Women Talking

WOMEN TALKING

2022 | Dir. Sarah Polley | 104 Minutes

"Why does love, the absence of love, the end of love, the need for love, result in so much violence?"

When the women of an isolated Mennonite colony discover that they have been habitually drugged and raped by the men in their community, they must decide whether to take no action, to fight, or to leave. 

Adapted from Miriam Toews's 2018 novel of the same name, writer/director Sarah Polley's Women Talking is an intense drama that predominantly takes place in one setting in a relatively short span of time. While the inciting incidents leading to the central discussion are never depicted directly, Polley ensures that the shockwave of the assaults suffered by the women reverberate through the entire story, delivering an emotionally powerful experience throughout the film. The narrative thoroughly explores all options available to survivors of chronic abuse, specifically women, as well as the actions that must be taken to educate future generations. Each character presents varying but relatable viewpoints that are easy to understand, stances ranging from relatively moderate to fervently extreme. One is ready to do battle with the men, another is cynically resigned to defeat, and yet another optimistically promotes radical change without resorting to violence. The greatest strength of Polley's screenplay is that every lead role is given a wealth of sympathy and nuance, each player given ample opportunity to command the screen. 

Polley's visual style is absolutely striking, her shot selection is always aesthetically appealing. However, the consistent drab muted color palette, while making a clear thematic point, can be too wearisome if the viewer doesn't acclimate to it. While the majority of film takes place in the hayloft where the principal characters passionately debate over the best course of action to take, the tension always peaks when the picture cuts to flashback sequences depicting the women in the immediate aftermath of each attack, reminding the viewer of the stakes in the most chilling manner.

Rooney Mara is captivating as optimistic Ona, giving an arrestingly warm and radiant performance. A force to be reckoned with, Claire Foy's screen presence is magnificent playing the angry Salome, exuding so much fury. As bitter Mariche who doesn't see the point of taking any action, Jessie Buckley is convincingly prickly and antagonistic. Michelle McLeod provides a sympathetic performance as sensitive Mejal, particularly heartbreaking when in her panic attack scene. Playing soft-spoken scribe August, Ben Whishaw is appropriately understated but incredibly affecting. The support cast includes Judith Ivey as level-headed Agata, Sheila McCarthy as Greta who is always ready to share an allegorical story about her horses, Kate Hallett and Liv McNeil as children Autje and Nietje, August Winter as the trans boy Melvin, and Frances McDormand essentially making a glorified cameo appearance as hostile Scarface Janz.

Women Talking is a riveting drama that presents an isolated microcosm of atrocious sexist injustice with implications that are relevant to all. While the picture is almost exclusively centered on extended heated discourse in one remote location, demanding a dauntingly high level of engagement from the audience, the upsetting inequity it addresses plays out in every community big and small, and is worthy of recurring interrogation. It is a testament to the power of Polley's directing talent and the strength of its fantastic cast that the film so exceptionally engrossing.

FRAGMENTS

- The use of The Monkees' "Daydream Believer" is particularly unsettling in this film

- Hildur Guðnadóttir composed the scores for this film and another 2023 Best Picture Oscar Nominee Tár

007 CONNECTIONS

- Ben Whishaw (Q in Skyfall, Spectre, and No Time To Die)

Triangle of Sadness

TRIANGLE OF SADNESS

2022 | Dir. Ruben Östlund | 147 Minutes

"I think it's un-sexy to talk about money."

Fashion models Carl and Yaya take a cruise on a luxury yacht, rubbing shoulders with the rich and powerful. However, things take a severe turn for the worse after the crew fulfills a series of ill-advised demands from their wealthy guests. Shipwrecked on a remote island, the couple soon finds that the things they value can shift radically based on circumstance.

Writer/director Ruben Östlund's Triangle of Sadness is a brusque satirical takedown of wealth and influence, concepts invented by society that give certain privileged groups of people unjustified power over others. The narrative is neatly divided into three sections: the first explores the absurdity of traditional gender roles; the second presents the injustices big and small that the working class is subjected to at the whims of the wealthy; while the third flips these dynamics with humorous results. Though despite delivering some incredibly funny moments, the film is somewhat off-putting in its bleakness and cynicism without making a single illuminating point. Östlund's characters speak in an amusing matter-of-fact tone that sounds true to life, and the situation of various hierarchies ruling the patrons and service staff of a luxury cruise completely inverting after a shipwreck is ingenious, but the feature doesn't say anything about the nature of power structures the audience doesn't already know, nor does it capitalize on the situation's potential for bigger comedy with the exception of one extended sequence featuring an abundance of gross-out humor.

In fitting with Östlund's sensibilities, the visual aesthetic of Triangle of Sadness is pleasing but unassuming, as if purposefully avoiding to call too much attention to itself. The second act on the superyacht is presented flatly, without much discernable style, but the feature truly comes to life when the projectile vomit literally hits the deck in arguably the funniest set piece of the picture. The remainder of the film set on the island is far more visually appealing, capitalizing on the exotic beach and jungle settings gorgeously photographed. The juxtaposition of production design between the two main settings works quite well. 

