Written By: Andrew Scheinman & Adam Scheinman and Tony Gilroy
Cinematography: Tobias Schliessler
Editor: Alan Edward Ball
Cast: Jamie Foxx, Doug Hutchinson, David Morse, Kimberly Elise, David Paymer, Jamie Kennedy, Mike Epps, Nestor Serrano, Tia Texada, Robert Pastorelli, Kirk Acevedo, Jeffrey Donovan, Jason Jones, Megan Dodd
An ex-con is used by police to lure a criminal out of hiding.
Though most of the film is a comedy it is filmed slick like an action movie with tons of style, but at turns seems to be more a comedy at heart with dramatic moments.
Hard to believe such veterans of the FBI would so easily get caught up In A drama they are watching, personally. Which offers up an interesting dynamic of how involved you get in watching reality unfold in front of you. So it was even a precursor to how Audiences would react once reality television seemed to take over the airwaves. At least it humanizes the agents involved.
The film definitely looks state-of-the-art and big-budgeted. That truly showed off what director Antoine Fuqua could do. This is practically a calling card for him and Star Jamie Foxx. As the film is a visual delight, and definitely feels like a big-budgeted action extravaganza.
As it not only showed Foxx’s star quality. Even though not written to his strengths. It seems like the type of film he should be getting chances to star in. That eventually happened and worked out for him. Wish he got offered more films like this (only better written)
The film also excels thanks to a good cast of veteran actors. Who goes well with the material and Foxx’s acting.
Even though it seemed to be released with little fanfare. It’s not the best but it is interesting and entertaining.
Doug Hutchinson as the villain comes off as if he is impersonating John Malkovich.
The film has enough thrilling and laugh-out-loud moments of equal measure. That allows for some good action sequences. To live up to the promise of the presentation.
It’s the little movie that could. As it stays small scale due to its budget but feels like a bigger film that it is and where it deserves.
Cast: Kiersey Clemons, Alex Wolff, Jim Gaffigan, David Walton, Rachel Sennott, Ken Marino, Isaac Powell, Geoffrey Owens, Alex Moffat, Dolly Wells, Jared Gilman, Kat Foster
An awkward college student who seizes the opportunity to bolster her popularity and her under-the-radar true-crime podcast by solving the disappearance of a classmate.
This is a perfect starring vehicle for actress Kiersey Clemons who hasn’t gotten a role this rich and expressive since SWEETHEART. She ends up being the major reason to watch the film. She is not only the star of the film but It’s heart.
The film starts off as quirky before taking more of a dark spin that even at its darkest stays a bit light. It seems like a film that will be Smile but by the end, it becomes more of a character study.
It offers some twists though eagle-eyed viewers will be able to predict certain elements and revelations, but you can’t see the emotions attached to them.
What at first seems like a movie that could easily be made into a franchise ala MURDER SHE WROTE only younger and with a goody too shoes who is socially awkward at its center. Maybe even on a smaller scale KNIVES OUT Slowly turns into a thriller that slowly becomes thrilling and strangling. Even if for us in the audience the consequences aren’t as daring.
It does stay tight. The only weakness it has is that it never feels like we are that involved and we are held at a distance. Just as we get to know Susie’s day-to-day before she starts investigating. There could have been more scenes to flesh everyone out. Instead of just moments. Where we are not quite sure what the meaning of them exactly are.
The film stays colorful and a bit odd at times. it never breaks into feeling bigger. Even though it takes place in a small town. The film stays feeling minute throughout.
However, it should be noted that race never plays into the film. Her being one of the few minorities in the film and being one of the smartest characters. Also helps her stand out and be more of interest.
It is a perfectly quirky film to watch and be a kind of time waster. Though by the end for all that it succeeds. You just wish it had a bit more impact. You want to give the film the goodwill it seems to want and deserve. Just as the main character seems to desire and lack.
By the end it is ambiguous though it leaves you quite sad. As a kind of melancholy begins to take over.
