Tag: 2022

ORPHAN: FIRST KILL (2022)

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Directed By: William Brent Bell
Written By: David Coggeshall
Story By: David Leslie Johnson-McColdrick 
Based on characters created By: Alex Mace
Cinematography: Karim Hussain
Editor: Josh Ethier 

Cast: Isabelle Fuhrman, Julia Stiles, Rossif Sutherland, Hiro Kanagawa, Matthew Finlan, Samantha Walles 

After orchestrating a brilliant escape from an Estonian psychiatric facility, Esther travels to America by impersonating the missing daughter of a wealthy family.

A movie where It’s surprising success got a sequel or prequel trying to open it up into a franchise that is not needed or truly asked for.

So while it could easily be written off there is an attempt here that makes it not necessarily feel cheapened but an attempt to Make Something worthwhile.

While not great at least it tries not to be as surprising as the original but still manages to keep up the suspense and thrills. Now we are more in on the surprise to see how she works to stay ahead of those who suspect her and keep manipulating those around her. 

The second half of the film or truly the last third offer up a twist that is unexpected like the original, but enlivens the movie so that it doesn’t feel like more of the same. It makes the film worthwhile, adding a dimension you’re not expecting.

It has Villains underestimating each other until a confrontation is needed to show dominance. Where the film tries to make us have sympathy for a sociopath to a degree. Which began with showing how vicious she can be.

While the movie is certainly brutal to show the viciousness and evil it never feels unnecessary. 

Julia Stiles in yet another horror extension, but at least she is very good in this one and can understand why she choose this role. Reminds you of how good she can still be when given the right role 

As always in these movies the black character already suspects something is up And can see through the facade. 

The film makes every scene look hazy most of the time. Almost wish that this was a Brian DePalma movie.

How do you do that by having a psychopath go against people who are much worse?

A Little cheesy but worthwhile as it stays entertaining for the most part even if at times it feels trashy with a delectable shiny sheen and gloss Also shows how she knows she will never be accepted.

Maybe this sequel feels so good and refreshing as most likely going in you aren’t actually expecting as much especially when it comes to quality.

A prequel origin story where we learn the details of the fate of the characters we vaguely hear about in the first film. 

It gets very campy 

Grade: B-

FURIES (2022)

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Directed By: Veronica Ngo 
Written By: Veronica Ngo, Nha Uyen Ly Nguyen, Nguyen Truong Nhan, Ngu Yen Ngoc Thach and Aaron Toronto Cinematography: Phunam
Editor: Nguyen Cong Dang

Cast: Dong Anh Quynh, Toc Tien, Thuan Nguyen, Rima Thanh, Song Luan, Gi A Nguyen, Thanh Nhien Phan 

A mysterious woman trains a trio of girls to take revenge on a criminal gang that abuses females. The three lady warriors risk everything to challenge this corrupt empire.

This film could have almost been nicknamed GET ‘EM GIRLS. 

Now this film doesn’t reinvent the wheel. As it pretty much is predictable and you have seen it before. It does offer excitement as you watch it and tries to provide some twists and turns of its own.

This is the first female action-oriented film that I have truly been impressed by since CHOCOLATE. This film offers female action heroes and feels like a mixture of a revenge tale with parts of  CHARLIE’S ANGELS & GUNPOWDER MILKSHAKE. Though luckily without as much humor as those films and less gunplay. As there are guns involved but this is more hand-to-hand combat with machetes and steel pipes. Think DAREDEVIL, the series’ action scenes.

So the film is a bit more vicious than expected. 

The third act of the film feels like a video game with a henchman who looks like he came out of one. This goes along with the cartoonish main villain whose real danger is the threat from those who follow him in force.

Other than actually being a dangerous fighter on his own. Where the audience questions why they follow him in the first place then.

It even offers some drama just to up the stakes and meaning In These fight scenes.

The film is well-directed and has a danger to it. Like the other films I compared it to, it has a little gloss and lots of filtered and neon lighting. That leaves the film with plenty of styles. 

