Greetings! Have you ever wondered if a movie's worth blowing the money on to see at the theater or what to add next to your NetFlix queue? Then you've come to the right place! Enjoy!

"The Fall Guy" 4K Review

 The 2024 Summer movie season started with a thud as the hotly anticipated big screen reboot of the old 1980s TV series The Fall Guy starring Ryan Gosling (fresh off of an Oscar nomination for Barbie) and Emily Blunt (fresh off an Oscar nomination for Oppenheimer). Retooled as a rom-com action caper, it was expected to kick things off with a bang. Instead it was a damp squib grossing only $34M its opening weekend leading to it's being rushed to streaming after only 19 days in release while still in theaters. It had decent reviews and the stars are well-liked, so what went wrong?

Well, for starters, it's not a particularly good movie with a bad script, but since when has that been an impediment to financial success for Hollyweird?

Gosling stars as Colt Seavers, ace stuntman who's having a fling with Blunt's camera operator Jody Moreno. He's the lead stunt double for a-hole movie star Tom Ryder (Aaron Taylor-Johnson), but things go very wrong on a stunt and his back is broken.

18 months later, he's out of the business and working as a valet when the call comes from producer Gail Meyer (Hannah Waddingham, Ted Lasso) that she needs him to fly to Australia to double Ryder after his stunt double is injured. He's reluctant, but when he hears the director is Jody, making her debut, he hops on the plane, arriving on the set jet-lagged, but glad to see the stunt coordinator is Dan Tucker (Winston Duke, Black Panther). Less glad to see him is Jody who subjects him to repeated takes of a fire stunt while discussing their failed relationship over a bullhorn in transparently veiled terms.

Gail tells Colt what he's really needed for is to locate Ryder who's gone missing from the set, presumably on a bender. She tells him that unless he finds the wayward star and returns him to the set, the movie will be shut down and Jody's big break will be ruined. So of course he heads out to find Ryder, but instead finds what appears to be Ryder's corpse in a tub filled with ice which leaves Colt the prime suspect.

There are so many problems with The Fall Guy's script that it's hard to know where to begin, but since it's a rom-com/action flick we should begin with the childish relationship Colt and Jody supposedly have. Writer Drew Pearce (Iron Man 3, Hobbs & Shaw, Hotel Artemis) seems to never been in a relationship with an adult as every chemistry-free exchange between the two mistakes coyness for banter and they're so silly that I began rooting for them to not get together as is pre-ordained by these sorts of movies.

The caper plot is wildly convoluted and requires so many outside players that it'd never hold together, but what really stuck out was how many things would never happen even by the loose reality standards of silly popcorn movies. Jody would never advance from camera operator to director. Cinematographer or 2nd unit director, sure; operator, never. Colt's injury ended his career and we see him putting some electrical stimulator on it, but as he is repeatedly beaten, hit by cars, making high falls, etc. he never seems to suffer any ill effects.

Most egregious is the aforementioned scene where Jody repeatedly has Colt set on fire then thrown on wires into a rock (back injury, remember?) as obvious retribution for his falling out of her life after the accident. She is openly making it clear she's doing this to punish the man she supposedly feels for, but instead of being cute and romantic as Pearce imagines, it comes of as cruel and would be career suicide. Michael Bay wouldn't get away with enacting a personal vendetta against a stunt player - the stunt coordinator would step in and the studio would whack him - so there's no way a rookie female director would work again especially if Colt was injured.

There's a character of Ryder's assistant, Alma (Stephanie Hsu, Everything Everywhere All At Once), who appears out of nowhere, participates in an action sequence, then vanishes without a trace and the movie within the movie's starlet, Iggy Palmer (Teresa Palmer, Warm Bodies), has a wild fight scene with Colt that makes no logical sense. The movie feels like it's missing chunks of plot to make it a still too long 2h 5m runtime.

While the script may be problematic, the greater problem is that David Leitch is not good at balancing tone in comedy and basic storytelling mechanics. Frankly, every movie he's made since "co-directing John Wick" has been inferior to the John Wick sequels directed by Chad Stahelski. Ive seen them all, so let's run 'em down:

Atomic Blonde - Very good except for having one too many twists at the end - seriously, drop any one of them and it's a better movie; having them all trips it up - and the fatal flaw of telling the story as flashbacks so there's never any tension because we know she survives. (Steven Soderbergh made the same mistake with Haywire.)

Deadpool 2 - The humor too often felt forced and mean-spirited compared to the original. Drags on too long.

F&F Hobbs & Shaw - More forced humor as it makes the fundamental mistake of trying to be a buddy action movie in which both leads get to be the funny guy. 48 Hours or Lethal Weapon had odd couple pairings, one wild man, one straight man; H&S had both Rock & Statham playing for laughs which Idris Elba was in a different, more serious movie, then stopped everything dead for Ryan Reynolds & Kevin Hart cameos.

Bullet Train - More tedious blathering "humor" with Brian Tyree Henry's endless nattering on about what Thomas the Tank Engine character various people represent. Who talks like this? No one. Once again, cool action fights wasted on clunky storytelling.

Leitch can stage and execute action well, but when it comes to telling a story or doing comedy - which is an art that comedy directors often struggle with (looking at you, John Landis) - he messes it up more than not. In The Fall Guy he makes a fatal mistake in shooting long rom-com banter scenes as single-take oners. Comedy is about timing and editing can make it sing, but when there's nothing to cut away to then you just have people babbling tediously.

 All the actors do what they can with the weak script and poor direction - Leitch, being a former stuntman both gets into the nitty gritty of how stunts are done and also shows patently unsafe or impossible practices - but poor Blunt really suffers from the weak writing. The missus proposed that someone like Rachel McAdams (The Notebook reunion!) may've been better, but I don't anyone could've overcome the structural issues of script and direction.

And if Hollyweird doesn't want to keep losing money, they need to stop letting Leitch make mediocre movies.

Score: 5/10. Catch it on cable/streaming.

The opening and closing bits on the street and screening room aren't in the actual movie.

"Romeo Is Bleeding" Review

Because I'm not great about maintaining this site, I never wrote a review for Romeo Is Bleeding when we watched the DVD in February 2021, but looking back I see I drafted the first paragraph of a review:

"I couldn't remember much about the 1993 noir crime drama Romeo Is Bleeding other than one shot (which is one of the great foreshadowing bits in movies), that co-star Lena Olin was hot, and that it was a pretty good movie. After revisiting it for the first time in easily 20-plus years, only the first two points hold up."

 I gave it a score of 5/10. After rewatching it at the behest of the missus, I was being too generous. 

Gary Oldman stars as dirty cop Jack Grimaldi, who supplements his detective income with doing favors for Mob boss Don Falcone (Roy Scheider) via his middleman Sal (Michael Wincott). He's married to Natalie (Annabella Sciorra) and they have a cute house overlooking a cemetary. He also has a ditzy waitress side piece, Sheri (Juliette Lewis).

 After providing the location of a Mob informant (an uncredited Dennis Farina) to Falcone, the informant and the FBI babysitters all get whacked by hitwoman Mona Demarkov (Lena Olin). Jack isn't happy about fellow lawmen getting killed and when she's arrested Falcone orders Jack to kill her. Conveniently, he gets assigned to transport her to a safe house hotel and she immediately begins to seduce him and because he's clearly not the sharpest bulb in the henhouse (I never really mastered idioms) he goes along with it only to be interrupted by the Feds arriving to pick her up.

Displeased by his failure, Falcone gives Jack two days to kill Mona. Mona counters by offering him a pile of money to help her fake her death, but of course there are going to be double-crosses and twisty turns of plot as Jack's double life unravels.

What's notable about Romeo Is Bleeding is how stacked the cast is. In addition to the previously mentioned actors, Will Patton, Tony Sirico (Paulie Walnuts on The Sopranos), James Cromwell, and Ron Perlman all have bit parts. What's also notable is how mediocre the whole thing is as it borders on parody of what a noir crime story is with obligatory jazzy score heavy on double bass and wheezing saxophone. A year later Pulp Fiction would nuke the old ways the same as how Star Wars made the previous year's Logan's Run seem like something 20 years older.

Screenwriter Hilary Henkin has only a few credits with the wild context of her previous film being co-writer of the original Road House and her sole subsequent (and final) credit being the brilliant Wag The Dog for which she was nominated for a Golden Globe and Academy Award for Best Adapted Screenplay with legendary playwright David Mamet (Glengarry Glen Ross, The Untouchables) who I'm fairly certain did the heavy lifting. From the voiceover narration to the spoiler opening which tells us Jack's never in mortal peril. Director Peter Medak (that Species II may be his most known film speaks volumes) tries to jazz things up with some unique camera choices, but can't overcome the script.

(MEMO TO SCREENWRITERS/DIRECTORS: When you tell stories in flashback & we're supposed to be concerned whether the protagonist will survive perils, the fact they're alive in the present tells us they won't die, so no tension. Offenders: Atomic Blonde, Haywire, Romeo Is Bleeding)

Considering the thinness of the rote boilerplate plot, the actors don't really have characters to play as much as tropes and cartoons. Oldman is sweaty and panicked, Olin is exotic & loves being a killer in inappropriate outfit, Sciorra is cute, but Lewis is stuck as Jack's bimbette Sheri who is so dumb that when he stops by to see her after shagging Mona, I snarked to the missus, "This is like going finishing a fine steakhouse dinner then deciding to hit Taco Bell on the way home."

After finally writing up a review for Romeo Is Bleeding I hope I can finally remember that it's not as good as I remembered and stop watching it again. Spare yourself having to remember yourself.

Score: 3/10. Skip it.

This trailer's music is utterly unrelated to the film's tone. WTF?

