Mickey 17.

Review #2356: Mickey 17.

Cast: 

Robert Pattinson (Mickey Barnes / Mickey 17 / Mickey 18), Naomi Ackie (Nasha Barridge), Steven Yeun (Timo), Mark Ruffalo (Kenneth Marshall), Toni Collette (Ylfa), Holliday Grainger (Gemma), Anamaria Vartolomei (Kai Katz), Thomas Turgoose (Bazooka Soldier), Angus Imrie (Shrimp Eyes), Cameron Britton (Arkady), Patsy Ferran (Dorothy), Daniel Henshall (Preston), Steve Park (Agent Zeke), and Tim Key (Pigeon Man) Directed by Bong Joon-ho (#1584 - Parasite [2019]).

Review: 

"What is repressing us from living a human life? What is stopping us from truly pursuing a genuinely human life?’ And I think the appeal of sci-fi is that it lets you deal with those questions and these stories quite directly.”

There is probably at least one review that doesn't describe the film as the one that came out after Parasite (2019). But so it goes. The movie is based on the book Mickey7, which was published in 2022 by Edward Ashton, who had apparently written it as an expansion of a short story he did years before about "a sort of crappy immortality" that attracted attention from the very get go of its publishing; incidentally, as a result of the film adaptation entering production, Asher wrote a follow-up book with Antimatter Blues in 2023. Bong has stated in interviews that he specifically wished to focus on the human printing concept presented in the book as "down to Earth", which also went down to the characteristics of the lead character as, basically "more working class". Due to the SAG-AFTRA strike, the movie missed its original release date of 2024 (after finishing production in 2023), as one probably already guessed.

Technically speaking, it is a pretty good movie to experience, when you get down to it. Messy, chaotic, and generally amusing, the best times one has with the film rely heavily on the double-act played by Pattinson. The underdog story is as familiar as it gets, particularly when it comes to "some bugs aren't as scary as bug-brained humans", but it is a movie that wears hope on its sleeves with actual commitment rather than, say, being a mishmash of slop or bland oblivion. In other words: regardless of how the movie goes with audiences (read: money), somehow, some time, someone will call the movie a cult classic, and they probably won't seem insane to label it as such. Pattinson does manage to be pretty distinct in the "two Mickeys", which can inspire chuckles in those interesting things that arise in what one can see in personality that ranges from lovable goof (take it or leave it) to assertive that each make for quite the timing in terms of differences, as one might see when paired with Ackie that makes for a few riveting sparks of chemistry and energy that feels as real as one might see in looking upon someone and believing it matters to be there for that person(s). Ruffalo and Collette are amusing in parts when it comes to the synthesis that comes with riffing on the power-mad weirdos that inhabit certain spheres of society (so no, the movie explicitly is not based on any one politician), although the former sounds more like a Marlon Brando pastiche than anything. You can feel the ooze and wonder aloud where all that goes if one was even remotely dealt like that in our actual world.* For a movie with a "good" label, I wonder why I do wish I liked the movie more. I liked the movie but wondered why the nebulous "and yet" tried to get in my head. Complaining or talking about a movie's length seems futile for some, but I can at least see where someone thinks it runs (137 minutes) a bit lethargic, mostly because its foundation to set the stakes sure feels like it takes a while.  Somehow, I can't help but wonder if I just expected something different with the whole "man is being printed over and over to die as a crash-test dummy for people who start at not caring about what happens to him" thing. Quibble with what you feel about the question that arises in off-brand immortality vs how the film handles it however you like**. Bottom line: one gets a handful of stuff to chuckle about just as much as to quibble about. The visuals are generally pleasing to go along with a few amusing moments involved with the "creepers". The climax does stir a bit of a lasting impression for a movie that aspired to inspire some curiosity alongside its goofs that can at least be applauded for going on its own in hit-or-miss energy. As a whole, it manages to deliver most of the energy one might see coming in a chaotic space adventure. It has a few interesting moments to dwell on in the weird world of exploitation and overall hope for what might work just in your sweet spot for creeping enjoyment.

Overall, I give it 8 out of 10 stars.

*Movie Night does not recommend getting rid of people as shown in Mickey 17. I do however recommend watching movies like The Substance. And disgustingly complex hamburgers.

**seriously, you can comment here anytime, it could even to say I should get hit by a bus.

Little Miss Sunshine.

Review #1541: Little Miss Sunshine.