Grade: B-

WATCHER (2022)

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Written & Directed By: Chloe Okuno
Based on a Screenplay By: Zack Ford 
Cinematography: Benjamin Kirk Nielsen 
Editor: Michael Block 

Cast: Maika Monroe, Karl Glusman, Burn Gorman, Madalina Anea, Daniel Nuta, Stefan Iancu 

A young American woman moves with her husband to Bucharest and begins to suspect that a stranger who watches her from the apartment building across the street may be a local serial killer decapitating women.

The film offers no real thrills or chills. Though it looks great visually. 

The film never lived up to the potential that it seems to set up. Though it finally comes alive in the final 15 minutes. Which is when we believe it is over. Then it seems determined to try and surprise us finally.

The ending feels a bit tacked on in the final Minutes. Downtrodden and stronger but killer wouldn’t be able to get away. As this has to make sense or have a payoff for sitting through all of this.

It’s a consistently sad film though nothing throughout makes you care or endears her to the audience other than she is the protagonist and a human being. 

As the film plays heavily into the cliche belief that the lead is seeing things or losing her mind rather then what she sees’s being real and believed. So that it almost plays like a drama more than anything. 

As the film immersed us in her situation and world which is foreign to her and us.

This feels like a Brian DePalma movie without the inventive cinematography 

Though if you are a fan of actress Makia Monroe, we are with her through most of the film. Plenty of shots of her looking beautiful her wardrobe was immaculate 

This is more of a film you gaze at that could be played in the background. You would study it for its Look and shots. Nothing much of note happens.

It does offer up that common fear of being a stranger in a strange land and being alone. Yet when you should feel safe not truly feel that way. As there is always a creepy element or even a person who personifies that feeling. No matter how lavish the surrounding.

In the end, it’s a little predictable and pretty traditional. While there is something special here in its sharp direction. It never rises to the greatness it could have been. Even with an ending that tries to make up for all the slower pace in the beginning.

Grade: C+

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-

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

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-

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

MARGAUX (2022)

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Directed By: Steven C. Miller 
Written By: Chris Bayrooty, Chris Siverston and Nick Waters
Cinematography: Neil Cervin 
Editor: Greg MacLennan

Cast: Madison Pettis, Vanessa Morgan, Jedidiah Goodacre, Phoebe Miu, Jordan Buhat, Richard Harmon, Susan Bennett, Lochlyn Munro 

A group of college friends rents a smart house for a weekend of partying. Later, they start to realize that Margaux, the house’s super-advanced AI system, has sinister designs for them.

This feels like in the old days a horror film that almost feels like a quickie. It seems easily thrown together and then find photogenic good looking people that are usually teen stars or on a popular teen show at the time and cast them.

As here the cast is quite good looking and most of the female characters are never nude but half-dressed through the second half of the film in clothing that offers ample cleavage since it is mostly filmed in one location it comes across that most of the budget was spent on special effects.

It also feels like what I call a level one or introductory horror film for those scared or nervous when watching horror films. As it has a light touch there are only two truly gory scenes throughout that would disturb a younger audience. Though plenty of things that would keep this a little out of reach for a younger audience.

Though the ultimate plan seems to make no sense. 

The one character they build up to be the one you might really want to see perish. Try to make them likable so much so that she. She goes it is really out of nowhere and the easiest death, but knowing her character is a crowd pleaser they manage to bring her back for bigger and better.

The movie does offer a diverse cast and most Fit into a recognizable stereotype. While the film offers some Dark humor and hilarious one-liners. As actress Vanessa Morgan in her performance and character is by far the scene stealer. 

It does offer a heartbreaker of an ending 

Grade: D

DEADSTREAM (2022)

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Written, Directed & Edited By: Joseph Winter & Vanessa Winter 
Cinematography: Jared Cook

Cast: Joseph Winter, Melanie Stone, Jason K. Wixom, Pat Bennett, Marty Collins 

A disgraced internet personality attempts to win back his followers by live-streaming one night alone in a haunted house. But when he accidentally pisses off a vengeful spirit, his big comeback event becomes a real-time fight for his life.