Cast: Julia Roberts, Ethan Hawke, Marashala Ali, Myha’la, Kevin Bacon, Charlie Evans, Farrah Mackenzie
Amanda and Clay’s aspirational vacation with their teenage children is interrupted by the arrival of a middle-aged man and his daughter who own the holiday home and who have fled an unprecedented blackout in the city. When the internet, television, and radio stop working, as does the landline, they have no way of finding out what is happening. As strange sonic booms shatter the peace of the countryside, and animals start to migrate in strange ways, the physical and mental health of the families begins to disintegrate. The renters are upscale and White; the owners are upscale and Black. The issues of race clash and become distractions to the more alarming things that are happening all around them.
I don’t know what it is with Netflix and taking these big movie stars who mostly were in romantic comedies in the 90s and 2000s and then putting them in these doomsday apocalyptic movies on their streaming service. One can understand It allows them some range and shows them in a new light, but you know is starting to feel like a certain concoction or formula.
By the end, the film feels like it kind of trolling the audience, especially when it comes to the daughter’s storyline in a way it’s not a bad episode of the show BLACK MIRROR, but one that’s more disappointing because it has so much potential and ultimately, that is what this film feels like it has so much potential, but it feels stale to a certain extent.
Throughout the film, you know every scene is practically filled with tension, especially once the oil tanker hits the beach, so it always makes you feel uncertain. But throughout the film, there seems to be so much stuff that’s unresolved and we really don’t get to know too much about the stories of any of the characters.
I understand we’re being introduced to them pretty much as they introduced to each other but there still could’ve been some kind of development for the character’s past.
Even when it comes to Mahrshala, here is this good gentleman but it always seems like he is hiding something which is a payoff, but not in the way that we thought it would be. And the film only truly comes alive when Kevin Bacon makes his kind of cameo in the film.
You know, we have the characters on a different kind of plot thread or character finally development for Julia Roberts, who starts off the film with his big monologue about how she dislikes people which is supposed to be shocking I guess especially when you used to be America, sweetheart, and then, by the end we see how much she actually does care and misses humanity, after being mean spirited for no reason throughout most of the film.
At times, they hint at racism, and some prejudices, which could also be easily seen as judgment of character. No, ultimately nothing really comes of it. It just seems there to be a kind of tease or to add attention in the audience is mine to the situation.
There feels like there could’ve been more done when it comes to Race relations with the characters in the movies, especially considering it is supposed to be Mahrshala Ali‘s house and yet he’s being made to feel like a visitor in his own home.
Myha’La seems only there to be kind of the whiny daughter trying to empower her father and also a bit of eye candy just to add another character to the mix.
We’re never quite sure what is going on and even by the end we’re still not we’re a little more informed, but we still it’s a mystery as to what exactly is happening kind of ambiguous, but it also seems a weird way to want to set up a more action pack sequel.
I guess one would expect more considering the film is written, and directed by Sam Esmail you know adapted from a novel, but he is the mastermind behind the show Mr. Robot amongst other shows so while he got the thriller elements right, it seemed like the characterization might’ve been like that show where it comes in bits and pieces but again he had multiple seasons when it came to that show with this movie you’ve only got a 2 1/2 hour running time And you know we care about the characters cause they’re the protagonists. We barely know anything truly about them which works for the thriller elements, but the dramatic elements kind of feel like they drop the ball.
Like, why should we care about other human beings? The film works as an apocalyptic tale in minutiae.
Editor: Olivia Neergaard-Holm and Hayedeh Safiyari
Cast: Zar Amir Ebrahimi, Alice Rahimi, Soraya Helli, Arash Ashtiani, Mehdi Bajestani, Sohaib Quista, Forouzan Jamshisnejad, Maryam Taleb
Female journalist Rahimi travels to the Iranian holy city of Mashhad to investigate a serial killer targeting sex workers. As she draws closer to exposing his crimes, the opportunity for justice grows harder to attain when the murderer is embraced by many as a hero. Based on the true story of the ‘Spider Killer’ Saeed Hanaei, who saw himself as on a mission from God as he killed 16 women between 2000 and 2001.