"Abigail" Review

The elevator pitch for Abigail is a model of brevity: An ersatz group of criminals kidnap a young girl and are to hole up in a mansion with her for 24 hours until a $50 million ransom is paid. The problem is that they are locked in without their cell phones and the girl is a VAMPIRE who begins knocking them off! (Not a spoiler, literally the selling point in the trailer.) Hijinx ensue.

 There's not much more to recap than that and just as with Damsel spending too much time vamping its first act as if we don't know where it's going (again, the trailers sell the twists), we get to spend over 40 minutes meeting the crew assembled by mastermind Lambert (Giancarlo Esposito). There's obvious Final Girl Joey (Melissa Barrera, Scream V & VI) who seems wrong for a life of crime; twitchy hard case Frank (Dan Stevens, Downtown Abbey!); dumb French-Canuckian muscle Peter (Kevin Durand); sniper Rickles (Will Catlett); annoying hacker chick Sammy (Kathryn Newton, as annoying as she was in Lisa Frankenstein); and creepy wheelman Dean (Angus Cloud, Euphoria, who the movie is dedicated to as he died of an OD in 2023).

The time is spent fleshing out who these strangers to each other are - the names are dished out my Lambert based on the Rat Pack - and it's interesting, but drags out too long as we wait for the vampire action to begin. But when it does begin, it's off to the races with some killer kills & some plot developments that weren't obvious and kept things fresh as Abigail (Alisha Weir) whips between pretending to be a helpless little ballerina and the monster she truly is.

In thinking about Abigail's above-average quality where the results transcend the premise, I thought about Ready or Not, the 2019 Samara Weaving-starring movie about a bride who spends her wedding night being hunted by her new in-laws in a demonic version of Family Game Night and that turned out to be an apt comparison because directors Matt Bettinelli-Olpin & Tyler Gillett helmed that lean mean thriller and subsequent Scream reboot movies. They know how to do "trapped in a mansion" horror well, so I was surprised to see that Abigail was a box office disappointment, most due to a weirdly high budget for a few name stars horror flick.

Other than the first act being twice as long as necessary - we know what the twist is; quit trying to drag things out, filmmakers - Abigail is a bloody good time with good gallows laughs to go with the oceans of blood.

Score: 8/10. Catch it on cable.

Trailer gives away too many good moments. The review sets the premise and is all you need.

"The Ministry of Ungentlemanly Warfare" 4K Review

Guy Ritchie has had a wildly uneven career, qualitatively and successfully. After breaking out at the turn of the Millennium with Lock, Stock and Two Smoking Barrels and Snatch, he face-planted with the Madonna-led flop Swept Away (which led to their marriage and her sucking his talent away) and followed with a pair of movies so mediocre,  Revolver and RocknRolla, that I demanded he be blocked from making more movies.

He caught a reprieve when 2009's Sherlock Holmes (5/10, cable) was able to ride Robert Downey Jr.'s post-Iron Man Renaissance to box office gold, but then followed with a trio of disappointing efforts in the sequel Sherlock Holmes: A Game of Shadows (didn't see), the bland The Man from U.N.C.L.E. (3/10, skip), and the disastrous King Arthur: Legend of the Sword (DNS), which killed a planned half-dozen movie franchise. (Memo to studios: Try making ONE good and successful movie before planning on making a bunch of them.)

But like a phoenix he came back with the last big Disney live action cash grab before the world ended in 2020 with the Will Smith-fronted Aladdin (DNS). Given a new lease on career, he then promptly reeled off a string of yawners and duds beginning with The Gentlemen (5/10, cable - the new Netflix series has good buzz, not that I buy it), Wrath of Man (4/10, skip), Worst Title Ever entrant Operation Fortune: Ruse de Guerre (5.5/10, cable), and Guy Ritchie's The Covenant (haven't seen it yet, heard good things). Which brings us to his latest flop which only grossed $20 million worldwide on a $60M production budget, The Ministry of Ungentlemanly Warfare, his latest exercise in working so hard to seem cool that he forgets to make it very interesting.

Based on an actual true caper called Operation Postmaster pulled off by far less attractive people than our stars here, TMoUW stars  Henry Cavill as Gus March-Phillipps (who was reputed to be one of Ian Fleming's inspirations for James Bond), a bit of a rogue who is tasked by Winston Churchill (Rory Kinnear) via Brigadier Gubbins (Cary Elwes), also known as M (another Bond reference), to assemble an off-the-books raid to disrupt the Nazis U-boat supply chain in early-1942.

Because the German subs are sinking half of the ships traversing the Atlantic, England is being starved of supplies and the Americans are reluctant to enter the war in Europe. If the supply ship which brings CO2 scrubber cartridges (which allow the subs to stay submerged undetected for long periods) were to be sunk in its port on a neutral island of Fernando Po off the African coast, it would force the subs to be on the surface enough to be spotted and taken out. 

Gus assembles a crew including Alan Ritchson (Reacher), Henry Golding (Crazy Rich Asians), Hero Fiennes Tiffin and sets off on a fishing vessel with a stop at Nazi island base where Appleyard (Alex Pettyfer) is being held and interrogated. After a super easy, barely an inconvenience raid to free him, they head for the ship. Since it's an secret mission, if the British Navy catches them, they'll be arrested, and of course the Nazis will be less friendly.

Concurrently, a second team of a Heron (Babs Olusanmokun, the doctor on Star Trek: Strange New Worlds and the Freman that Paul kills at the end of Dune Part 1), who runs a casino hall on the island and has connections to additional forces and weapons, and Majorie Stewart (Eiza González) travel to the island to reconnoiter and set up distractions to cover the raid. Majorie catches the eye of SS commander Luhr (Til Schweiger) and proceeds to play a high stakes game of seduction considering she's Jewish.

Along the way complications arise including the supply ship's departure being moved up, the hull being reinforced with armor, and a mole in the Ministry (20 points to anyone who gets that reference) making anything less than total success for our crew not an option.

While slickly made, Ritchie once again manages to drain the energy out of the story with leisurely pacing and an inconsistent tone which feels like a mashup of war movie and Ocean's 11. Are you making a war drama about a desperate mission upon which the survival of England hangs upon opening the seas or is it a jokey action comedy?

Everyone wears plot armor and barely gets a scratch while hordes of Nazis are mowed down. Characters are flattened into a pretty two-dimensional picture without much internal motivation beyond the most superficial like Marjorie's natural antipathy to the Nazis attempting to exterminate her kind. Compare this to something like Tarantino's Inglourious Basterds which was a revisionist war fantasy film and Ritchie and his three co-writers really come up short.

Cavill has an impressive beard and swagger, but other than the quiet comedy of him cleaning out the good cigars and booze while being ordered on the mission, he's just another one of Ritchie's shallow gentlemen like, well, The Gentlemen. The rest of the cast is fine, but not really challenged.

In counterpoint, the missus really enjoyed it more than she expected and I'm sure the presence of hunks Cavill and Golding had nothing to do with it. To be fair, González is a dish, especially when she shows up in a Cleopatra costume and asks if the dress is OK, to which I remarked, "It's not the dress."

The 4K presentation has good colors and balance, but not much in the way of demo-worthy HDR grading. It looks good on good TVs. Audio is fine; nothing outstanding.

Score: 5.5/10. Catch it on cable.

"Monkey Man" 4K Review

 When the trailer for Monkey Man dropped a few months ago, it caught everyone off guard because not only did it look like "Indian John Wick" but it was also produced, co-written and directed by star Dev Patel (Slumdog Millionaire, the excellent but overlooked Lion). Also sporting a misleading "produced by Jordan Peele" credit (Peele championed the finished, but abandoned by original distributor Netflix, picture to be picked up by Universal, but had no input in its making; he should be an executive producer) there was great anticipation. However, when it actually came out, reviews were favorable, but mixed, and this is about to be another one of those.

Patel plays Kid, a struggling young man whose mother was killed when his village was destroyed on the orders of Baba Shakti (Makarand Deshpande), a cult leader-tinged spirtual figure tied to a political party, who sent corrupt police chief Rana Singh (Sikandar Kher) to do the deed. Kid is fighting in an underground boxing club run by Tiger (Sharlto Copley, District 9) where he's being encouraged to throw his matches. He wears a monkey mask which relates to an opening story about the Hindu god Hanuman his mother told him.

He learns Singh is a regular at a luxury club/brothel called Kings operated by Queenie Kapoor (Ashwini Kalsekar), a cruel piece of work. After a ridiculously complex pickpocketing scheme puts her wallet in Kid's hands, he returns it to her at her office and begs for any job he could have. She reluctantly hires him as a dishwasher and uses that toe in the door to sidle up to Alphonso (Pitobash), the diminutive gopher who supplies the drugs, etc. for clubgoers and soon is working the VIP floor where Singh and other power players partake in hookers and blow.

 Eventually, he creates an opportunity to kill Singh and finds wanting revenge is a lot harder than exacting revenge. Barely escaping with his life and freedom, he is taken in by a commune of hijra - enuchs, transgender, and intersex people - led by Alpha (Vipin Sharma) who helps Kid recuperate and train for one last assault on Kings (sort of literally).

To audiences outside the territory where a movie is set, political allegories can sail over the heads of viewers. Done properly, as with District 9, it doesn't matter though to people who do catch the references it provides an extra layer of nuance. With Alphonso Cuoron's Roma, the peripheral story of Mexican civil war in the 1960s didn't click. Apparently there is some serious debate about how Patel references India's political terrain and a rising Hindu nationalist movement, but since no attempt to explain it to non-Indians is made, it's just generic bad guy stuff with a curry flavor.