This film was an unexpected joy. At first thought, it was going to be a straight-out horror film and it ended up being more of a horror-comedy. Though truthfully more of a comedy set in a horrific setting.

The film mixes media into the story well. Not really satirizing but putting an influencer into the typical haunted house-type film. Which allows for a P.O.V./Found footage. 

At first, the jump scares are set up by the influencer but as the film goes along the film provides its own.

The film shows the characters’ vapid true colors as the movie goes along. As he makes all the classic mistakes one shouldn’t in a horror film. Yet inevitably do. Here it is more explained to provoke the action. Hence content that is creepy mixed in with a sense of unnerving and gets freakier as it goes along. 

Being informed by his audience along the way for discoveries. So that it is not the one-man show that it seems like it will be at first. As the film at times, the film might remind the audience of EVIL DEAD 2. Only not as big or accomplished but a good try in their own right 

The film’s star is also the director who does a good job and is believable. Because of the design of the film, it allows him to direct and film while still being in the film and In control. 

The film is especially impressive for its low budget and what it does with it. As it stays inventive throughout. Keeps it interesting even when it seems like it is going to end at times earlier than it should. 

It offers laughs, scares, and at times general creepiness.

It follows a three-act structure that seems to be ALONE, COMPANY, and then ALONE again. 

A great come out of nowhere film that needs to find a bigger audience. 

Grade: B

I LOVE MY DAD (2022)

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Written & Directed By: James Morosini  Cinematography: Steven Capitano Calitri Editor: Josh Crockett

Cast: Patton Oswalt, James Morosini, Claudia Sulewski, Amy Landecker, Lil Rel Howery, Rachel Dratch, Ricky Velez, Sarah Helbringer 

A hopelessly estranged father catfishes his son in an attempt to reconnect.

This film is supposedly based on a true story and if that is a fact. This Is either a brave admission that I am sure has been somewhat exaggerated to a degree or a rather genius demented dark comedy. 

The film sounds interesting to most until they actually see how it is affecting both characters. Sure it’s helping the son and the father-son relationship, but It’s built on lies and bad communication that isn’t malicious. It’s more desperate and misdirected though for a reason.

So that towards the end you care for everyone involved even the ones affected inadvertently. We are allowed to see glimpses of play out. As you know that they’re nice the truth comes out and it must. It will feel more like a horror film.

An aspect that one admired about the film above all else, is the way that it integrates the text conversations into seemingly more face-to-face conversations. So that the audience isn’t left exclusively trying to read the screen during half of the film. Allowing the scenes and scenarios an extra dimension and a new level of compatibility for the characters. As well as comfort.

As it also gives us a glimpse into inner thoughts. While reminding us how disturbing the situation is. Like when sexting owns another. 

Though it might be that new filmmakers who grew up with texting being practically second nature have figured out how to creatively make it work and have it especially work for them

As with most dark comedies it does end with hope. Even though most of the film, there is discomfort.

It’s nice to see Patton Oswalt in more of a leading man role again. That actually seems to fit him. As with him, you believe everyone in their roles. 

You have to believe James Morosini, as he is the writer/director that this all happened to supposedly in real life. So essentially playing himself.

Makes you wonder what he will have next up his sleeve or is this a one and done and just wanted to get his personal story out there. 

Some little tidbits you are left to wonder like was the son socially awkward before going to the Mrs tap hospital or just after his breakdown and is it directly due to not having a male figure around? 

The film even with its freaky subject matter is never mean-spirited and offers more of a gentle touch. As this might remind some of the movie WORLD’S GREATEST DAD though that film has Its Strengths. Most of the characters in that film were unlikeable and had an agenda at some point. So that it came off as cynical. It would make a good double feature with it though. 

Here this film has its own identity and tries to be rough but offers some hope. Where the main character of the father admits to his mistakes and is not delusional, but suffers a connected series of events. Where he continuously digs himself deeper.

So that it becomes truly a comedy of errors.

Grade: B-