This Is a film that is better to go into blind and then read this review. It discusses a lot of subjects in the film and this is the type of film. You will want to talk about it afterwards.
Drama and tension-filled, what is more disturbing is the fact that it is based on a true story.
The film begins with a typical night for one woman. As she puts her child to end after feeding them and washes for her night out. As we see her make her rounds as a prostitute. How she is treated. We are made to believe she might be our lead character. Then she is attacked and we hope after spending this time with her she will survive, but she quickly becomes a victim. (Sort of like the SCREAM films only with no celebrity and no excitement in the kill.)
This allows us to see her killer. So that the mystery is cut short and in his hands now.
The mystery is when or if he will get caught and how as it seems only two reporters are on his tail and seem to care. As the film continues we see the female reporters attempt to interview and find the Killer. We get to know more about his personal home life. Around his kids and wife which is relatively normal except for some outbursts and his fanatical extremism.
The film does show him hunting, picking up, and killing the prostitutes. As well as a scene that shows him having sex with his wife and with one of his victim’s bodies hidden in the room before he can dispose of it. How he gets turned on while watching the dead body a few feet away. Which only he can see.
The film offers many close calls. As we hope each time the next victim will escape and survive. Even when the bodies are discovered the reporters are at their front and center and he is in the background.
Even once the culprit is eventually caught. It shows that many men especially approve of his crimes and might inspire some to commit the crimes themselves in the future. That is one of the scariest parts of the film and the people involved. As most around him supper him Even after he is arrested.
As even after he is arrested it seems like all the work in hunting him down and getting him arrested after a reporter barely survives an attack by him.
Luckily the film isn’t cut and dry. It doesn’t end with his arrest. We go through the short trial and also get interviews with victims’ families. As well as his own after.
The ending offers some kind of justice turning tables to show him whimpering and fighting against his decided fate just as much as his victims fought for their lives.
The film shows the scary chauvinistic attitude and misogyny that exists in men. As even the desk clerk. Who at first didn’t want to let her have a room by herself. First son tries to hit on her and then when rejected not only threatens but finds it necessary to demean her.
In the end, it still shows a majority of the male characters inadvertently seem to hate women or at least consider them second class while holding them on a pedestal. Yet still try to exploit them for the crime in their heads of attracting them.
Directed By: Zachary Wigon Written By: Micah Bloomberg Cinematography: Ludovica Isidori Editor: Kate Brokaw and Lance Edmonds
Cast: Christopher Abbott, Margaret Qualley
Follows a dominatrix and Hal, her wealthy client, and the disaster that ensues when Hal tries to end their relationship.
The film seems simple at first and will be pretty cut and dry storywise and sticks to it but you get involved and ultimately lost in the film, game, and characters
The film reminds one of Christopher Abbott’s previous film and performance in the movie PIERCING only less life and death or violence, just darkly comedic with hints of violence.
The films have the similarity of involving a sec worker and power plays as well seeming to be mostly bound to a hotel room only the previous film left the room
The director Zachary Wigon adds style so as to not make this seem boring and to liven up the experience.
Truly a psychosexual domination film of games
The film truly kicks off once Margaret Qualley’s character takes off her wig. Though the film plays more theatrical for the stage rather than a film. It keeps the Audience interested more in Qualley’s character and performance as she truly is the wildcard to Abbott’s more straight man’s performance.
His threats always keep turning hollow and truly show the weakness of his character, Especially compared to her.
This is Margaret Qualley’s best performance so far though probably not her most memorable which for most might still be ONCE UPON A TIME… IN HOLLYWOOD.
She is smarter than him because she has had to work her way up. whereas Abbott’s character has done what he has been told but resented that work while coasting along it and its features.