With the political and spiritual stuff just kind of being there, it makes the movie feel sluggish from the parts that anyone can appreciate, the badass fight scenes. As a basic revenge story, the story is really basic with no depth to the villains beyond "You killed my mother!" but Patel has an action director's eye that is remarkably sophisticated in contrasting the way the ultra-wealthy and slum dwellers coexist in very close proximity in the fictionalized version of Mumbai called Yatana. The pickpocket scene is a true Rube Goldberg construct where the wallet changes hands many, many times before ending up in Kid's hands as we see it chasing through the cramped neighborhoods. The fight scenes are equally well-done with some seriously gnarly kills which would make John Wick go "Whoa."

While Monkey Man doesn't quite deliver on its trailer's promise of straight up revenge kill action, it's still an impressive debut from Patel that with some judicious editing would've landed more of a punch.

From a technical standpoint, the 4K HDR presentation offers solid rich colors that convey the stylized cinematography by Sharone Meir (Whiplash) with deep reds, blues and golds. Sound is appropriately bass-heavy to give the punches heft.

Score: 6/10. Catch it on cable/streaming.

"The Bricklayer" Review

Coming out around the same time as The Beekeeper it would reasonable to wonder if The Bricklayer was part of a Hollyweird shift to macho action movies with odd job categories as titles, but while the Jason Statham killfest was about an imaginary super secret spy agency, this is about the plain old CIA and their highjinks.

After a former CIA asset, the imaginatively named Victor Radek (Clifton Collins Jr.), who was presumed dead is connected to the murders of three journalists, each of which implying that he will expose CIA shenanigans which will have Major International Ramifications, the Agency drags in his former handler, Steve Vail (Aaron Eckhart), and asks him to go to Greece to bring him in. He refuses, but after a pack of assassins try to unalive him at his bricklaying job, he grumpily catches the flight accompanied by plucky CIA analyst Kate (Nina Dobrev).

 Upon arriving in Greece, he promptly diverges from her plan by meeting his old contact who sets the pair up with a more upscale cover as a shipping tycoon and his wife - when she objects, he tells her, "You're too old to be my girlfriend." (Eckhart is 56, Dobrev is 35) - with a snazzy customized Mercedes. While they try to figure out where Radek is, he's steps ahead in his scheme and whacks another journalist, further raising the stakes.

The plot then becomes another one of those dumb stories where we're supposed to guess who may be a mole, who may be dirty, who's putting one over on who, but the more it tries to twist, the less you care because it ceases to be a puzzle you can try to solve and reduces the viewer to someone waiting for the nonsense to end. (For what it's worth, the missus guessed who the mole would be. I didn't care enough to try.) Screenwriters Hanna Weg (nothing you've heard of) and Matt Johnson (Torque, Tracers, Into the Blue, the last only remembered for Jessica Alba in a bikini most of the movie) are working from a novel which may've sold the twists better, but it doesn't translate.

Director Renny Harlin - to quote Ben Kenobi in Star Wars, "Now that's a name I've not heard in a long time. A long time." - was quite the guy in the 1990s with Die Hard 2, The Long Kiss Goodnight, and his best, Cliffhanger, but checking his IMDB I see that The Bricklayer is his 14th movie since the last one of his I saw literally 20 years ago, Mindhunters, which I reviewed the DVD of and can only remember that Christian Slater gets killed in a cool (literally) way early on.

So how is he doing after all these years? In a word, workmanlike. The action scenes are OK, but not up to the current John Wick state of the art. The first big fight scene in a rainstorm has some interesting staging, but you have no idea which of the brawlers is Eckhart (or his stuntman) or the attacker because of similar clothing and darkness. Other scenes lack clear geography. 

On the performance side, everyone is fine. When is someone going to cast Eckhart, Thomas Jane, and Jon Cena as brothers? Dobrev is spunky, but in a rejection of the current girlboss women-are-betterer-than-wimpy-men trope, she gets whomped when she tries to fight as she finds training insufficient in the real world and they must not have taught that you don't let opponents get so close if you want to keep your gun.

The Bricklayer is an adequate throwback to the fare they used to churn out regularly in the late-20th Century. It's passable & forgettable, but at least the time spent isn't regrettable.

Score: 5/10. Catch it on cable/streaming. (Currently on Netflix.)

"Knox Goes Away" Review

There seems to be a run of movies lately riffing off the theme of the 2003 Belgian movie The Alzheimer Case (aka The Memory of a Killer) which was remade as a 2022 Liam Neeson vehicle called Memory and told the story of a hitman who was losing his faculties to Alzheimer's disease. Now there's a Russell Crowe movie hitting streaming called Sleeping Dogs about an retired police detective with Alzheimer's just in time to be compared to Knox Goes Away which stars Michael Keaton, who's also making his directorial debut, as a hitman who has.... Creutzfeldt–Jakob disease, which is a fast-progressing form of dementia which is basically turbocharged Alzheimer's.

Keaton's John Knox is informed of his dire condition by his doctor and told to get his affairs in order sooner than later. He makes arrangements to liquidate his holding in stolen items and cash to distribute to a short list of recipients. While we've seen him blanking in the opening scenes, things really go south when he accidentally kills his partner (Ray McKinnon) after he whacks the target and a woman who was in the shower with him.

Confused as to what happened, he hurriedly stages the scene to make it look like the target returned fire, but he knows the setup won't withstand scrutiny for long since all the bullets will match to one gun. He's right as the lead detective investigating the case, Ikari (Suzy Nakamura), immediately wonders who turned the shower off when everyone was dead and the ballistics prove it was a single gun.

Complicating matters is the knock at the door that night from his estranged son, Miles (James Marsden), who he doesn't immediate recognize due to his condition and it's been many years since they'd spoken. Miles has a cut hand which he'd picked up when he murdered the older man who had groomed, seduced and impregnated his teen-aged daughter. Desperate, he comes to Knox since he figures someone like him who does what he does may have an idea of how to manage the situation.

 Knox then proceeds to come up with a plan to handle Myles' mess with his friend, crime boss Xavier (Al Pacino working just above phoning it in), helping to keep him on track lest he lose his mind before completing the scheme. As the plan plays out, we don't really understand what he's doing and when all the evidence instead directly implicates Miles to the point he is arrested for the murder, we're left to wonder if Knox messed up.

What makes Knox Goes Away a decent little film is the low-key manner Keaton directs the proceedings including his performance. Rather than make a splashy look-at-me-I'm-acting-and-directing-suck-it-Bradley-Cooper self-indulgent ego trip, he underplays the moments which a less confident actor may've wanted to swing for the fences. The staging and framing is unobtrusive and he gives his co-stars plenty of nice moments particularly Marcia Gay Harden as his ex-wife whom he visits one last time, telling her he's "going away", and Marsden who definitely breaks from his usual pretty boy roles (he was Cyclops in the original X-Men movies) with a raw nerve performance which actually makes him looked middle aged. (I see he's now 50, so it's about time he started looking like he's 40.)

 The script by Gregory Poirier is competent, including so quiet humorous moments to lighten the mood without turning it into a dramedy. Knox is definitely going to end up having gone away, but the trip isn't too much of a bummer. There's also a side plot about a Polish call girl, Annie (Jonanna Kulig), whose weekly visits serve as an indicator of Knox's decline and resolves in a somewhat surprising fashion.

There doesn't seem to be much market for mature stories about mature people that aren't directly targeted for Awards Season, so it's an oddity that a movie like Knox Goes Away that merely tells a quiet character story quietly exists. It's not a necessary story, but it's told well enough and won't waste your time.

Score: 6/10. Catch it on cable.

"Prisoners of the Ghostland" Review

 While trying to find something to watch some time ago the missus and I bookmarked a weird-looking (based on the trailer) trailer for a Shudder Original Nicolas Cage movie called Prisoners of the Ghostland. Tonight we actually got around to watching it. And afterwards we wished we hadn't.

Cage stars as Hero (movies aren't even trying anymore, are they?), a bank robber who while robbing a bank (hey, it's in the job title) with his co-robber, Psycho (Nick Cassavetes; what was I saying about names?), ended up with a lot of dead people is being held in a bizarre Japanese town which seems to be part brothel, part Western frontier town where the armed men either present as cowboys or samurais in service of the Governor (Bill Moseley, many Rob Zombie films), a white man who wears an all white suit and cowboy hat like Boss Hogg on The Dukes of Hazzard

Governor wants Hero to find his "granddaughter" (read: escaped sex slave), Bernice (Sofia Boutella), and to keep him focused on his task he puts him in a swank leather suit with explosive charges on his arms and crotch (in case he gets any bad thoughts) and his neck (to kill him) and a five-day lifespan, the last two only if he finds the Bernice by the third day. Tick-tock, Hero!

As he sets off into the bizarre wasteland, he is captured and taken to an odd community built around trying to literally stop time by holding a rope attached to the minute hand of a clock tower. Again, while the people are mostly Japanese, the leader is a white guy. Hero learns of the nuclear accident that occurred there involving a prison bus and tanker of nuclear waste. By the time you factor in the choreographed background cultists dancing, it's all pretty wacky.

And it's also quite dull. Apparently director Sion Sono is a name in the Very Weird Movies genre (I only recognize a couple of his titles), but this, his first English-language movie, while being packed with weird, doesn't make much sense no matter how hard Cage tries to keep us focused. I was wondering if this was all some sort of journey to Hell parable, but it ultimately comes off as being just weird for weird's sake. By the time the final scenes with some action occur, they're welcome because they indicate the movie's almost over.

 I can see why Cage signed on to this freak show (other than for the paycheck) and he doesn't phone in his performance, but there's not much of a character for him to play and he spends too much time unconscious and carted around from one weird spot to another. Boutella has even less to do other than be exotic looking and a flashback revealing how she got a scar and how it connects to Hero's crime confuses as to what sort of timeframe things take place in. Moseley's Governor is a cartoon, again due to the script.

 While the setting and details clearly required thought and planning to execute, the underlying story is simply too thin, confusing, and ultimately irrelevant to merit the time to watch it. If you subscribe to Shudder, randomly flip through it and stop at random spots to see some weird.