Cast: 
Greg Kinnear (Richard Hoover), Steve Carell (Frank Ginsberg), Toni Collette (Sheryl Hoover), Paul Dano (Dwayne Hoover), Abigail Breslin (Olive Hoover), Alan Arkin (Edwin Hoover), Bryan Cranston (Stan Grossman), Beth Grant (Pageant Official Jenkins), Wallace Langham (Kirby), Matt Winston (Pageant MC), Julio Oscar Mechoso (Mechanic), and Dean Norris (State Trooper McCleary) Directed by Jonathan Dayton and Valerie Faris.

Review: 
"We felt it was important not to put window dressing between the audience and the characters. We love style but there's a place for that, and sometimes you want the picture to be transparent, for the characters to come through and feel connected and not removed"
"Or distant. What interested us was making a film that was all about the performances. Just the people on that screen."

There have been quite a few film debuts featured before, but how many have their directors and writer debut in the same film? California-born Dayton and Faris both attended the University of California, Los Angeles (UCLA) with differing interest (film school for Dayton, dance with Faris). Both met in 1978 when he filed a few of her performances. Dayton and Faris soon found opportunities to direct music videos together (alongside other things like commercials) with bands such as R.E.M. and The Smashing Pumpkins starting in 1982, with their work receiving notice such as two Grammy Award wins. They were offered opportunities to direct films with The Mod Squad (1999) and Bad Boys II (2003) that were presented as "style-driven" but they declined (while stating that this film has a "restrained" style, with mood driving the visuals). To put it in perspective the challenge that results from first-time directors/writers trying to get their vision done, this film took nearly six years to go from an initial script by Arndt (who had worked as a script reader and assistant to Matthew Broderick before deciding to take up writing) written in May 2000 to years of shopping around production companies like Focus Features before Marc Turtletaub decided to fund the film himself (at $8 million) to be done in the span of 30 days in 2005, which would include a re-written ending weeks before release the following year.

What we have is a film made about on the fringe of a winning-obsessed culture with a couple of misfits. Not losers mind you (because loser people would just abandon others, whether family or friend), but people who undergo change in ways they couldn't imagine for themselves on a worthwhile and bitingly amusing journey, which makes for a worthy road movie that ultimately is a meaningful winner that lands a majority of its punches in misery over time. It packs itself with a cast that seems to have spent their time before filming in getting a feel for their characters as a family that lesser actors would've just made seem like clichés but are instead malleable enough for turning well-done comedy and drama. Kinnear is particularly adept at heading the film with a tremendous performance, wrapped in Type-A desperation that exemplifies a devastatingly amusing look upon the drive to be thought of as a winner at all costs in all of its pathetic turns (such as point blank talking about eating ice cream will gradually make you fat to your kid). Carell proves just as well in providing a well-wrapped sense of depression and sharp sense of irony that makes a terrific little act when paired with Dano, who has the interesting task of spending half the film in a vow of silence (which naturally makes for one great scene in the second half). Collette holds the film together as the wavering center in pragmatic conviction that shares just the right sense of calm weariness to make a dynamic performance with her own moments to contribute. Arkin does well with what he is given in the habits of a spontaneous old man with a few amusing moments in choice words that generally hit the mark (Academy Award worthy is up to your perception, however). Breslin delivers a well-spun performance filled with sunny charm and brave temperament that makes for the favorite to watch hold her own amongst the older actors in this misfit group. Cranston and others do fine in small moments, such as his turn in elevated arrogance to selling motivational speaking. The film moves at 102 minutes with level-headed patience towards pathos and its road along to a pageant that might as well be a representation of life being like a pageant in who falls in and out of the margins of what we call success and what matters most with family. Naturally it results in a biting and fairly outrageous way to close its setup that makes the hallmarks of a worthy satire that will make one wince just as much as chuckle with good reason and clarity that make a worthy film for those in the mindset for a film like this.

Overall, I give it 8 out of 10 stars.

Krampus.

Review #1309: Krampus.