Harris Dickinson is fine but somewhat unremarkable as the deeply insecure male model Carl. Conversely, Charlbi Dean is captivating and incredibly funny as Carl's far more successful partner Yaya, convincingly exuding indignation once her and Carl's roles are essentially flipped. Giving the very best performance of the film, Dolly de Leon is easy to root for as service worker turned low-key tyrant Abigail. The ensemble cast also features Zlatko Burić as proud "shit-peddling" Russian oligarch Dimitry, Iris Berben as hapless stroke survivor trophy wife Therese, Vicki Berlin as insufferable Type A staff manager Paula, Henrik Dorsin as socially pathetic tech mogul Jarmo, and Jean-Christophe Folly as opportunistic pirate Nelson. Woody Harrelson appears briefly as the depressed socialist captain of the yacht.

With a smart and engaging premise, Triangle of Sadness delivers an entertaining allegory that calls attention to the artificiality of human constructs that create inequity. However, some may find the film's brutal satire more mean-spirited than profound. While the dialogue is sharp, and the comedic situation the picture presents is clever, the social commentary it provides doesn't quite make a unique or particularly insightful point regarding society's problems, it merely preaches to the choir.

FRAGMENTS

- The French title of the film is Sans Filtre, "No Filter" in English

- The film premiered at the 2022 Cannes Film Festival where it received an 8-minute standing ovation

- Tragically, Charlbi Dean suddenly passed away shortly after the film was released

- Zlatko Burić is also excellent in Nicolas Winding Refn's Pusher Trilogy

Top Gun: Maverick

TOP GUN: MAVERICK

2022 | Dir. Joseph Kosinski | 130 Minutes

"Trust your instincts! Don't think, just do. You think up there, you're dead. Believe me."

Called upon to instruct a new generation of elite fighter pilots taking on a perilous mission, Captain Pete "Maverick" Mitchell confronts his past when he is tasked to train the son of his deceased best friend.

A long-gap sequel to the beloved but objectively brain-dead 1986 blockbuster, Top Gun: Maverick is an undeniably exceptional action film that defies all expectations. Aside from the picture's main draw of mesmerizing fighter jet sequences, this follow-up also features a disarmingly sentimental narrative that ingeniously builds upon the woefully underdeveloped storylines from the original Top Gun, utilizing the preceding film as backstory for its older, guilt-ridden protagonist, creating a more well-rounded main character and immediately giving the mission at hand some truly engaging emotional stakes. The central interpersonal conflict between Maverick and Rooster is fairly simple, but it is adequately compelling, as is the now decades-old friendship between Maverick and Iceman that greatly benefits from the nostalgia naturally brought on by the passage of time. The picture is also strengthened greatly by its roster of genuinely likeable hotshot fighter pilots, each with just the right amount of distinct personality, and the gradual development of their camaraderie is convincingly depicted. Even the cheesy beach football team bonding sequence works. However, the romantic subplot, bringing back an old flame of Maverick's mentioned only in passing before, is weak and generally inconsequential.

Inventing new IMAX camera setups in order to capture the actors in actual fighter jet cockpits, Top Gun: Maverick creates a unique authentic and immersive cinematic experience. The thrilling high-flying maneuvers and intense dogfights are expertly staged and beautifully photographed in a way unlike any other film featuring aerial combat before it. The insistence of the filmmakers to minimize the use of green screen and CGI absolutely pays off, particularly in the mind-blowing hypersonic test pilot sequence, the various playful training sessions, and during the riveting bombing mission. As if the bombing run with heavy shades of Star Wars weren't a tense enough climax, the film's immensely entertaining extended final act includes even more action when Maverick and Rooster mount a daring escape from enemy territory, hijacking a vintage F-14 to make their getaway. 

As Maverick, Tom Cruise more or less plays a variant of his public celebrity persona, a reckless man of action with more courage than sense, though he also convincingly gives Maverick a lingering remorse over the events of past. Miles Teller is impressive as the stubborn Rooster, more than keeping pace with Cruise's intensity. As Maverick's love interest Penny, Jennifer Connelly is captivating and as charming as ever despite the character not having enough material to truly leave a lasting impression. Glen Powell stands out as Rooster's cocky rival Hangman, convincingly equally charismatic and detestable. The supporting cast also features Jon Hamm as a no-nonsense vice admiral that provides additional conflict to the story; Monica Barbaro, Lewis Pullman, Jay Ellis, and Danny Ramirez as the lead mission candidates; Ed Harris appearing briefly as a stern rear admiral; and Val Kilmer making a truly moving special appearance reprising the role of Iceman.

Top Gun: Maverick is superior to its predecessor in almost every way imaginable, perhaps even retroactively making the empty-headed original picture slightly better. With phenomenal aerial action sequences and a surprisingly heartfelt story at the center of its narrative, it is a technically and emotionally satisfying cinematic treat. Though it is far from the deepest film thematically, Tom Cruise's return to the role that firmly established his movie star status is a quality crowd-pleaser.

FRAGMENTS

- Since Val Kilmer unfortunately can no longer speak due to throat cancer, Iceman's voice is produced using AI technology mimicking Kilmer's voice

- Previous Top Gun love interest Charlie played by Kelly McGillis is conspicuously absent, intriguingly though, new love interest Penny is briefly referenced in seemingly throwaway dialogue in the original film

- One of the few things this film doesn't do better than the original, the theme song "Hold My Hand" by Lady Gaga is a decent tune but it doesn't hold a candle to Berlin's "Take My Breath Away" from the original Top Gun

Tár

TÁR

2022 | Dir. Todd Field | 158 Minutes

"Don't be so eager to be offended. The narcissism of small differences leads to the most boring conformity."