Score: 2/10. Skip it (or just skip around the timeline to see some weirdness).

Oscars 2024 Review Roundup & My Awards Picks

Tonight is the who careseth Academy Awards where Hollyweird gets together to conclude Awards Season with the biggest show of self congratulations. As I've done in recent years I attempted to watch as many of the nominees in the Best Picture, Best Director, and the two screenplay and four acting categories in what I've termed the Oscars Death March as there are frequently movies I had no interest in that, in the name of wanting to make informed judgements and know where Oscar blew it or got it right, I had to see.

This year with the fixed number of Best Picture contenders at 10 that meant there were 45 nominees to slog through and in my best ever performance, I saw 43 of them including ALL the Best Picture nominees AND managed to get reviews posted for all but one (Barbie) which I viewed too long ago to properly review and want to revisit to properly evaluate.

What follows is who I would've voted for if I had an Academy ballot. (In tribute to Siskel & Ebert's traditional "If We Picked The Winners" show.) I will count down from #10 to my ultimate vote getter (I think Oscar uses ranked voting, so this is the inverse of how they'd tally) and then run through the individual awards with comments.

But enough of my yakking. Let's boogie!

#10 - Killers of the Flower Moon (Score: 3/10) - Martin Scorsese's interminable story of white oppression and murder of the Osage Indians in the 1920s was a team up with his two biggest muses, De Niro and DiCaprio, and it was 2 hours of movie dragged out for 3-1/2 hours. The only Skip It review of all nominees.

#9 - The Zone of Interest (5/10) - The banality of evil gets an extended remix in this odd dry film about living next door to Auschwitz with the sounds and ashes of genocide wafting into a Nazi family's idyllic life. Great sound design, but drones on too long.

#8 - Past Lives (6/10) - One of three foreign language films and the smallest in scale that I have no idea why it's in the running with it's frustrating story of unrequited pining. Greta Lee deserved to be nominated Best Actress, though.

#7 - Oppenheimer (6/10) - The odds-on favorite to win big is Christopher Nolan's first movie that I haven't actively hated since Inception. Not that it's a particularly good movie as it manages to sound and fury the impression of something substantive for three hours while being maddeningly sparse. Congrats for not sucking, Chris. Enjoy your career makeup Oscars - this is your The Departed.

#6 - Maestro (7/10) - Bradley Cooper's Oscar bait tour de force has the look and performances, but is undercut by a screenplay that chooses to look at the periphery of the Leonard Bernstein's life thus requiring viewers to come in with too much knowledge of his music on their own. He should've been nominated for direction over screenwriting.

#5 - Anatomy of a Fall (7/10) - An interesting psychological legal drama that lands with a splat due to an ambiguous, choose-your-own-ending-and-meaning conclusion that leaves the viewer high and dry and unsatisfied.

#4 - The Holdovers (7/10) - An odd retro-styled throwback to the way movies were in the early-1970s with a somewhat shaggy story propelled by nuanced performances by Paul Giamatti and Da'Vine Joy Randolph. The script is somewhat unsatisfying in the end, but has a lot of rich moments throughout which liven up the stock plot.

#3 - Barbie (7.5/10 pending review) - Considering the political firestorm around the blockbuster #1 movie of 2023 with one side calling it the greatest feminist triumph ever and the other calling it a misandrist hate crime and some contrary opinions in between, I was surprised that I mostly enjoyed Greta Gerwig's plastic fantastic toy commercial. While the score may change, the ranking is unlikely to move other than perhaps switching with The Holdovers.

#2 - Poor Things (8.5/10) - Yorgos Lanthimos' absolutely bonkers take on Frankenstein is the year's most original movie, weird, wacky, wild and what movies are supposed to do: Show you people and places you've never seen. Emma Stone gives a career best performance and should win her second Oscar for it.

Which leaves us my vote for Best Picture....

#1 - American Fiction (9/10) - Lost behind the generic title (seriously, how many "America [Second Word]" movies are there? American Psycho, American Sniper, American Gangster/Pie/Graffiti/Made/Beauty/Etc.) is one of the sharpest satires in memory running along with a surprisingly layered and warm family drama that mocks white liberal racism while telling a story about people who are black, but not Hollyweird's stereotypical Magical Negro or Helpless Victim framing. Writer-Director Cord Jefferson has created something special and I hope he doesn't fall off like Jordan Peele did after Get Out. Jeffrey Wright and Sterling K. Brown are excellent.

This is the first Best Picture vote that I'd be enthused to cast in a long time as even the "best movies in past years were flawed like Parasite or Nomadland. It doesn't stand a chance this year - or any year - but at least it was nominated. Go watch it. (It's currently on Fubo and MGM+; hopefully it will migrate to a more common service.)

And now onto the rest of the categories with my votes in bold and comments:

Justine Triet - ANATOMY OF A FALL
Christopher Nolan - OPPENHEIMER
Yorgos Lanthimos - POOR THINGS
Jonathan Glazer - THE ZONE OF INTEREST

Nolan is going to win, but Lanthimos is the best director in a weak field where three of the nominees could've been replaced by others like Bradley Cooper or Greta Gerwig. He made the most original and stylistic film of the year. It's on Hulu now. Go watch it.

Bradley Cooper in MAESTRO
Colman Domingo in RUSTIN
Paul Giamatti in THE HOLDOVERS
Cillian Murphy in OPPENHEIMER
Jeffrey Wright in AMERICAN FICTION

Giamatti gives his most Giamatti performance here, but it's not just more of the same. I just wish the script had resolved more satisfactorily. It's a toss-up between him and Murphy to win, but my 2nd choice would be Wright as he's been so good for so long and this is his first real leading showcase and he kills it.

I didn't see Domingo in Rustin because the movie didn't interest me, the reviews were bad, and he wasn't going to win.

Annette Bening in NYAD
Sandra Hüller in ANATOMY OF A FALL
Carey Mulligan in MAESTRO
Emma Stone in POOR THINGS

Stone delivers the boldest and bravest performance of the year (and not just because she sailed into Mr. Skin's "Great Nudity" ranking with her overload of sex scenes here which weren't that sexy which was the point). She's always been a very subtle actor thanks to her giant Na'vi-sized eyes - just watch the audition scene in La La Land as she realizes they're not paying attention - but here she has to arc Bella from a toddler's mentality to a bright woman's with matching physicality and an English accent to boot.

If Gladstone beats her because the Academy wants to Make History, it'd be a traveshamockery. Greta Lee (Past Lives) should've been nominated over her and perhaps Hüller.

Sterling K. Brown in AMERICAN FICTION
Robert Downey Jr. in OPPENHEIMER
Ryan Gosling in BARBIE
Mark Ruffalo in POOR THINGS

A stacked year with all deserving contenders that edged out some other good performances. Downey is going to win and should win both as a lifetime achievement award and being the only really recognizably human character in the clinical Oppenheimer. 2nd choice would be Brown or Gosling.

Emily Blunt in OPPENHEIMER
Danielle Brooks in THE COLOR PURPLE
America Ferrera in BARBIE
Jodie Foster in NYAD
Da'Vine Joy Randolph in THE HOLDOVERS

 The surest bet of the night and deservedly so as she had the most to do and nailed it. 2nd choice would probably be Foster who's making a comeback lately and this was far better than her turn in True Detective: Night Country. Ferrera is here solely because of her thesis statement rant about how persecuted women are which was pure agitprop and the worst moment in the movie.

Brooks was the only other performance I missed because I haven't seen the original The Color Purple since it was in theaters and I recently bought it in 4K and wanted to revisit that before watching the musical remake. As the sole nomination from the movie, she has no chance and was thus deprioritized, but I'll catch it eventually.

BARBIE - Greta Gerwig & Noah Baumbach
OPPENHEIMER - Christopher Nolan
POOR THINGS - Tony McNamara
THE ZONE OF INTEREST - Jonathan Glazer

Best pictures start with best screenplays, so this is the gimme. My 2nd pick would be Barbie because while it's stuck in the Adapted category due to it being based on the dolls, it's not as if there was a source book like every other nominee had to draw from and what Gerwig and Baumbach did was quite unique.

ANATOMY OF A FALL - Justine Triet and Arthur Harari
THE HOLDOVERS - David Hemingson
MAESTRO - Bradley Cooper & Josh Singer
MAY DECEMBER - Screenplay by Samy Burch; Story by Samy Burch & Alex Mechanik
PAST LIVES - Celine Song
As noted, Barbie should be here, and frankly I'm not super enthused about any of the nominees, so I'm going with The Holdovers for being the least flawed of the lot. Based on my issues with the rest, no 2nd pick. Weakest category of the Death March.

So that's it for this year's Oscars Death March other than catching The Color Purple (2023) and rewatching Barbie. With the exception of Killers of the Flower Moon, there weren't many movies that were too much of a chore to get through and for the most part the nominations and likely winners aren't worth burning a city down over. There could be a few upsets if the Academy decides to spread the wealth around as they've tended to do, but as long as Gladstone doesn't beat Stone (that would merit a small riot) I'll allow it.

What do you think? Leave a comment.

"Lisa Frankenstein" Review

 What happened to Diablo Cody? After her Oscar-winning debut screenplay for 2007's Juno, she followed up with the cult classic Jennifer's Body in 2009, then pretty much never wrote another movie that did business since. I see she won a Tony for her book of the Jagged Little Pill musical, but movie-wise she's been a non-entity for over a decade. And that losing streak hit a new low with Lisa Frankenstein, which also marked the feature directing debut (and likely finale) of Robin Williams' daughter Zelda.

We were watching this because a friend of the missus had claimed Poor Things - my #2 pick for this year's Best Picture - was a ripoff of the plot to Frankenhooker, which we hadn't seen. With the Oscars Death March over, it was time to check it out, but we decided to look at this first and hoo boy, was it bad.