Also can be seen as a comparison and power play from a director/writer and actress who might have decided to go off script and prove their defiant character and talent
You can see the characters’ codependency with one another, one reluctantly. the other more willingly and knowingly. You can see it from the many times either could truly walk away but seems willing or fighting to prolong it against their so-called requests. As it easily could end plenty of times.
A kind of love story when it comes to power, communication, and trust with another person who knows you the most or at least your secrets
The ending feels like a throwback to a classic comedy and more of a fantasy or dream than reality
The film gets more intense as it goes along. Like the characters no matter how hard I resisted, continuously felt myself falling for the film even though or against my will
Cast: Ashley Judd, Michael Shannon, Harry Connick Jr., Lynn Collins, Brian F. O’Byrne
Having escaped her abusive ex-husband Goss, recently released from state prison, Agnes, a lonely waitress with a tragic past moves into a sleazy, rundown motel. Her lesbian co-worker R.C. introduces her to Peter, a peculiar, paranoiac drifter and they begin a tentative romance. However, things aren’t always as they appear and Agnes is about to experience a claustrophobic nightmare reality as the bugs begin to arrive.
This is a love story between two damaged individuals. As we can see from the beginning Ashley Judd’s character is not only lonely but also seems to be more willing to put up with abuse and the nature of whoever she is dating. As her ex, she has a court order o. Keeps coming over to beat her up and steal her money.
So it’s not too shocking that soon after being with this new man that she is introduced to, she starts to suffer from the same psychosis.
The couple could be compared to what happens when two drug addicts get together. Where they seem to live off each other and in their own world. Watching this movie they do come off as meth addicts. Even in scenes later we see that they have been freebasing also. Something g strangely even his psychiatrist takes a turn with.
though there is a more artistic rather than erotic sex scene. Which director William Friedkin has been doing constantly in his later films. As overly erotic as KILLER JOE was, the seductive or sexy scenes seemed more like going for pretty and meant much more. It could be that both these films come from the theater world. So these are the only moments where he can truly try to make it more cinematic with his own vision.
It took me some time to watch this film over the years. So the anticipation builds up. So that when finally watching the film it is tamer than expected and feels like it needs to be seen on the big screen to truly feel the film. Unfortunately, I didn’t, but the second half of the film is truly graphic and disturbing.
The film didn’t live up to certain expectations but it is effective to a certain degree. It definitely helps if you come into the movie blindly
Which is why I believe the second half is so disturbing is that the first half has a few shocks but stays mundane. So the lunacy of the second half not only wakes up the Audience but disrupts them out of comfort and expectation.
We also watch the breakdown of Ashley Judd’s Character whom we truly feel sorry for from the beginning though we also see how submissive she is.
The last act comes across as downright artistic when it comes to production design and the acting.
Though he had been a working actor this Is the movie that truly made Michael Shannon a star or put him More on that path. After so far a career of bit roles and more theatrical work.
Harry Connick Jr. Even plays against type in this film. As Judd’s abusive not quite ex-husband
Not your typical horror film or thriller. It is more disturbing about damaged people damaging themselves and each other. Involving those who are unlucky enough to cross their paths.
It ends up not being what you first thought when you sat down to watch it, but luckily something much deeper.
There is some beautiful filmmaking here making the mundane interesting and you can feel its theatrical roots. The director and cast truly make the film feel bigger than the location it seems to be stuck in and make the hotel room seem labyrinthian
Written & Directed By: Jeremie Guez Based on the novel “THE DISHWASHER” By: Dannie M. Martin Cinematography: Dimitri Karakatsanis Editor: Dieter Diependaele
Cast: Roland Moller, Veerle Baetens, Lola Lelann, Luba Azabel
Attempting to lead a quiet reformed life, an ex-con finds refuge in a motel run by a single mother and her daughter Clara. The peace and freedom he has found in this safe haven disappears when Clara is assaulted, forcing him to face his old demons
The predictable this film manages to make you care and stay interested throughout. As it maintains an intensity as much as the main character seems to have who we never quite learned about when it comes to his past, but we are given enough to interpret.