At the height of her career, universally acclaimed composer/conductor Lydia Tár prepares to record the culmination of her life's work. However, past indiscretions begin to catch up with her, exacerbated by her continued thoughtless mistreatment of those within her sphere of influence. Her personal and professional accomplishments swiftly unravel.

Writer/director Todd Field's Tár is an engaging and provocative film centered on a deeply flawed protagonist. As if subverting the standard biopic narrative, the picture plays like the typical story of the triumphant rise of a fictional virtuoso, except in reverse. After efficiently introducing the much-lauded musical savant in the form of an interview at the New Yorker Festival, firmly establishing her numerous accomplishments, including EGOT status, the narrative gradually reveals the disturbing history of its subject's impropriety, namely her verbally demeaning teaching style, and her reckless womanizing and emotional manipulation of younger musicians. Though she is not entirely without redeeming qualities, such as her love for her young daughter, and there is evidence of a conscience in the form some truly creepy nightmares, her intrinsic defects as a human being undo the years of work she spent honing her talent and even carefully curating her persona as revealed by the final act of the picture. Addressing topical concerns regarding the often-abused privilege at the disposal of public figures, and the sudden onset of social and professional reckoning, Field and lead performer Cate Blanchett craft a delicate balance that illustrates the admirable tenacity of unrelentingly talented people as well as their potential for deplorable behavior.

Taking on a horror film aesthetic, Tár is at its very best when illustrating the moments of dread experienced by the conductor. Exploring the anxieties haunting the shrewd and seemingly impenetrable woman, the frequent hallucination and nightmare sequences suggest that she ultimately isn't so much a conscience as she chooses to repress it. The distorted faces and auditory anomalies during these moments are genuinely disturbing, complementing the collapse of the musical genius's life of calculated, controlled stability. The intensity of these sequences slowly bleeds into the waking world until it culminates with a truly epic meltdown after Lydia is ousted from her position and she storms the stage in a pathetic attempt to reclaim the podium from her replacement.

Blanchett is phenomenal, giving one of her best performances ever, skillfully presenting the mindset of the central character with a certain delicate balance that elicits empathy but never sympathy. In a stand-out supporting performance as Lydia's suffering assistant Francesca, Noémie Merlant exudes a quiet dignity worthy of admiration. The supporting cast also features Nina Hoss as Lydia's concertmaster wife Sharon, Sophie Kauer as cellist and Lydia's prospective love interest Olga Metkina, Julian Glover as Lydia's mentor Andris Davis, and Mark Strong as the manager of Lydia's fellowship program.

A mesmerizing character study of an unrepentant narcissist, Tár presents a thought-provoking portrait of a problematic artist, depicting the downfall of an exceptional but controversial person with foreboding inevitability, challenging the audience to weigh her selfish and abusive actions against her undeniable talent. Topical though the themes may be, the film impressively avoids heavy-handed preaching. By presenting the entire narrative from the perspective and disturbed psyche of its troubled and troubling subject, the picture leaves judgment solely at the discretion of the viewer.

FRAGMENTS

- Uncommon for modern films, the picture begins with the credits for the technical staff

- The late-film reveal of Lydia's humble Staten Island origins, along with her birth name of Linda Tarr, is amazing, making her poor judgment and downfall all the more unfortunate, if not outright tragic

- The final scene depicting Lydia conducting a Monster Hunter video game concert for cosplaying fans as the absolute career nadir for a working conductor is somewhat amusing

- Hildur Guðnadóttir composed the scores for this film and another 2023 Best Picture Oscar Nominee Women Talking

MCU CONNECTIONS

- Cate Blanchett (Hela in Thor: Ragnarok)

The Fabelmans

THE FABELMANS

2022 | Dir. Steven Spielberg | 151 Minutes

"Family. Art. It'll tear you in two."

After viewing his first film at a young age, Sammy Fabelman aspires to become a filmmaker. Weathering family strife, gross anti-Semitic discrimination, and other challenges, Sammy's dedication to his chosen medium of artistic expression is continually tested.

Steven Spielberg's semi-autobiographical picture ruminating on family, the nature of art, and the power of filmmaking is a respectable crowd-pleaser in line with much of the celebrated director's body of work. It is an affecting film that is elevated by the respective performances of its talented cast but suffers a bit from the narrative's lack of subtlety, delivering engaging text without a shred of subtext. The story of Spielberg stand-in Sammy as presented feels oddly by-the-numbers, offering few surprises, tracking his coming-of-age from his first theatrical experience as a child watching Cecil B. DeMille's The Greatest Show on Earth with his parents to his burgeoning talent as a filmmaker making movies as a boy scout in Arizona to his disillusionment and eventual rekindling with the craft as a bullied high school student. Through it all is a subplot surrounding the dissolution of Sammy's parents' marriage that informs Sammy's relationship with film on a somewhat simplistic Freudian level.