 Kathryn Newton (Cassie Lang in Ant-Man: Quantumania) is Lisa Swallows, a teenage girl in 1989 whose mother was killed two years prior by a random axe murderer. Her father, Dale (Joe Chrest, Stranger Things), remarried a mean woman, Janet (Carla Gugino), and now she has bubbly cheerleader half-sister, Taffy (Liza Soberano, she's big in the Philippines), which doesn't match her misanthropic personality. She likes to hang out in an abandoned cemetery, making rubbings of tombstones and hanging out at the grave of a young man who died in the 19th Century.

 After accidentally getting a spiked drink at a house party and almost raped by a dorky high school boy, Lisa goes to the cemetery and wishes she could be with the dead young man forever. After she goes home, a freak storm causes lighting to hit and guess who's back from the dead?

When the Creature (Cole Sprouse, Jughead on Riverdale) shows up at her home, she's naturally terrified because it seems to be a replay of how her mother died, but then a few seconds later she realizes this is the guy from the cemetery and decides to stash the zombie in her closet. He's missing an ear, hand and penis, but with a combination of murder and an extremely defective tanning bed that Taffy won as Miss Hawaiian Tropic, she can rebuild him and he becomes more lively looking in the process.

While the premise seems to have potential as a mashup of several horror and teen movies, nothing works starting with Lisa who is simply unlikable and ill-defined as if the pages of the script where you'd set up the protagonist were lost or never written and Newton doesn't imbue her with any charm. Gugino's stepmother is a cartoon; her dad is a passive wimp who never seems to be emotionally engaged even when his wife goes missing; all the teen boys are blockheads. Only Taffy is a basically decent character which is meant to be a twist because she's introduced as a vapid bimbette. Sprouse does well with a nearly wordless performance, but it's clear his direction was "be Edward Scissorhands."

But beyond the thin script, the direction by Williams doesn't get the tone anywhere near right. Horror-comedy done properly results in the likes of Evil Dead II, An American Werewolf in London, Freaky, and the recent Amazon Prime Original Totally Killer. Black comedies like American Psycho or Heathers could go wildly wrong if mishandled. Lisa Frankenstein is a prime example of bad script meeting incompetent direction resulting in a mishmash mess of little merit.

However, in response to this disaster the missus suggested we watch a movie I've owned forever, but had never gotten around to watching though she'd seen it, Life After Beth.

Score: 2/10. Skip it!

"Damsel" 4K Review

If it's Friday it must be time for another Netflix Original Movie and this week's forgettable disposable reason why they're the most expensive service is Damsel, a fantasy movie starring Stranger Things girlboss Millie Bobby Brown as, well, a damsel in distress.

 Brown is Elodie, a poor girl from a frigid region scraping for food and firewood. One day, a proposal comes from the Queen of Aurea (Robin Wright, cuz she was The Princess Bride) for her to marry her son, Henry (Nick Robinson). The union would greatly help her people, so she heads to Aurea with her father, Lord Bayford (Ray Winstone, Beowulf), her stepmother (Angela Bassett), and younger sister Floria (Brooke Carter). Once there, they are ensconced in luxury and Elodie spends time with Henry and finds common interests.

Of course, anyone who's seen the trailer knows that this is all a ruse because after the wedding, they head to the mountains for a blood ritual surrounded by the partygoers from Eyes Wide Shut after which our damsel (roll credits!) is unceremoniously tossed into a pit where after crashing through various branches and vines to break her fall, ends up in a cave network within the mountain which is home to a dragon (voiced by Shohreh Aghdashloo and her "smoked three packs a day beginning in kindergarten" voice) seeking to burninate her. Rude!

 Turns out the Royals (BTW, what ever happened to Lorde?) made a deal long ago that in exchange for not burninating their lands, each generation they would sacrifice three royal daughters and thus the blood ritual to make these peasant girls smell like royal blood. Fortunately, Eleven Elodie is a clever resourceful girl and with some convenient help from magic healing creatures and notes left by previous losing contestants on The Royal Bachelor, she is able to turn the tables on everyone. (No, this isn't a spoiler. What did you think was going to happen?)

 While predictable and disposable, I had an OK time with Damsel. Brown is acceptably capable without being too girlbossy and other than too much time spent getting on with the twist (which is in the trailer), it passes quickly. I've seen some nerd rager YouTubers lose their minds over this being a girlboss who don't need no man/men are ineffectual and weak feminist Mary Sue hatefest a la the M-She-U, but that seems more a need to keep the outrage clicks coming than genuine anger. The villain is the Queen, so what's the problem?

As far as AV goes, the Dolby Vision presentation is bright, especially the golden carriage, and the cave scenes aren't too dim. The Atmos audio has some good bass notes like the dragon's voice and flames. Speaking of which, the way they portray the dragon breath as more of a napalm-like liquid fire than a gas flame was different and even more effective because if it sticks to you, you're burned.

Score: 6/10. Catch it on Netflix.

"Spaceman" 4K Review

Since I'm relaxing my boycott of Adam Sandler - which after some reflection seems overkill (but that's another discussion) - I was willing to watch the weird cerebral science fiction Netflix Original Spaceman, in which Sandler plays an astronaut who has a close encounter with a giant talking spider while on a deep space mission.

Sandler is Jakub, a Czech cosmonaut on a solo mission to a bizarre astronomical phenomena called Chopra which has appeared beyond Jupiter. He is battling loneliness and depression after six months heading out and this is without knowing that his very pregnant wife, Lenka (Carey Mulligan), wants to leave him, but her Dear Jakub message was blocked by his commander on Earth, Tuma (Isabella Rossellini). One night he has a nightmare that something is crawling under his face before a spider's legs erupt from his mouth.

Then one day he discovers a visitor has boarded his ship, a HUGE (man-sized) tarantula looking alien he eventually names Hanus (voiced by Paul Dano), who tells Jakub he was in the neighborhood to see Chopra, but was drawn to Jakub's loneliness and wants to help. Able to telepathically access Jakub's memories, he begins to counsel him by exploring why his marriage is falling apart. Meanwhile on Earth, after a visit to her mother (Lena Olin), Lenka spends time at a ritzy spa for pregnant women.

Spaceman reminded me of Steven Soderbergh's 2002 version of Solaris in its quiet tone and increasing sense that what we're watching isn't really happening. Is there really a friendly alien spider who develops a hankering for Nutella acting as a marriage counselor or is Jakub's guilt for being a lousy, unavailable husband manifesting as Hanus. While Lenka comes off initially as a beyatch, as we get his side of the story we realize it took two to tear a relationship.

But what it really resembles is the mopey 2019 Brad Pitt sci-fi film Ad Astra (which I saw, but somehow didn't log and have no review score for) with Pitt as an astronaut with daddy issues who travels to the fringes of the solar system to have a showdown with his father. Along the way he encounters rabid lab monkeys and Moon pirates and it's all ridiculously stupid and convoluted for a story that could've been told on Earth as a road trip movie.

Forgetting the whole "When did Czechoslovakia get a space program? or "Is the spider real?" angles, what is the reason for sending only one man on this supposedly critical mission other than to have him be depressed, lonely and susceptible to space spider marriage counseling? That sentence alone is why you'd have a co-pilot on the trip. And it's a weird choice considering the production design of the spaceship is the most realistic depiction of what real spaceships look like I can recall. Not slick and futuristic, but functional, tactile, and what an Eastern European country would put together.

But the centerpiece of Spaceman is Sandler's performance and this may be the best acting I've seen him do. While I last suspended my boycott for Uncut Gems (score: 7/10) and appreciated his raw nerve performance, what he does here is so subtle, refined and underplayed that I suspect most people won't appreciate it. Instead of just playing Jakub as mopey, glum, and po'-faced, Sandler's stillness conveys the hollowed-out depression of a man set adrift, literally and figuratively, by his circumstances and his choices. It's really something to behold and that he was doing this while suspended by uncomfortable wires, harnesses and poles is even more impressive.

Mulligan, Rossellini, and Olin don't have much to do but provide diversions to cut away to. Mulligan's Lenka is more an idea than a character which is ironic considering her role is to be the center of Jakub's guilt. If they had cut all the Earth scenes, it would've have made much difference story-wise. 

While I was left lukewarm about Spaceman, the missus really liked it and she hated Solaris, so go figure. If you're in the mood for a sad tale of a man metaphysically lost in space, you may want to give this a look if only to see what the star(s) of Jack and Jill could've been doing instead.

Score: 5/10. Catch it on Netflix.

"Poor Things" 4K Review

The final film of this year's Oscars Death March (and the first time I've managed to see ALL the Best Picture nominees) is Yorgos Lanthimos's bonkers science fictiony fantasyish dark social comedy Poor Things which is the most original and outlandish movie of the year and makes Barbie look like a documentary about poverty and slums. It's nominated for 11 Academy Awards including Best Picture, Director, Actress, Supporting Actor, Adapted Screenplay, Cinematography, Production and Costume Design and it'd better win several of them.

Emma Stone stars as Bella Baxter, a young woman in Victorian London who seems to have the mentality of a toddler probably due to her "father", Godwin Baxter (Willem Dafoe), whom she calls "God" for short, finding her freshly-dead body in the Thames after she committed suicide and removing her still-alive near-term baby and then transplanting the baby's brain into its mother's skull thus allowing him to observe the development of a new mind in a mature body. You could say he's a bit of a mad scientist.

He hires a student, Max (Ramy Youssef), from his medical school to be Bella's observer, documenting her development and when he detects affection between him and Bella, he suggests they marry to which Max agrees, basically selling his life into indentured servitude. The lawyer hired to draft the contract, Duncan (Mark Ruffalo), wonders who is the woman that a man would want to sign his life away for and prowls the house looking for her and once he finds her, decides he wants her for himself, luring her away. While Max is horrified that his fiancee is being let go, Godwin decides it will help her development.

