about some characters on the sidelines. As the film is definitely a character study.

Like the lead female character likes to play games and put everything in its place.

Grade: C+

THE INVITATION (2022)

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Directed By: Jessica M. Thompson 
Written By: Blair Butler 
Cinematography: Autumn Eakin 
Editor: Tom Elkins 

Cast: Nathalie Emmanuel, Thomas Doherty, Sean Pertwee, Hugh Skinner, Carol Ann Crawford, Alana Boden, Stephanie Corneliussen, Courtney Taylor 

After the death of her mother and having no other known relatives, Evie takes a DNA test…and discovers a long-lost cousin she never knew she had. Invited by her newfound family to a lavish wedding in the English countryside, she’s at first seduced by the sexy aristocrat host but is soon thrust into a nightmare of survival as she uncovers twisted secrets in her family’s history and the unsettling intentions behind their sinful generosity.

This film was spoiled a bit by its own studio with a trailer that pretty much told you all you needed to know. A lot of the major story points. 

This film is giving an early 2000’s vibe. Especially the soundtrack. It is essentially a popcorn film and never truly tries to sell it as anything more.

The only reason I had any major interest in the film is its star Nathalie Emmanuel and this film is one of the first and only times I have seen her playing a lead role.

She looks great in every scene. Even if the film leaves her with not too much to work with, that could be seen as challenging. 

As the film tries to have some meaning and ends up having no depth or reason. As it seems to know its place and is nothing more or less.

You know it will be playing on cable, television, and streaming repeatedly as filler.

The film looks good, Shining, polished, and expensive. As it feels at times almost like a harlequin English romance. Like the epitome of class even if simple and stereotypical. As it tries to be about race but seems to be more about class 

Though loved the character of her best friend played by Courtney Taylor, needed more of her. Luckily the filmmakers knew that and rightfully brought her back.

The film offers African Americans in major roles in a horror film and offers a person of color in the lead.

Watching this movie it’s obviously made for younger audiences. Like it works It’s way around more mature subject matter for teens. As we never quite see too much, only the aftermath and hints or glimpses. Even if as a PG-13 movie there is only one use of the F-Word. At least it goes with a good line. 

The action could be a bit more exciting. Though it tries to stay as a thriller more.

The film is fashionable but never quite stands out. As it tries to be modern Victorian at times. 

The film offers characters reading into other people, particularly beautiful ones. How you want or expect them to be. 

The film at times seems more race-based. As the film slightly treats her like she is a slave or an escaped one. Even with a lack of characters of color other than two actresses.

Though it does leave the audience to cheer more for her as a person of color. Many seeing representation on screen take it a little more personally.

Grade: C