By far, the weakest aspect of The Fabelmans is the screenplay by Tony Kushner, lacking in subtlety, painting the narrative in broad strokes. This is most noticeable during the second half of the film that features a cartoonishly flighty devout Christian high school girlfriend and over-the-top bullies that behave more like caricatures than believable characters. However, the technical expertise exhibited by Spielberg greatly elevates the material. Showcasing Spielberg's seasoned talent as a filmmaker, the feature is at its best when it demonstrates Sammy's natural talent as a director and editor. Spielberg's expert technique is best exemplified in quiet moments with big emotional payoffs such as Sammy amusingly giving a young boy scout just the right motivation to unintentionally transform him into a full-fledged method actor and the discovery of his mother's affair with his father's best friend while reviewing footage from a family camping trip, though presentation of the high school beach movie that tops off the picture's finale that leads to a confrontation with, and redemption of, one of Sammy's tormentors plays out a bit too neatly.

Gabriel LaBelle makes for an captivating analog for a teenage Spielberg, giving a measured, controlled performance that could have easily gone off the rails considering the big, emotional outbursts required in countless scenes. As Sammy's radiant but troubled mother, Michelle Williams dazzles, delivering her best performance to date that almost makes up for what the role lacks in nuance as it is written. Paul Dano turns in fine work as Sammy's soft-spoken no-nonsense tech whiz father, most convincing in moments of quiet suffering. Knocking out of the park his most understated and, arguably, best dramatic role yet, Seth Rogen is both charismatic and slightly detestable as the jovial family friend revealed to be a crucial factor in the destabilization of Sammy's family. The broadest piece of acting in the film belongs to Judd Hirsch in a brief incredibly though affecting appearance as Sammy's granduncle Boris imparting the gruffest grunkle life advice.

Funny, heartbreaking, and consistently entertaining throughout, The Fabelmans falls just short of excellent due in part to its distractingly broad screenplay. Despite the melodrama of some of its writing, the feature is a competently-made, highly accessible biopic about the power of filmmaking and the sometimes high cost of pursuing one's dreams. While the film is inspired by the childhood of Steven Spielberg, it doesn't offer too much insight into the acclaimed director's life, but its story is definitely made better by moments that are clearly sourced specifically from his upbringing.

FRAGMENTS

- Seeing Paul Dano play a stern dad makes me feel my age

- David Lynch's cameo as legendary director John Ford during the epilogue is one of my favorite movie moments of 2022

- The final shot with the camera correcting its horizon line is the perfect punctuation to the John Ford epilogue

Everything Everywhere All at Once

EVERYTHING EVERYWHERE ALL AT ONCE

2022 | Dir. Daniel Kwan and Daniel Scheinert | 139 Minutes

"Maybe there is something out there, some new discovery that will make us feel like even smaller pieces of shit. Something that explains why you still went looking for me through all of this noise. And why, no matter what, I still want to be here with you. I will always, always, want to be here with you."

On her way to a stressful meeting with the IRS, Evelyn Quan is recruited by a soldier in a multiversal war believing her to be the key to victory against the chaotic universe destroyer known as Jobu Tupaki. Reluctantly thrown into the conflict, Evelyn soon learns of her unique connection to Jobu, forcing her to come to terms with everything in her life that seemingly went awry.

From eclectic writing/directing duo Daniel Kwan and Daniel Scheinert, Everything Everywhere All at Once is a unique sci-fi action comedy with an emotionally powerful story about love and regret centered on an immigrant Chinese family. The narrative is presented in three parts: a crash course on the logic of the story's world leading to an inevitable confrontation, the extended battle between the two opposing forces that quickly shifts from physical to philosophical, and a brief epilogue. Though absurd humor and phenomenal action sequences, The Daniels deliver thought-provoking ideas surrounding boundless human potential, the purpose of existence or lack thereof, and the endurance of family. Shifting genres and filmmaking styles with gradually increasing frequency as the picture plays out, the film is remarkably funny, exciting, moving, and wholly original.

The screenplay by the Daniels is exceptionally clever and, notably, much of the dialogue is spoken in Mandarin and Cantonese; Evelyn almost exclusively speaks to her husband in Mandarin, her father in Cantonese, and her daughter in English, thematically demonstrating a lack of cohesion in her life that informs her poor, emotionally dismissive approach to her most important relationships at the outset of the story. Brothers Andy and Brian Le choreograph mind-blowingly inventive fight scenes that clearly take inspiration from the seminal Jackie Chan films, most notably the fanny pack beat-down administered by Ke Huy Quan's Alpha Waymond that boldly gives the audience a preview of the quality kung fu action to come, the impressive battle in which Evelyn single-handedly defeats a small gang of foes using sign spinner skills with a riot shield, and the picture's most infamous fight scene prominently featuring the Andy and Brian themselves showing off impressive authentic traditional Chinese martial arts in sharp contrast to objects visibly protruding out of their rectums. Shifting radically into a wide variety of other filmmaking styles, the picture is also a vehicle for memorable sequences featuring two inanimate rocks on a cliff side debating the value of human endeavor, a live action Ratatouille parody with an animatronic raccoon voiced by regular Pixar composer Randy Newman, a world where humans evolved from apes with fingers that look like hot dogs with a full origin sequence inspired by 2001: A Space Odyssey, and most surprisingly a poignant Wong Kar Wai style romantic drama pastiche complete with the Hong Kong auteur's penchant for poignant melodramatic dialogue and signature visual flourishes.