So Bella and Duncan set off for Lisbon then a cruise ship to Greece with plenty of "furious jumping", Bella's term for sex as she had discovered her happy spot and wants it stimulated. A lot. A task Duncan is happy to oblige. But less suitable to him is her intellectual evolution as she encounters new ideas and begins reading philosophy. But because she still is still literally an infant in some ways, she makes poor decisions leading to destitution for the pair and after he abandons her, she ends up working in a Parisian brothel for a looooong time with plenty of scenes of her at work with her clients. 

While the underlying premise and commentary on how women weren't exactly allowed the most agency back in the bad old days is pretty standard stuff (oh no, the PATRIARCHY, Barbie Bella!), what makes that tangential is the world Lanthimos and company have constructed to tell the tale.

Clearly artificial and surreal, it feels like a cross between a Terry Gilliam and Luc Besson movie (The Fifth Element and Valerian and the City of 1000 Planets movies from the latter) with a dash of Wes Anderson and David Lynch on the side with fantastical cityscapes and impossible creatures like a dog with a goose's neck and head or a chicken body with a pig head. Filmed at times with extreme wide-angle and fisheye lenses, it looks out of this reality but without the digital fakeness many movies have despite using similar technology.

But the style wouldn't matter without rooting the bizarre proceedings in across the board excellent performances beginning with Emma Stone's completely committed and unabashed performance. From the way Bella's walk develops from a wobbling toddler's to a confident woman's without falling into pratfall and the way her mental and personality development arcs, it's a triumph of a performance and the only thing that will prevent her willing her 2nd Oscar is if the Academy decides to make an affirmative action choice for Lily Gladstone. And the way she puts her body forth, well then. Let's say that this isn't your typical "stripper who doesn't get naked" deal. Nope. (If you wanted more than the one nipple she exposed in The Favourite, you get it in all the suits of the deck here.)

At first I didn't dig Ruffalo's performance as the caddish Duncan, but as time went on and his bragadocious front was stripped away (no thanks to Bella's actions), he becomes a pitiable figure. If I was handing out the nominations, I would've given his to Dafoe's Godwin. Buried under a four-hours-in-the-makeup-chair mask of scars and latex, it would've been easy to play it as an amoral mad scientist. But as details of his horrifying upbringing as his father's experimental test bed are revealed, the pathos of a man bent to a path which leads to questionable wonders comes through.

While Poor Things could've benefited from being 20 minutes shorter and trimmed back some of the brothel stuff, it still excels at doing what few movies these days seem to have had much interest in delivering, taking the viewer to see people and places they've never seen before and that makes it one of the best films of the year and my second place vote for Best Picture.

Exit Note: While discussing the film with the missus, she said that there was no way the Oscars would go for such a bizarre and sexual freak show of a movie. Then I reminded her, "They gave Best Picture to a movie about a woman who f*cks the Creature from the Black Lagoon, so..." (That's The Shape of Water - aka Grinding Nemo - in case you don't get the reference.)

Score: 8.5/10. Catch it on cable. (It comes to Hulu on March 7)

"Nyad" 4K Review

Truth be told, I probably wouldn't have watched Netflix Original feature Nyad if not to check off a pair of items on my 2024 Oscars Death March watchlist, Annette Benning's Best Actress-nominated performance as marathon swimmer Diana Nyad and Jodie Foster's Best Supporting Actress-nominated turn as Bonnie Stoll, Nyad's best friend and trainer.

I'm not a fan of sports films and the trailer made it look like it was more interested in the LGBTQ+ angle Netflix tagged it as and even though Film Threat's review debunked the latter, their praise seemed more about the sports aspect. When the Oscar nominations were announced, I figured Benning's was mostly due to the most braving and stun thing an actress can do in Hollyweird: Appear old on screen. (Why else did Patricia Arquette win an Oscar for her shrill performance in Boyhood - of as I call it, Twelve Years A Movie - other than she aged 12 years on screen?)

So I wasn't going into watching Nyad with much optimism, but fortunately the performances make the formulaic and thin story worth watching. If you like sports movies, you'll probably enjoy it more.

The movie opens with a montage of actually footage of the real Nyad summarizing her life and swimming achievements culminating in her failed attempt to swim the 103 miles between Havana, Cuba and Key West, Florida at age 28. Then we meet Benning's Nyad at age 60, who despite having a career as a commentator on ABC's Wide World of Sports, is plagued by her failure to achieve her dream of the Cuba swim. She decides she's going to try and do it and taps Bonnie as her trainer.

What follows is a condensed telling of her five attempts to make the crossing between 2011 and 2013. As much an obstacle of her age and the distance is the wildlife including sharks and jellyfish (the effects of a attempt-ending run-in with a box jellyfish are pretty gnarly and nearly fatal) and the rapid and changeable currents of the Gulf Stream which requires an expert navigator which she find in John Bartlett (Rhys Ifans). He tells her the reason she failed before was from incorrect navigation, but the way she butts head against him almost leads to disaster when storms strike while they're in mid-swim.

And it's Nyad's obstinacy which overshadows her quest. Nyad is...let's go with "difficult" to get along with as she's intensely self-centered and focused on her dream, which makes her dismissive with those there to support her. At the birthday party, Bonnie tries to set her up with a woman, but when we finally see how she handles it by yammering on endlessly about herself while oblivious to the woman's increasing discomfort before finally asking the woman about herself sets up just what it's like to deal with Nyad. Naturally, this leads to everyone getting fed up with her crap and walking away after the fourth failure.

 Though it happened just a decade ago, I didn't remember whether Nyad actually succeeded in making the crossing (though they don't make many movies about people who fail, do they? SPOILER ALERT!) - I remembered her Carter-era try - so I was actually interested to see how it turned out.

First-time narrative film directors Elizabeth Chai Vasarhelyi and Jimmy Chin (who won a Best Documentary Oscar for Free Solo) do well with the training and swimming scenes as well as the dramatic beats between Nyad, Bonnie and John, but the flashbacks to her childhood with a broken home and sexual abuse from the swim coach she idolized are muddled and don't really seem relevant to the task at hand, but that's on the screenplay by rookie feature scribe Julia Cox, adapting one of Nyad's books, which is serviceable. The big finale is the most nail-biting moment of the film as you fear that all of Nyad's work could be for naught if an overexuberant onlooker touches her.

 But where it swims like a dolphin is in its trio of performances from Benning, Foster and Ifans. It's a fact that actresses like to get ugly for awards credibility whether imitating real people or not, but it's less a gimmick here than just what the role calls for. Nyad is a prickly personality and Benning isn't afraid to make her unlikeable while keeping us rooting for her to overcome the odds.

Foster is having a career resurgence suddenly between this and the just-concluded True Detective: Night Country after nearly two decades barely working in anything anyone has seen. (The last two movies of hers I'd seen were her odd role in the 2018 John Wick knockoff Hotel Artemis and 2013's Elysium where she delivered the worst performance of her career.) She's excellent in her supporting role and it's good to see the Academy understand that many great lead performances have equally critical supporting turns which deserve nomination. (How Christina Ricci was snubbed for her role in Monster which won Charlize Theron her Oscar is a perfect example of the Academy getting it wrong.) Here's to hoping she's looking to work more.

As with all "based on a true story" movies there are some serious corners cut like reducing the size of the support team from multiple vessels and about 40 crew to a single ship and a handful of crew which begs the question how are they staying awake? The controversy about the swim and how it was conducted isn't addressed lest it detract from the desired narrative.

While Nyad doesn't really elevate the sports biopic form to new heights, it's a pleasant, well-acted couple of hours which show that dedication and determination can overcome conventional wisdom and common sense at times. Provided a box jellyfish doesn't sting you to death.

On the technical front, the Dolby Vision and Atmos presentation didn't really seem to add much to the experience, so if you're not shelling out for the $23 tier of Netflix (those greedy jerks) then you're not missing much.

Score: 7/10. Catch it on Netflix.

"Mean Girls" (2024) Review

Because entertainment is a flat circle and creativity is too risky for Hollyweird, 2004's Mean Girls which became a 2018 Broadway musical is now back as a film of the musicial based on the film, also named Mean Girls. Confused? Good. Updated by original screenwriter Tina Fey to reflect cultural changes - Tik Tok videos and a whole lot less white people - it's the same old story, but now with singing! (Though you wouldn't know it from its trailer which has about two seconds of footage from musical numbers, so if you hate musicals you're in for a bad time.)

Angourie Rice (she played Betty Brandt in the MCU Spider-Man trilogy) stars as Cady Heron (originally played by Lindsay Lohan), a home-schooled girl raised by her anthropologist mother (Jenna Fischer, originally Ana Gasteyer) in Africa minus any mentioned father. Missing out on social contact, her mother takes a job back in America and Cady enrolls in North Shore High and gets a crash course in cliques. 

She's initially befriended by race-swapped Janis (Auli'i Cravalho, originally Lizzy Caplan) and "too gay to function" Damian (Jaquel Spivey, orig. Daniel Franzese), snarky outcasts, but the focus changes when Janis encourages Cady to infiltrate the notorious "Plastics", the apex predators headed by Regina George (Reneé Rapp, orig. Rachel McAdams) with her sidekicks Gretchen (Bebe Wood, orig. Lacey Chabert) and airhead Karen (Avantica, orig. Amanda Seyfried). Regina takes Cady under her wing and elevates her style and status unaware of how Cady & Co. are conspiring against her. Of course, Cady loses the plot and loses her moral compass, same as last time.

