Fast X

FAST X
2023 | Dir. Louis Leterrier | 141 Minutes

"Never accept death when suffering is owed."

A decade after the theft of his family fortune and the death of his father, the psychotic son of Brazilian drug lord Hernan Reyes emerges from the shadows to tear apart Dominic Toretto's family.

The alleged end of the mainline Fast & Furious series begins with the introduction of a fun and unpredictable villain while delivering what is essentially the equivalent of The Empire Strikes Back for this franchise. While Fast X carries all of the negative baggage of the series' late-stage flaws (overly convoluted heavily retconned storytelling, nonsensical set pieces abandoning any attempt to ground the action in reality), this chapter features an adversary that seems to understand the assignment better than the heroes, with an infectious giddy attitude and sadistic methods. The picture quickly separates the protagonists, placing them in the crosshairs of the mysterious agency formerly overseen by Mr. Nobody as well as Cipher's hired guns blackmailed into working for Dante Reyes, and it surprisingly leaves them this way without any semblance of resolution. Dom and his family have never been so thoroughly defeated, and it's absolutely thrilling to watch particularly because their enemy this time is so amusing. It's far from high art, and it never quite achieves the lofty heights the best Fast & Furious entries, but it's a solid opening salvo for what is potentially an epic NOS-fueled multi-picture explosive conclusion.

The vehicular action sequences in Fast X are all memorable masterpieces of destruction, from a flaming neutron bomb rolling down the street of Rome until it explodes just outside of the Vatican sending shockwaves that Dom somehow outruns in his car, to Dom taking out two helicopters tethered to his vehicle by somehow smashing them into each other, to Dom's car flying off the top of a dam in Portugal as he narrowly avoids getting sandwiched between two oil tankers. Every single moment is delightfully absurd. Even the obligatory drag race at the halfway point of the story features a nasty combustible twist to keep Dom and the audience on their toes. There are even a handful serviceable (if pointless) fight scenes between Jakob and a squad of agency goons, Letty and Cipher, and Han and Shaw.

Jason Momoa absolutely owns this movie as Dante Reyes, leaning into the character's eccentricities, hilarious and convincingly threatening, clearly having the time of his life. Vin Diesel shows a bit more vulnerability as Dom in this outing but his limitations as an actor are apparent. Michelle Rodriguez and Charlize Theron make for a fun odd couple as Letty and Cipher, the picture could have used more of them. Sung Kang's Han feels out-of-place inserted into to the bumbling trio of Tyrese Gibson, Chris "Ludacris" Bridges, and Nathalie Emmanuel's Roman, Tej, and Ramsey but the group has its fun moments. John Cena returns as Jakob, thankfully leaning more into his comedic strengths, very funny as the brawny babysitter for young Leo Abelo Perry playing Dom's precarious son Little B. Brie Larson is an excellent addition to the cast as Mr. Nobody's capable daughter Tess, Alan Ritchson is believably irritating and formidable as new agency leader Aimes, and Daniela Melchior is compelling in her brief appearance as the street racer Isabel. Hollywood legend Rita Moreno shines in her featured scene as Dom and Mia's abuelita. Returning supporting cast members include Jordana Brewster as Mia, Scott Eastwood as Little Nobody, Jason Statham as Deckard Shaw, and Helen Mirren as Shaw matriarch Queenie.

Adding an entertainingly eccentric antagonist to the mix, giving the franchise a much-needed boost of energy, the increasingly absurd melodrama of the Fast & Furious series goes down much easier in Fast X. For the first time, Dom and his family don't seem so undefeatable as they are being hunted by a viable threat who plays by his own rules, only adding to the excitement of the excessive high-octane action. While more plot threads are left dangling than in any other previous installment by the time the credits roll, it is the series' most engaging ride since Furious 7.

MID-CREDITS STINGER
A special-ops team sweeps into an abandoned mansion. One of the masked operatives receives a call from Dante Reyes directly threatening to his father's killer. The operative removes his mask, revealed to be Luke Hobbs (Dwayne Johnson).


FRAGMENTS
- The series' tradition of assigning unconventional titles to its sequels continues; entitled Fast X, according to official sources the X is mean to be the Roman numeral for ten, and not the letter "X" which would have been much cooler

- In Japan, the title for this film is Wild Speed: Fire Boost

- The absence of Paul Walker's Brian throughout this movie is more noticeable than ever

- Pete Davidson is in this for some reason

- While this film expands upon the mid-credits stinger from F9 that teased Han and Shaw's inevitable confrontation, the complete disregard for continuity for the length of Han's hair is so funny

- I'm honestly not thrilled that Jakob sacrificed himself so quickly after appearing in just two installments

- Gisele's return is unexpected, wonderful, and total nonsense

- Hobbs' return is also a bit of a shock, though more due to the widely-publicized behind-the-scenes beef between Dwayne Johnson and Vin Diesel


MCU CONENCTIONS
- Vin Diesel (Groot in Guardians of the Galaxy, Guardians of the Galaxy Vol. 2, Avengers: Infinity War, Avengers: Endgame, Thor: Love and Thunder, and Guardians of the Galaxy Vol. 3)

- Brie Larson (Carol Danvers in Captain Marvel, Avengers: Endgame, Shang-Chi and the Legend of the Ten Rings, and The Marvels)

- Charlize Theron (Clea in Doctor Strange in the Multiverse of Madness)

Guardians of the Galaxy Vol. 3

GUARDIANS OF THE GALAXY VOL. 3
2023 | Dir. James Gunn | 150 Minutes

"My beloved raccoon, the story's been yours all along. You just didn't know it."

When Rocket is seriously injured in a surprise attack, his found family embarks on an urgent mission to save his life, a journey that reveals Rocket's tragic secret origin.