Hilarious, touching, and simply badass, Michelle Yeoh is magnificent as the put upon reluctant protagonist Evelyn, demonstrating virtually all of her versatile talents that have made her a screen legend. Stephanie Hsu is brilliant in a wild emotionally charged performance as Eveyln's cosmically disaffected, ironically named daughter Joy, convincingly depressed to the point of becoming an ender of worlds. Playing a total sweetheart, Ke Huy Quan delivers a magnificently charming and heartbreaking performance as Evelyn's struggling husband Waymond. The film also features reliably funny seasoned character actor James Hong as Evelyn's abrasive father, Jamie Lee Curtis clearly having a lot of fun as a banally antagonistic tax collector, and Tallie Medel as Joy's supportive girlfriend.

Everything Everywhere All at Once is a profoundly, wonderfully weird multiversal journey exploring failure, intergenerational trauma, and the very meaning of life through superb kung fu action, psychedelic visuals, hot dog fingers, and googly eyes. It authentically speaks to the specific experience of immigrant Chinese families in America, while also presenting a powerful counterpoint to the downward spiral of nihilism on a universally relatable level. Additionally, the film is a comprehensive showcase of everything that makes Michelle Yeoh a screen legend.

FRAGMENTS

- The Chinese title of the film that appears before the end credits is 天馬行空, loosely translated as "heavenly horse takes to the air," a phrase to describe unconstrained in style or, as I'd like to think of it, a flight of fancy

- Jackie Chan was originally intended to be the lead for this film

- Awkwafina was originally intended for the role of Joy, and while I am an Awkwafina fan I think the specific persona she is known for would have been too distracting for the role

- The pronunciation of the Cantonese is a still bit off, but it is admirable that so much of the script was written in Cantonese

- Ke Huy Quan was assistant director on Wong Kar Wai's 2046, which undoubtedly lent to the perceivable authenticity of the sequences in this film inspired by Wong Kar Wai's style

007 CONNECTIONS

- Michelle Yeoh (Wai Lin in Tomorrow Never Dies)

MCU CONNECTIONS

- Michelle Yeoh (Aleta Ogord in Guardians of the Galaxy Vol. 2 and Jiang Nan in Shang-Chi and the Legend of the Ten Rings)

- Andy Le (Death Dealer in Shang-Chi and the Legend of the Ten Rings)

- Stephanie Hsu (Soo in Shang-Chi and the Legend of the Ten Rings)

Elvis

ELVIS

2022 | Dir. Baz Luhrmann | 159 Minutes

"You know, my boy, the truth about the Rock of Eternity, is that it is forever just beyond our reach."

By chance, shady carnival promoter Colonel Tom Parker encounters young Elvis Presley and immediately sees potential for profit in his unique talent. Seizing the chance to take advantage of Presley as his manager, Parker exploits Presley for decades, struggling to control Presley's indomitable spirit and sex appeal while stifling his creative impulses and desire to reach a wider global audience.

With Elvis, famously flamboyant writer/director Baz Luhrmann tells the life story of one of the biggest pop culture icons of all time. Like most biographical pictures, the feature breezes through the major events of the subject's life, leaning into triumphs, dialing up the drama on tragedies, and selectively glossing over large stretches of time. What sets Elvis apart is that Luhrman's signature over-the-top style is evident in every frame of the picture, making it a thoroughly engaging sensory experience. Unfortunately, the film as a whole is immediately and irreparably derailed by framing Presley's parasitic manager Colonel Parker as central figure of the narrative. It's a bold decision, speaking volumes about how recording artists, even one of the biggest stars ever, can be abused by those closest to them. However, it's a choice that truly undermines the incredible work of lead actor Austin Butler as Presley, while calling attention to an unbelievably awful performance from Tom Hanks as Parker.

Elvis works best when it is focused on Presley and the music he was raised on and promoted all his life. The best moments of the picture explore his inspirations rooted in black music, how he was able to bring that sound to audiences that would otherwise dismiss it, as well as his controversial status as a prominent sex symbol. This is perfectly exemplified in the sequence depicting Presley's first performance in front of a full auditorium, intercutting moments from his childhood enthralled by gospel music at a black church, as the young women in the crowd go wild for the handsome singer's gyrating hips. 

Austin Butler is phenomenal as the King of Rock and Roll, delivering a revelatory performance that believably embodies the larger-than-life legend while movingly conveying what makes the "King" human after all. Conversely, Tom Hanks as Colonel Parker is distractingly terrible, putting on a ridiculous accent and giving such a big, stagey performance that it makes the entire film markedly worse. Olivia DeJonge is impressive as Priscilla Presley though her presence is overshadowed by Butler and Hanks in starkly different ways.

Less a biopic centered on the legendary Elvis Presley and more a bizarre character study of his grossly unethical and opportunistic manager, Baz Luhrmann's Elvis takes one major disappointing creative swing, exacerbated by a questionable performance from Tom Hanks, that significantly makes the film worse. However, the feature is definitely worth seeing for Austin Butler's excellent portrayal of the icon. While it is a deeply flawed picture, it is at least never boring.

FRAGMENTS

- Certain moments of this film might as well have been lifted wholesale from 2007's Walk Hard, anyone making a musical biopic should watch that all-encompassing parody as an example of everything they should avoid doing

- As the film paints a mostly flattering portrait of the King, and also a testament to Austin Butler's performance, the Presley family very publicly endorses this picture

- I seriously love how the film touches upon Elvis's love of Captain Marvel Jr.

- I, for one, am very much looking forward to seeing Austin Butler as the sadistic Feyd-Rautha Harkonnen in Dune: Part Two

The Banshees of Inisherin

THE BANSHEES OF INISHERIN

2022 | Dir. Martin McDonagh | 114 Minutes

"I just don't have a place for dullness in me life anymore."