It’s simmering mostly, but there are two scenes. The film truly lets loose with action, though low scenes are short and one quite torturous.
This is a movie more about characters and emotions. It’s actually quite plain and simple, It sticks to the point at under 90 minutes and gets started in no time.
In the beginning, you can feel the uncomfortable nature that eases up as the walls the main character does
As well, as you can see the symbolic relationships and placeholder that he becomes for the people around him, mostly female.
He has a rough, dangerous nature, but a gentle side, when it comes to them. That stays very simple and small scale.
The film is a revenge tale in the end as he takes revenge and in doing so sets up a situation where the victim of his revenge has people who need to take revenge for him especially when their first attempt goes awry
This is a well-acted hidden gem of a movie that while might be predictable in some aspects feels like an introduction, not necessarily to buy the story, but more through characters that you care about
It stays small scale but packs a lot of heart and you know it’s a French Film because every character seems to smoke.
Based on the Novel “Hallowe’en Story: By Agatha Christie
Cinematography: Haris Zambarloukos
Editor: Lucy Donaldson
Cast: Kenneth Branagh, Tina Fey, Michelle Yeoh, Kelly Reilly, Jamie Dornan, Camille Cottin, Ali Khan, Jude Hill, Emma Laird, Kyle Allen, Riccardo Scarmarcio
In post-World War II Venice, Poirot, now retired and living in his own exile, reluctantly attends a seance. But when one of the guests is murdered, it is up to the former detective to once again uncover the killer.
Kenneth Branagh finally has gotten the formula right. Maybe it was getting all the studio movie cliches out of his system to go back to more artistic filmmaking choices. This film finally shows the proper depth of the story & character.
There are Not so Many celebrities or stars in the film so the suspicions aren’t so high not your attention centered on them.
This was the attraction for MURDER ON THE ORIENT EXPRESS and the next film partially DEATH ON THE NILE which was a little more dialed down but still enough for a little spectacle.
While primarily those films were aided by CGI when it came to locations especially. This film has less basis on CGI and truly explores the exoticness of the classical space and uses the cavernous location to its strength. As everything looks lush & plush.
While the film has its central mysteries every character seems to be hiding their own secrets. While it still Magyars to have the melodrama throughout. This film feels a bit more dry and dramatic. It has a darker outlook. It even Manages some surprises
In the middle, it might be a little confusing. Once the third act comes into play surprisingly and with no lead-up the mystery is solved. There is more to go after that.
What works is that it can be seen as a stand-alone but works in the trilogy. As if you have seen the previous films. You can understand the mindset of the main character at the beginning. As you have seen he has come to it. After suffering losses in the previous films.
At first, it seems like the film is trying to rely on or try to jump onto the horror trend, but it ends up working for the story and distinguishing itself. Not seem like a Cash and is actually being adapted from an existing Agatha Christie story
Even as we realize how lonely the main character is as he has fans and admirers but never truly anyone close to him they all want something from him and the friends and acquaintances from the past have either moved on or that is the basis of their relationship work-related. Knowing and seeing the evils of the world has made him scared to engage or trust in the end. He realizes he can’t let the nature of the world scare him Off and that he needs to try to help as much as he can to try to make it brighter
He believes by separating himself from the world he’s not contributing to evil, and he’ll just keep to himself, and be safe by the end I think he realizes that the world at large needs him and he wants to be there to try and make it a better place combat that evil he’s found his faith so to speak. Kenneth Branagh plays it brilliantly reminding you of not the fine actor he can be and seeming to bypass the more comedic detours and also tightening up his directing skills. To come across as more artistic and personal and less sensationalistic. Still managed to have style in fact even more of it
This film offers a bit more depth for the character and is a lot drier than the previous films it feels more intimate. Thought offers fewer distractions.