Mean Girls (2024) lives in a weird limbo as a hybrid of a musical and a rehashing of a movie that's never really left the collective cultural memory - there was a Mean Girls-themed Walmart Black Friday 2023 commercial campaign reuniting Lohan, Chabert, Seyfried and others - to the point where any new take couldn't help but be constantly held against the original. As a result, most of the time you're waiting to see how closely the new movie tracks with songs tossed in of varying effectiveness. While the songs are new, the closeness with which the plot beats are the same.

This familiarity is confounded by the new cast being led by Rice whose voice is thin and passable, but she lacks the charisma and charm of Lohan. (Sidebar: It's hard to remember now, but in 2004 Lindsay Lohan was hot stuff coming off the tag team of the Freaky Friday remake and Mean Girls. She was poised for an interesting career, but went down in tabloid flames and the fact she's still alive at 37, recently married with a child in Dubai, and making rom-coms for Netflix a minor miracle.) Rice's Cady is a passive pawn of Janis and Regina's games to the point she's barely the protagonist. According to Wikipedia, 14 songs were cut from the show for the movie and a comparison of the track listings between Broadway cast and movie soundtracks show half of Cady's songs were cut. (Due to Rice's weak voice?)

That makes the stars of this show Rapp and Cravalho. Rapp is a bold brassy bodacious blonde who played Regina on Broadway and also contributed to co-writing new songs for the movie. (She also looks a lot like Busy Phillips so when Philips shows up as her mother, originally played by Amy Poehler, it wins the Most Obvious Casting Duh award.) Unlike McAdams, her presence is more dominating and menacing then hectoring.

Cravalho, who made her acting debut voicing Moana, is the real breakout star here with an effortless nuanced charm embracing her outsiderness and fronting the showstopper number "I'd Rather Be Me" which is shot in a single unbroken take as the camera (operated by Ari Robbins, listed as "Trinity Ninja" in the credits; Trinity being a brand of advanced camera stabilizing kit which is a Steadicam on steroids) races with her through the school in its own complex dance. However, when she suddenly shows up at the finale dance with a girl whom we've never seen before, it's another odd editorial moment.

Rookie directors Arturo Perez Jr. and Samantha Jayne do a fine job staging the modern musical numbers, but they're hamstrung by the choices in the script adaptation by Fey, who returns as Ms. Norbury along with Tim Meadows' Principal Duvall. While the cast as been diversified, it's not woke racism as the underlying characters are the same (e.g. Indian Avantica manages to make Karen both have bigger boobs and be dumber than Seyfried).

While slightly fresh, Mean Girls (which needs ": The Musical" appended) is a mostly redundant and superfluous revising of a teen movie classic. If you like musicals or wished the original wasn't so full of people of pallor, or just want to change up your revisiting North Shore High, this will suffice.

Score: 6/10. Catch it on cable. (It will be coming soon to Paramount+)

"The Zone of Interest" Review

As we near the end of this year's Oscars Death March along with Past Lives, the other film nominated for Best Picture this year I had no freaking idea about was The Zone of Interest, which Google told me it was about the family of the Nazi commandant of Auschwitz living an idyllic life literally on the other side of the wall from the camp. Holocaust movies used to be a staple of Oscar, but they've fallen from favor post-Schindler's List as they've chosen to focus on more sexy topics like racism and LGBTQ+LMNOPWTFBBQ subjects. It's nominated for Best Picture, Director, Adapted Screenplay, Sound, and International Picture (representing Great Britain, though it's in German meaning subtitles).

And that sentence describing the plot pretty much describes the entirety of the plot, such as it is, of the movie. Adapted from the Martin Amis novel, The Zone of Interest is about Rudolf Höss (Christian Friedel) and his wife Hedwig (Sandra Hüller, also nominated for Best Actress in Anatomy of a Fall) and their five children (let's call them Greta, Helga, Groucho, Harpo, and Baby Jake) as they live a posh life in a nice house with gardens and a small pool and greenhouse. Hedwig models a nice fur coat courtesy of the Jewish woman who won't be needing it anymore. A worker in striped pajamas is glimpsed tending Rudolph's horse.

Sure, there are the sounds of genocide wafting in - gunshots, screams, cries, dogs barking, the paranoia-inducing rumble of the machinery of death - and it's inconvenient when the winds shift and blow the odor and ashes of the exterminated onto the laundry on the lines or when a human jaw bumps into you while your fishing requiring yanking the children from the river and scrubbing them in the bath, but the bosses are impressed with Rudolph's efficiency and there's talk of promotion. Life is good.

If this sounds glib and dismissive of the horrors of the Holocaust, it's intentional because writer-director Jonathan Glazer (whose 2004 film Birth, about Nicole Kidman believing a 10-year-old boy is her reincarnated dead husband, was just awful) has taken the concept of the banality of evil and stretched it out over 105 airless minutes where it begins to take on the aura of an Andy Kaufman bit where the utter lack of humor is what makes it funny.

From the four-minute "overture" which sounds like someone fell asleep on a keyboard triggering an ambient techno patch over a black screen to extended shots of the pale Aryan family enjoying a trip to the river then driving home for a loooong time then lots of watching the help hang the laundry, Glazer relies on locked down camera angles (he wired the house with a bunch of fixed digital cameras recording constantly so the actors didn't have crew disturbing them in what Glazer called, "Big Brother [the TV show] with Nazis") or very rigid tracking shots a la Stanley Kubrick which I suppose is meant to give the viewer a voyeuristic perspective, but it's comes off as self-consciously pretentious. This doesn't even include the bizarre interludes filmed with an infrared camera of a girl hiding fruits where prisoners would be laboring which look like black and white film negative. ( I had to look up a synopsis to find out who the girl was.)

 The way people blasely discuss things like when Hedwig's visiting mother muses whether the Jewish woman she worked for was over the wall in the camp getting what Jews had coming before grousing how she got outbid on some curtains of hers or the designers of a more efficient crematory design which will allow for maximum throughput of people needing incinerating, the Holocaust is portrayed as being thought of as dispassionately as a logistics puzzle or how much ash should be spread in the garden to nourish the crops with the ash coming from one the million-plus people next door.

The film ends with a bizarre flash-forward of workers dusting and sweeping Auschwitz as it is today, a tourist destination with exhibits of the piles of luggage and shoes arriving guests had confiscated as a reminder of one of humanity's darkest chapters.

But does anyone really need to be told that the Holocaust was bad, mmmkay? Any irony that such monstrous deeds were perpetrated by people NOT acting like Hitler, barking in angry German as shown on newsreels, is ironically tempered now by the flood wealthy celebrities demanding that Israel, the Jewish state established in the wake of the Holocaust, stop protecting itself after the 10/7 Hamas attacks which killed over 1200 people solely for being Jewish in the worst day of mass murder since the Holocaust.

Are celebrities and the Academy aware of the disconnect between honoring this movie with awards while the members such as Best Supporting Actress nominee America Ferrera and two-time Oscar-winner Cate Blanchett demanding a ceasefire to save the attackers and preserve their ability to continue raining rockets down on civilian areas of Israel? Is the ruthless murder of Jews bad or not, Hollyweird?

While smartly crafted and deliberately told, The Zone of Interest never really engages the viewer because nothing ever changes. No characters change; the way they are in the beginning is the way they are in the end. It's 1-3/4 hours of not much happening, though plus points for doing little in half the time Killers of the Flower Moon wasted. It's purely cerebral about something usual meant to be felt viscerally. Frankly, you'll learn more about Höss in this Smithsonian magazine feature released in conjunction with interest in the film.

Score: 5/10. Catch it on cable.

"Lover, Stalker, Killer" Review

 If there's one thing Netflix seems able to consistently churn out it's entertaining true crime documentaries. Slickly produced and well told, they're usually short - running 90-120 minutes either as features or mini-series - for quick consumption. Recent winners have been Bitconned and the infuriating American Nightmare which exposed the police AND FBI has judgemental incompetents who seemed to base their "investigation" on watching Lifetime movies. New to Netflix is Lover, Stalker, Killer, another wildly bonkers true crime tale which still manages to surprise even when I was able to predict the twist really early on.

 It's the story of Dave Kroupa, a mechanic who relocated to Omaha, Nebraska to be close to his children after his marriage ended and his ex moved back home in 2012. Looking for love (or at least Miss Right Now), he signed up on a dating site and was matched with a woman named Liz Golyar, a divorcee with a couple of kids. Dave made it clear he was just looking for something casual and she was down for that and they had a great time together.

One day a woman named Cari Farver brought her car to his garage and he checked it out, but also took a liking to her and asked her out. A single mother, she also agreed to his no strings attached/friends with benefits arrangement and dated for a couple of weeks.

One night, while Cari was at Dave's place, Lisa showed up, ostensibly to retrieve something she'd left there. As Cari left, she and Lisa made eye contact for a few seconds, but nothing seemed amiss. But a couple of days later Cari texted Dave suggesting they'd move in together. Dave replied that he'd made clear that he wasn't looking for anything serious and it was way too soon to be playing house and she replied like a mature adult woman would: By swearing to destroy his life in every way possible.

Which she does with a constant barrage of texts and emails which then advance to vandalism against Lisa - keying her car, breaking into his apartment and slashing Lisa's clothes, eventually escalating to setting Lisa's house on fire, killing her pets, which prompted her to break off her relationship with Dave. When the threats extended to his ex-wife and children, they all had to move and change jobs to try and escape Cari's menace.

If you're wondering why the cops didn't step in to deal with Cari, it's because she had disappeared at the same time she began waging jihad against Dave, Lisa and their families. Cari's mother was looking after her young teenage son and her only contact with her daughter were cryptic text messages that she had moved to Kansas to sort things out in her life. Cari was bipolar and a search of her home found she hadn't taken her medicines with her, but also that she didn't appear to have taken anything with her as all her clothes and effects were still there.