On the island of Inisherin off the coast of Ireland, kindly and simple Pádraic is confused when his best friend Colm decides to permanently severe ties. Despite his sister's sensible advice to accept the end of relationship, Pádraic continually pesters Colm until the schism between the former friends corrodes into an ever-expanding abyss.

The Banshees of Inisherin presents an entertainingly tragic story about a relationship abruptly ending and the gradual escalation of hostility that follows, sadness and frustration that when left to fester reaches irrationally preposterous and destructive proportions. Setting the narrative against the backdrop of the Irish Civil War, writer/director Martin McDonagh aptly weaves an engaging interpersonal tale with wide-reaching implications regarding the fragile nature of fellowship, how ambition and pride can lead individuals to commit increasingly regretful acts of aggression, how petty circumstances can corrode ostensibly good people until they become spiteful monsters. Courtesy of McDonagh's exceptional screenplay, the relatively low-stakes conflict is made up of emotionally complex components with subtly quirky characters, sharp amusing dialogue, and situations that take surprisingly severe turns. The feature is essentially a comedy examining the questionable causes of human conflict, and McDonagh ultimately encourages viewers to question their grudges and other unnecessary burdens and, if possible, leave them behind for good.

Cinematographer Ben Davis captures the alternately beautiful and severe landscape of the island with a deft hand. Deeply dreary but captivating, the visual aesthetic of the film perfectly complements the feelings of excruciating loneliness and refusal to compromise that run through the narrative. The picture leaves an indelible impression that its island setting may be a nice place to visit but most definitely not a good place to settle.

Colin Farrell is captivating as dull but well-meaning Pádraic, slowly transformed by loneliness into an increasingly petty and pitiful fool. Brendan Gleeson is thoroughly convincing as prideful aspiring composer Colm, fixated on his mortality to the point of mild insanity. The picture also features Kerry Condon hilariously distraught as Pádraic's sister Siobhán, perhaps the only reasonable person in town; and Barry Keoghan stealing his scenes as the local idiot Dominic.

The Banshees of Inisherin is an exceptionally well-written, delightfully dark comedy. Observing an abandoned friendship that gradually declines into an increasingly bitter grudge, the picture's seemingly simple plot escalates in shocking and unpredictable ways. Elevated by brilliant performances from its immensely talented cast, the picture tactfully articulates specific darker aspects of the human experience that are typically difficult to convey.

FRAGMENTS

- The film premiered at the 79th Venice International Film Festival where it received a 15-minute standing ovation

- Brendan Gleeson is in actuality a skilled fiddle player and he does his own fiddle playing for this film

MCU CONNECTIONS

- Kerry Condon (FRIDAY in Avengers: Age of Ultron, Captain America: Civil War, Avengers: Infinity War, and Avengers: Endgame)

- Barry Keoghan (Druig in Eternals)

Avatar: The Way of Water

AVATAR: THE WAY OF WATER

2022 | Dir. James Cameron | 192 Minutes

"Water connects all things: life to death, darkness to light."

Over a decade after leading the extraterrestrial natives of Pandora to drive away invaders from Earth, and permanently transferring his consciousness to a new body to live among them, former human marine turned resistance leader Jake Sully is locked in a desperate struggle with a new generation of hostile aggressors. When forces headed by a vengeful enemy from the past threaten to wipe out his clan, Jake and his family take refuge among a well-respected tribe of free divers and must learn to adapt to their new environment.

Thirteen years after the release of Avatar, writer/director James Cameron returns to the exotic science fiction world of the Na'vi and opportunistic spacefaring Earthlings. The narrative of the film is fairly standard, at its core an extended tale centered on a family struggling to find its place in a strange and beautiful alien world and survive against hostile forces. The plot is intended to be as simple and inoffensive to general audiences as possible, so accessible that watching the preceding film in order to follow along with this new story is hardly a pre-requisite, competently structured though rather unremarkable. What makes Avatar: The Way of Water unique is how Cameron utilizes somewhat pedestrian big budget blockbuster storytelling to promote the importance of environmental preservation and to experiment with cutting edge visual effects technology.

The greatest strength of The Way of Water is its spectacular technical presentation. The picture is a fully immersive visual experience that pushes the capabilities of CGI and the theatrical cinematic experience forward. In its intended 3D high frame rate format, the feature's numerous thrilling action sequences come to exhilarating life, and the gorgeous underwater scenes are simply breathtaking. Further perfecting the animation techniques developed for the first Avatar, the Na'vi characters and the human actors convincingly inhabit the same spaces, never calling to attention the digital trickery involved to make these elaborate visual effects shots work. Particularly impressive and absolutely surreal, legendary film star Sigourney Weaver is de-aged and completely transformed into young Na'vi teenager in a prominent supporting role. The extensive work and artistry on display in creature design, mechanical design, overall production design, and the development of the technology to compose and render the stunning visuals make The Way of Water a mind-boggling, truly staggering accomplishment.