This one seems less a seat filler or weekend attraction and more a film made with ideas and interest than a paint-by-numbers affair
Directed & Edited By: Luciano Ercoli Written By: Ernesto Gastaldi and Mahnahen Velasco Cinematography: Alejandro Ulloa
Cast: Dagmar Lassander, Pier Paolo Capponi, Susan Scott, Simon Andreu, Osvaldo Genazzani, Salvador Bugbeo
The wife of a struggling businessman is blackmailed by a mysterious man into having a sadistic affair with him, or he will leak evidence implicating her husband of murder.
This might not be a good film but stay for the look, style, and fashions. Which are especially memorable. Like a Vogue magazine pictorial only with a theme.
The film is so erotically lurid that it feels like a Joe Eztherhaus-type film script. As it involves blackmail and sex. Though more talked about and hinted at than shown. So not quite exploitive.
Most of the film plays into the main characters’ suspicions and sacrifices. It then finds itself focused on infidelity and her paranoia over it
Which would place it more in the drama category. Yet plays like a thriller. Thought could easily be a foreign soft-core erotic movie. As the film seems to be more about the beauty of the female characters.
It’s not really the mystery behind everything. It’s the whole experience. What I took away was taking it all in. Rather than trying to figure out a murder or mystery. It felt more like watching a drama
As for a film that is filled with eroticism it isn’t as exploitive as one might expect. It does present a quite open sexuality, manner, and behavior.
Watching it feels like walking through a museum in a foreign land. It seems like everything is exquisite yet you are soaking through the past that is so close to the modern day. That you can still see some of these fashions in play maybe in more high society.
The character of Dominique wears a dress that practically has no sides to it. So you get to see her Frame and shape. Which makes her outfit an all-time classic. As she is the most interesting character in the whole film. You might find yourself wishing she had a spin-off.
The film ends up more as a psychological drama than a giallo, which is what one might have expected. The film’s characters just offer a lot of threats.
Only in the last 20 minutes after 70 minutes of set up does the film truly become a thriller. Even after an opening scene that makes it seem Like one.
What is impressive is that it feels epic yet really only has six cast members but plenty of locations
The film lays it on a lot towards the end to offer a twist that should have been somewhat obvious. As it has a Colombo type of ending.
Directed By: Yoko Okumura Written By: Salvatore Cardoni and Brian Rawlins Cinematography: Federico Verardi Editor: Michael Block
Cast: Midori Francis, Jolene Purdy, Michael Patrick Lane, Missi Pyle, Brett Baker, Nicholas X. Parsons
Sam receives a call from Emily, a nearly blind woman who is running from her murderous ex in the woods. She must survive the ordeal with Sam being her eyes using video call.
At first, this might seem like a gimmick film. A sit is based upon a video call between strangers that ends up becoming a theoretical life for both of them eventually.
However, it doesn’t stick to the perspective of that being all we see and that being how the story is told. It is not a minor part of the film. This Isn’t a film like SEARCHING or MISSING where the film is told strictly through video devices.
The film is fun as it goes along. Though it is serious and presents its own challenges for its Characters. It feels loose and experimental but also has style to a certain extent.
The film gets crazier as it goes along, but it somehow works. As we get to know and like the lead characters. Who are American Asian characters who mainly get bullied and stalked by white characters. Who expects them to be meek and take the abuse. Making it a bit political but more subtle.
It also serves as an obvious plot point of the film but the title can also be interpreted as how the characters feel in society in A certain way and also unseen as almost invisible
The film feels like a teen movie. Even though the language might be a little too much for a PG-13 rating they are most likely the ones who will enjoy the film the most.
This is mainly a thriller with some dark comedic elements thrown in. It goes by fast and its Running time is under 90 Minutes. So that it makes solid entertainment.
Each story keeps you captivated in different ways that gel together well and each lead character in the tales keeps you caring and wanting to see them survive and succeed.
You might not take it seriously but you will undoubtedly have fun with it.
Cut To The Chase 