James Gunn's swan song to the once-obscure Marvel Comics space heroes he turned into household names, Guardians of the Galaxy Vol. 3 is uncompromisingly brutal and undeniably weird, but also delightfully hilarious and incredibly touching. The sudden tonal shifts of the picture can feel abrupt, one minute exploring the cruelty of the central villain's methods torturing and violently discarding his animal test subjects through Rocket's flashbacks as the hero's life hangs by a thread, the next minute lingering on the humor of Quill's failure in connecting with the living Gamora variant after pouring his heart out to the annoyance of his closest friends as they bicker about the counter-intuitive color-coded buttons on their spacesuits. However, the argument can be made that it all works, the heartfelt story of these unlikely heroes ultimately culminating to complete a uniquely bizarre and genuinely uplifting epic about a collection of outcasts who had become a family, coming to terms with their individual misfortunes (some of which are far more extreme than others) and forging ahead into their respective futures.

The set pieces featured in Vol. 3 are conceptually some of Marvel Studios' most imaginative yet, some of the most successful blending of physical production design and meticulously crafted CGI. The entire visual construct of Orgocorp's Orgoscope headquarters made of living tissue is fascinatingly disgusting. While perhaps not the most exciting, the 1980s American suburb facsimile of Counter-Earth naturally lends itself to comedy down to the tiniest details. Most of the action scenes simply serve their purpose, though the extended battle in a corridor featuring the full team is an all-timer. The needle-drops are inspired, memorable, and some selections are honestly surprising, with Rocket singing along to the acoustic version of Radiohead's "Creep" over the opening credits and the feature wrapping up with the denizens of Knowhere new and old dancing to Florence + The Machine's "Dog Days Are Over" among other stand-out choices.

Much more so than in the previous films, Vol. 3 hinges on Bradley Cooper's vocal performance as Rocket and he is phenomenal as the beating heart of the picture, convincingly leaning further into the pitiable creature's vulnerability than ever before. Chris Pratt's Peter Quill is also more sympathetic than the role had ever been, with Pratt effectively demonstrating Quill's growth into a slightly more mature hero who has endured more than his share of heartbreak. The comedic duo of Pom Klementieff and Dave Bautista as Mantis and Drax only gets better with each appearance, and both turn in solid dramatic work as well, particularly Klementieff's Mantis who is afforded moments to truly flesh out her character in this sequel. As Nebula, Karen Gillan plays the role with more noticeably more subtlety, still filled with rage but generally more mellow making her reactions to the antics of her team even funnier. Zoe Saldaña's portrayal of the new Gamora is impressive in how much she truly comes off as a different, markedly more antagonistic version of the fierce warrior, perhaps more noticeable than in Avengers: Endgame due Saldaña having more scenes to play in. Vin Diesel is still very funny as the voice of Groot, sounding more like himself now that the current Groot is closer to adulthood. Sean Gunn's Kraglin capitalizes on having more screen time, afforded a hysterical character arc that involves learning to control Yondu's arrow and a love/hate relationship with Cosmo the Spacedog voiced by the hilarious Maria Bakalova. Chukwudi Iwuji chews scenery like nobody's business but he also gives the narcissistic and sadistic High Evolutionary just enough depth to make him slightly more than just a forgettable one note villain. Will Poulter is fun as Adam Warlock, though the cosmic superbeing serves more as a destructive plot device than a fully-realized character. Linda Cardellini provides an emotionally devastating performance as the genetically enhanced otter Lylla, affectively adding extra layers of depth to Rocket's story. The cast also features Elizabeth Debicki as Sovereign High Priestess Ayesha, Sylvester Stallone reprising the role of the seasoned Ravager Stakar, and Nico Santos and Miriam Shor as the High Evolutionary's android Recorders Theel and Vim.

Guardians of the Galaxy Vol. 3 is an appropriately loving and occasionally off-kilter send-off for the Marvel Cinematic Universe's original band of spacefaring weirdo misfits. Frequently taking on a darker tone than most MCU stories while losing none of the irreverent humor of previous installments, the disturbing elements of the plot may not blend well with the comedy for some audiences, but it is never out of place and only serves to strengthen the truly uplifting moments. The film is a sincerely moving finale that gives each member of the team a satisfying conclusion to their character arcs.

MID-CREDITS STINGER

The new Guardians of the Galaxy listen to a familiar tune as they take on their latest mission.

POST-CREDITS STINGER

At the breakfast table, Quill and his grandfather discuss mowing the lawn.

FRAGMENTS

- The Marvel Studios logo that opens the film exclusively features images and clips of the team from all of their previous appearances

- Glad to see Nico Santos bring the same energy to Recorder Theel as he brought to Mateo on Superstore

- Never thought I'd see the Cousin Eustace from The Chronicles of Narnia play one of the most powerful characters from Marvel Comics

- The team's new ship, the Bowie, is named after iconic recording artist David Bowie

- Regular James Gunn collaborators Jennifer Holland, Nathan Fillion, and Daniela Melchior respectively play Orgocorp employees Administrator Kwol, Master Orgosentry Karja, and Ura the receptionist

- The awesome Judy Greer, who played Maggie Lang in the Ant-Man and Ant-Man and the Wasp, provides the voice for War Pig

- Lloyd Kaufman, co-founder of Troma Entertainment where James Gunn began his filmmaking career, makes a cameo appearance reprising his Guardians of the Galaxy role as former Kiln inmate Gridlemop playing cards with Kraglin and a few familiar faces from past installments

007 CONNECTIONS

- Dave Bautista (Mr. Hinx in Spectre)

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


MCU CONNECTIONS

- Danny Ramirez (Joaquin Torres in Captain America: Brave New World)

- Lewis Pullman (Robert Reynolds in Thunderbolts*)