Returning to the role of Jake Sully, Sam Worthington turns in a relatable, surprisingly empathetic performance as a warrior who must learn to be a father. Impressive as always playing science fiction characters, Zoe Saldaña naturally reprises the part of Neytiri, absolutely believable as a mother willing to do anything to protect her family. Sigourney Weaver, though incredibly uncanny to initially behold as a blue Na'vi child, is excellent as Jake and Neytiri's feisty idealistic adopted daughter Kiri. Stephen Lang brings a bit more nuance to the Na'vi recombinant iteration of the series' central antagonist Quaritch. As the Sully children, Britain Dalton is serviceable but less than memorable playing secondary protagonist Lo'ak, while Jamie Flatters and Trinity Jo-Li Bliss are also just fine as older brother Neteyam and baby sister Tuk. Playing the human boy Spider who befriends the Sully family, Jack Champion treads the line between endearing and irritating, though the role successfully provides Lang's Quaritch with a fair amount of needed dramatic weight. The supporting cast also features Kate Winslet and Cliff Curtis as the leaders of the free diving Metkayina tribe; Bailey Bass and Filip Geljo as Metkayina siblings Reya and Aonung, Lo'ak's love interest and antagonistic rival respectively; Edie Falco as an uncompromising human general; Brendan Cowell as a despicable whaling captain; and Jemaine Clement as a conscientious marine biologist.

Through and through, Avatar: The Way of Water is a monumental technical achievement in visual effects. While the story offers nothing particularly groundbreaking, its focus on the bonds of family is universally appealing as are the film's bountiful fantastic sequences reminding the audience James Cameron is still a master of staging compelling action. Even those who were not fans of Cameron's first excursion to Pandora may find much to enjoy about this grander, more ambitious follow-up over a decade in the making.

FRAGMENTS

- The production timeline for these Avatar sequels is, in a word, dramatic: release dates were delayed, the number of sequels inflated, significantly more time was spent on post-production than principal photography for this one (though this was partially due to the onset of the COVID-19 pandemic)

- Perhaps due to the extensive amount of high frame rate footage, many 3D projectors failed during the opening weekend of the film including the one at my screening!

- I am decidedly not a fan of 2009's Avatar, likely never will be, and I did not have the highest expectations for this sequel, but it is by far one of the best theatrical experiences I've ever had despite the projector issues; a testament to the quality of the movie: most of the audience in attendance at my sold out screening stayed through all of the glitches and system restarts, committed to finish the entire 3-hour+ film in full

MCU CONNECTIONS

- Zoe Saldaña (Gamora in Guardians of the Galaxy, Guardians of the Galaxy Vol. 2, Avengers: Infinity War, Avengers: Endgame, and Guardians of the Galaxy Vol. 3)

All Quiet on the Western Front

ALL QUIET ON THE WESTERN FRONT
2022 | Dir. Edward Berger | 147 Minutes

"All of this is like a fever. No one actually wants it, but suddenly it's here. We didn't want it, the others didn't want it. And yet, here we are. And yet, half the world is here. And God watches on as we slaughter each other."

During the First World War, teenager Paul Bäumer and his classmates cheerfully join the Imperial German Army but their dreams of heroism are quickly broken by the harsh realities of warfare in the brutal trenches of Northern France. As Paul watches his comrades fall in battle one by one and experiences other atrocities, his hope and humanity irreparably deteriorate. Meanwhile, German and French officials spend days negotiating a ceasefire long overdue.

An adaptation of Erich Maria Remarque's 1928 novel of the same name, Edward Berger's All Quiet on the Western Front illustrates in gut-wrenching detail the myriad of horrors soldiers faced during the First World War. Though the story has been brought to the screen on several previous occasions, most notably Lewis Milestone's 1930 Academy Award winning picture, Berger's take is a worthy reworking of the source material, depicting the intense, merciless nature of war in the age of industrial warfare without pulling any punches. Most provocatively, the film also sharply juxtaposes the carnage on the battlefield against scenes of passionless methodical negotiation between diplomats to end the bloodshed. It is an intense examination of how misguided nationalistic pride and false promises for superficial glory can lure young men into fighting battles they don't fully understand for their cold and uncaring leaders.

The feature's production design and cinematography work hand-in-hand to create a nightmarish aesthetic that is drained of color and convincingly filthy. The terrifyingly visceral combat sequences would not seem out of place in a horror movie, re-enacting the many, many awful ways to die in trench warfare. The battle on the French front line complete with tanks and flamethrowers is particularly gnarly. Volker Bertelmann's musical score is spare but striking, most notable during the transitions between the scenes featuring the soldiers and the scenes featuring the diplomats.

Felix Kammerer capably carries the bulk of the film as Paul, embodying the idealistic young man turned hardened soldier. As Paul's loyal comrade-in-arms Kat, Albrecht Schuch is fantastic, equal parts charismatic and tragic. In the role of German official Matthias Erzberger, the sole voice of reason, Daniel Brühl delivers a controlled and sympathetic performance.

The 2022 version of All Quiet on the Western Front is an appropriately bleak vision of futile and senseless warfare. Disturbingly, graphically violent and emotionally distressing with purpose, this anti-war picture is not for the weak of stomach or the faint of heart. Though the story takes place over a century ago, its powerful central message will remain relevant as long as young soldiers continue to needlessly go to war on the whims of vain and spiteful military commanders and heads of state.