 You can probably guess what was going on - I did - but the looooooong twisting road to get to the end is still fascinating stuff, especially the surprise connections between some parties are exposed or the lengths Cari goes to keep inflicting distress on Dave.

 If you like Netflix true crime docs, you'll like this, too.

Score: 8/10. Catch it on Netflix.

"Oppenheimer" Review

 Well, this was unexpected. Somehow after 13 years and four increasingly appallingly bad movies which had me repeatedly calling for the revocation of his filmmaking privileges, Christopher Nolan has finally made a movie that isn't absolute garbage.

His six films from 2000-2010 starting with Memento and ending with Inception were all very good to excellent (scores: 7-10), but starting with 2012's The Dark Knight Reloaded (as I will never stop calling it) thru 2020's Tenet (which got to hide its failure behind the Hot Fad Plague) have been one misbegotten self-absorbed steaming piles of manure after another (score: 2-4). He believed his hype from legions of fawning fans who have placed him in the same area as Martin Scorsese where they believe that because he made great movies in the past, that means everything he makes now is also great.

So it was with zero enthusiasm where I sat down for three hours of Nolan called Oppenheimer. I had skipped the whole "Barbenheimer" silliness last year and couldn't believe a long biopic about the Father of the Atomic Bomb would gross nearly one billion dollars with the general public who probably would've skipped it if not for the magic Nolan name. (But people think Train rocks, so...)

But at the conclusion I was pleasantly surprised that I didn't want to beat anyone up for liking this, but quickly realized that what Nolan had done was somehow fill three hours with almost no content, obscuring it with flashy filmmaking and a manic score by Ludwig Göransson which keeps the viewer hyped and awake and feeling they're watching something meaningful. So, yay?

 Cillian Murphy stars as J. Robert Oppenheimer and in a return to Nolan's self-indulgent gimmick from Dunkirk the story is told via two interlaced timelines: one in color titled Fission, covering Oppie's life beginning as a graduate student at the University of Cambridge through the development of the A-bomb at Los Alamos in the context of a star chamber proceeding considering whether he should retain his security clearance in 1954; the other in black & white titled Fusion, which covers the Senate confirmation hearing of Lewis Strauss (Robert Downey, Jr.) in 1959 and how he waged a vendetta against Oppenheimer over slights, petty and imagined. (Of course the later chronological scenes are in B&W because Nolan.)

 Along the way we're treated to a whirlwind of familiar names (if you're a nuclear science nerd like I was as a yoot) and faces as a legion of famous actors flow by so swiftly you don't really catch names, just roles. There's Florence Pugh as Jean, a Communist mistress of Oppie's (and features in the first sex scenes of Nolan's entire career) who he still sees after marrying Emily Blunt's Kitty and starting a family. Matt Damon as the general in charge of Manhattan Project; Josh Hartnett as Op's best friend who invented the cyclotron; Rami Malek, Benny Safdie, Kenneth Branagh, David Krumholtz as scientists; Tom Conto as Albert Einstein. Casey Affleck, Dane DeHaan are military men; Jason Clarke, Tony Goldwyn, Matthew Modine, David Dastmalchian, Alden Ehrenreich and more are lawyers and politicos. Hey, it's Gary Oldman under a ton of makeup playing Harry S. Truman! A cast of many!

With so many people and places and events all jumbled together, the viewer is always scrambling to keep things straight and figure out what the connections are. While not utilizing the stock linear biopic template may've been an attempt to freshen the formula, the way Nolan jumps back and forth in order to hide the thin excuse motivating what Oppenheimer is subjected to until deep into its third hour results in an immediate feeling that you've witnessed something sprawling and epic, but the next day realizing nothing stuck with you because there was little substance there.

Here's what I recall about Oppenheimer: Hat, haunted stare, ummm, smart...that's about it. We don't get any feeling for his relationship with Kitty (a nominated Blunt, mostly for a couple of simmering scenes, but not much else) and why Janet was so important. We get a better sense of the rivalries and disputes between the founders of the Atomic Age and some of the moral qualms about the practical applications of their theoretical research. While there may be an intellectual kick to developing a bomb that could set off a chain reaction that would set the Earth's atmosphere on fire, killing everything on the planet, there is that whole ENDING THE WORLD side effect if someone used this invention.

Because quantum theory is so complicated to understand for non-Big Brain folks, Nolan attempts to present an impressionistic picture of the unimaginable (like the ridiculous 4D Magic Bookcase inside the black hole at the end of Interstellar), so he throws random whirring glowing things and macro photography left over from a Pink Floyd planetarium show and shots of Op tossing glasses into the corner of the room watching them shatter as if divining the Secrets of the Universe in the shards. I hated A Beautiful Mind and sold the DVD immediately after watching it (which is the ultimate rejection considering how much bad stuff I keep), but the way Ron Howard visualized game theory and how John Nash viewed the world explained the arcane concept where Nolan doesn't even try, preferring to flash some lights and crank the score volume.

And speaking of flashing lights, much was made of Nolan's proclamation that he wouldn't use any CGI VFX to recreate the Trinity bomb test. The obvious joke was that he was going to set off an actual atomic bomb, but the absolutely underwhelming depiction of this explosion makes one wish he had done so as this explosion which they weren't 100% certain wouldn't set the atmosphere on fire is nothing more than a big gasoline explosion which looks nothing like an atomic bomb mushroom cloud. THE moment of the whole story is a damp squib.

But that test occurs about 2/3rds of the way through the three hour runtime leaving a whole hour of vamping to babystep to the only real conflict of the film, that the reason for the 1954 inquisition stemmed from Stauss' butthurt over being mocked at a hearing by Oppenheimer after the war and his imagining to be the subject of disrespect by him and Einstein when they meet in 1947 when Strauss was trying to get O.P.P. to set up at Princeton. When we finally realize why Opie was subjected to such suspicion it elicits the first real emotional reaction to the story, but it's too little, too late.

With such a stacked cast, there are no real weak performances, just performances set adrift by the sparsity of Nolan's everything everywhere all for three hours screenplay. Pugh gets naked and kills herself, but so what? Blunt is the stoic partner to a man whose attention was always elsewhere, but who cares? Damon is good, everyone's good, but they mostly come and go without a lasting impression. The big surprise was Hartnett, who looks different enough and his acting through his eyebrows for once.

Cillian Murphy is a 50-50 favorite, along with Paul Giamatti, for Best Actor, but he is playing such an internally conflicted character whose actions are inscrutable - why exactly did he almost murder a professor? Seems a bit over-reactive - due to the Cliff's Notes script and Nolan's ADHD narrative that all that remains is the hat and the stare.

On the other hand, Downey Jr. is going to win for his portrayal of Strauss, a petty, vindictive man who put his pride before his fall. Strauss is the villain of the piece, leveraging Op's dalliances with Communism in the 1930s when everyone joined the Commies cuz it was the cool fad before it became a career liability in the 1950s (and ironically a career requirement for liberal politicians and entertainment folks now) into concerns over his loyalty to America. (That we repurposed a bunch of Nazi rocketeers for our space program goes unmentioned due to not being relevant.) Downey deserves to win as much for his performance as the lifetime achievement catch-all it will represent.

Which brings us back to Nolan himself and the personality cult that surrounds him and how he skates on so many flaws because he made The Dark Knight. His fetish for shooting on IMAX - Kodak had to invent a B&W IMAX film stock for this production - and making viewing Oppenheimer in 70mm a quest for his fans despite frequent technical problems in projecting a massive 11-mile-long, 600 lb. film print caused in the handful of theaters even capable of showing it, contributed to a Reality Distortion Field around the content of the film itself. He has gotten away with cranking up the sound so loud you can't hear the dialog and relying on the overwhelming impact of Cillian Murphy staring hauntedly at you six stories tall that the viewer gets bludgeoned into believing they're witnessing Something Really Important. (It made almost a billion bucks, so it clearly worked.)

But if the test of a song is how it stands up to being performed on a guitar or piano with all the other 100 tracks of pop music production stripped away, then the quality of a film should hold up when viewed on a 55-65" HDTV. (No one should be watching movies on a phone or tablet. Let's not be stupid.) And without the kilotons of picture size and sound you get in the theater, the sparsity of the film is exposed. It's a two hour movie stuffed into a three hour sack with too much time spent on the superfluous at the expense of the interesting.

It's not to say there aren't some meaty thoughts rattling around, especially the ethics of these mega weapons and the risk of making something that really shouldn't be used, but if you don't have on hand to deter those with ill intents then may land on your head. But since the science itself is so arcane, that leaves vast voids of time where we see Oppenheimer rush around to meet names nerds only will recognize, but if they cut out half the cast would anyone have noticed. Pugh's character almost seems to exist solely to provide some skin, especially in a weird moment where Blunt imagines her nude and straddling a naked JRO during the trial. Huh?

If you're trying to figure out how this is the first movie of Nolan's I haven't hated yet I've got so little to praise it for, that's the conundrum of Oppenheimer. It's a Big Story about Important People doing Momentous Things that changed the world momentarily for the better, but will probably end us all in the long run told in a fast and furious manner and my praise is mostly due to making three hours sail by without feeling it drag much. (We only took one bathroom and beverage break.)

But the nagging feeling that all the timeline jumping, flashing forward and backward to obscure the payoff that petty small men do cruel things for selfish personal reasons makes the overpraise and likely Oscars gold feel hollow. It's like how the Academy finally noticed Martin Scorsese with The Departed, but then kept nominating his progressively more bloated and unengaging movies afterwards including this year's wretched Killers of the Flower Moon.

 Where does Oppenheimer land in the ranking of the 11 movies I've seen of Nolan's? At number 7 as more the best of his bad movies than the worst of his good ones. At least he's not going to get stroked by the Academy for something awful, but still.

Score: 6/10. Catch it on cable. (It's on Peacock now.)

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