FRAGMENTS
- It's frankly very surprising that this is the first German-language screen adaptation of All Quiet on the Western Front, nearly a century after the publication of the novel

- Though the subplot featuring the negotiations for armistice is newly written for this film, the way it is depicted with a distressing lack of urgency certainly strengthens the anti-war themes of the story


MCU CONNECTIONS
- Daniel Brühl (Helmut Zemo in Captain America: Civil War)

The 95th Academy Awards

My ranking of the Best Picture Oscar contenders of 2023:

1. Everything Everywhere All at Once *

2. The Banshees of Inisherin

3. Women Talking

4. The Fabelmans

5. All Quiet on the Western Front

6. Top Gun: Maverick

7. Avatar: The Way of Water

8. Tár

9. Triangle of Sadness

10. Elvis

* Actual Winner

Creed III

CREED III
2023 | Dir. Michael B. Jordan | 116 Minutes

"So, how does it feel, having somebody else sing your song?"

Adonis Creed's idyllic life in retirement is disrupted when Damien, a figure from Donnie's troubled past, demands a shot at the championship title. Feeling a sense of obligation to assist the desperate Dame, Donnie gives him the opportunity but soon regrets his decision when Dame's heinous methods are revealed. With his own reputation and the integrity of the sport of boxing itself on the line, Donnie steps into the ring once again to defend his legacy and set his wayward friend straight.

With Creed III, leading man Michael B. Jordan makes his directorial debut delivering arguably the best installment of the trilogy. Jordan places interpersonal drama front and center, letting the feud between Donnie and Dame drive the narrative more than the featured boxing matches. The story naturally builds on the thematic threads of the previous chapters, as an older and wiser Donnie balances family and career while facing his repressed inner demons. Flipping franchise formula on its head, the character of Dame plays like a twisted take on Rocky Balboa, a fighter who is perhaps past his prime but with the drive of a true contender, though what sets him apart is his desperation that leads him to do absolutely anything necessary to win, up to and including utilizing underhanded tactics. Perhaps the most intelligent aspect of the narrative, it overtly challenges the mentality of a fighter, ultimately emphasizing conflict resolution through discussion rather than through violence.

Shot entirely on IMAX cameras, the scale of the picture is truly massive, and Jordan makes the most of the vast visual real estate particularly in the ring. The boxing sequences are choreographed and paced with an abundance of style. Skillfully mixing extreme close-ups and slow motion into the intense fights, these moments effectively illustrate the split-second strategic thinking that occurs in the minds of the combatants. Taking a giant creative swing, the proceedings become outright surreal during the climatic match, when the audience in the background literally disappears and the boxing ring transforms into a prison cell as the two fighters trade blows with no sense of time until the viewer is suddenly brought back to reality for the final round.

Michael B. Jordan is better than ever, giving a measured performance that does an excellent job of showing Donnie's growth as a character. As Dame, Jonathan Majors is simply fantastic, playing a nuanced opponent with motivations that are understandable, fully bringing to life a complex character that is easy to like but also easy to despise. Returning as Bianca, Tessa Thompson's is incredibly engaging as Donnie's supportive spouse and emotional compass, particularly captivating when challenging Donnie's refusal to discuss his past and his default combative mindset. Mila Davis-Kent shines as the adorable Amara Creed, exuding genuine charisma while also delivering exceptional representation for the deaf community. Phylicia Rashad is heartbreaking as the aging Mary Anne, sharing the most touching moments of the picture with Jordan's Donnie. The supporting cast also features Thaddeus J. Mixson and Spence Moore II as young Donnie and Dame in flashbacks, Jose Benavidez as Donnie’s chosen successor boxing champ Felix Chavez, Selenis Leyva as Chavez's fierce mother Laura, Wood Harris as weary series regular Little Duke, Florian Munteanu reprising the part of Viktor Drago from Creed II, and Tony Bellew returning as Ricky Conlan from Creed for one last fight.

Breaking from series formula in intriguing ways, Michael B. Jordan's Creed III elevates the saga of Donnie to new creative and emotional heights. The film is both an excellent sports picture, capturing the action with distinct visual flair, and a deeply affecting drama about nurturing family, preserving friendship, and realizing the limits of personal accountability. Consistent with the best pictures of the franchise, it delivers big crowd-pleasing entertainment with a whole lot of heart.

FRAGMENTS
- Though the absence of Sylvester Stallone as Rocky Balboa is felt, and Stallone's public misgivings about producer Irwin Winkler over the rights to the Rocky character he created casts a shadow on the whole franchise, it allows Michael B. Jordan to take complete ownership of the film, firmly establishing that this very much is Donnie's story going forward

- Jordan is open about his anime fandom and the influence it has on his filmmaking, and it shows: from the posters in young Donnie's bedroom to the way the fights are visualized

- Joseph Shirley's score for this film is appropriately epic and has its own musical identity, only sparingly referencing Ludwig Göransson's themes for Donnie and Drago from Creed and Creed II, and Bill Conti's "The Final Bell" from Rocky

- Of all of the appearances from real life sports commentators in this series, Stephen A. Smith's appearance in this film is by far my favorite


MCU CONNECTIONS
- Wood Harris (Officer Gale in Ant-Man)

- Tessa Thompson (Valkyrie in Thor: Ragnarok, Avengers: Endgame, Thor: Love and Thunder, and The Marvels)

- Michael B. Jordan (N'Jadaka/Erik "Killmonger" Stevens in Black Panther and Black Panther: Wakanda Forever)

- Florian Munteanu (Razor Fist in Shang-Chi and the Legend of the Ten Rings)

- Jonathan Majors (Kang in Ant-Man and the Wasp: Quantumania)