Cast.
Emjay Anthony (Max Engel), Adam Scott (Tom Engel), Toni Collette (Sarah Engel), David Koechner (Howard), Allison Tolman (Linda), Krista Stadler (Omi Engel), Conchata Ferrell (Aunt Dorothy), Stefania LaVie Owen (Beth Engel), Lolo Owen (Stevie), Queenie Samuel (Jordan), Maverick Flack (Howie Jr.), and Mark Atkin (Ketkrókur) Directed by Michael Dougherty (#1227 - Godzilla: King of the Monsters)

Review: 
I suppose the best way to enjoy the holiday season would be to have at least one good scare to go along with the usual festivities, at least one holiday horror film to differentiate from the usual Christmas fare (or at least something that isn't a shameless remake of a classic without any new ideas). In that regard, this is inspired by Central European folklore with its title character, a half goat/demon that punishes children that have been bad for the year. Of course, the key thing to remember here is that this is trying to be a Christmas horror comedy, filling its cast with a mix of notable names and others alongside demented holiday creatures and an occasional sprinkling of Krampus, which proves to be an okay if unwieldy mix. It definitely does alright with tongue-in-cheek humor, mixing its familiar yet dependable character types with fairly decent special effects, that much is for sure. Anthony proves a worthy child lead to follow with, where a unwieldy family visit isn't always the most terrifying possibility to have for the holidays, and he does well with reacting to his surroundings when needed. One needs levelheaded people with a little sense of humor before the storm, and Scott and Collette do a fair job in that regard, who play off with Koechner and Tolman to pretty good effect when it comes to small consistent moments or when faced with the cold reaches of disagreements or killer gingerbread men. Stadler stands out just as much as the others without having to say as much as the others, a warm presence that lends the film's most interesting moment, a description of her first encounter with Krampus (told through stop motion). Ferrell delivers a good portion of the laughs throughout the film as well, and the other castmates prove fair with rounding out the remainders of a family dealing with a lack of holiday spirit. Honestly, while I did find myself chuckling at times with the film, I do wish that it had gone for a more serious turn with its main focus, where the stakes could be a little higher than where it eventually finds itself before its 98 minutes are up. Does this film even have a body count? Sort of. The creature is certainly a terror to think about, where he doesn't just lumber down on a family as much as he sends in smaller terrors to wear them down, but it seems to make one wonder for a little bit more. The ending is at least fine for what is needed (something to think about), accompanied by a cheesy jump scare. For the parts that seem reminiscent of Gremlins, it only just seems to remind me that some horror comedies handle their balances better than others. It is technically scary, in that one would probably go nuts wrapped with the idea of not having any power before a bunch of weirdo holiday creatures try to take you down in a blizzard. I ultimately found more to like than dislike when it reached its endpoint, so I can say I liked the movie okay. It isn't so much disappointing as it is just an okay film for the holidays, whether for a scare for the relatives or for a take on a different kind of folklore.

Overall, I give it 7 out of 10 stars.

Knives Out.

Review #1306: Knives Out.

Cast: 
Daniel Craig (Benoit Blanc), Chris Evans (Hugh Ransom Drysdale), Ana de Armas (Marta Cabrera), Jamie Lee Curtis (Linda Drysdale), Michael Shannon (Walt Thrombey), Don Johnson (Richard Drysdale), Toni Collette (Joni Thrombey), Lakeith Stanfield (Detective Lieutenant Elliot), Katherine Langford (Meg Thrombey), Jaeden Martell (Jacob Thrombey), Christopher Plummer (Harlan Thrombey), Noah Segan (Trooper Wagner), Edi Patterson (Fran), Riki Lindhome (Donna Thrombey), K Callan (Wanetta "Great Nana" Thrombey), Frank Oz (Alan Stevens), and M. Emmet Walsh (Mr. Proofroc) Written and Directed by Rian Johnson (#1027 - Star Wars: The Last Jedi)

Review: 
To have a good murder mystery is to have something worth looking at once enough to want to see it again. Entertainment is one thing, having something that compels you into its little game is another, as is the intent behind Knives Out, which has certainly gained a bit of buzz leading up to its release. It sure is amazing to see something as wonderfully average as this proves to be, as if someone wanted to make the dumbest smart mystery movie. It does prove a bit irritating to wonder how much one can really say about a movie mystery like this without seeming like a spoiler hound waiting to bite. Whatever you may say about "subverted expectations" when it comes to movies, it also proves irritating to manage to make a farce as opposed to a real intriguing mystery on a consistent level. The fact that it does just okay with its ensemble cast should inspire annoyance rather than rapture, really. You could've made this with average marquee-sounding actors and nobody would shout to the balcony about how it was exceptional in its execution. But hey, what are deftly built murder mysteries for when you can have snide humor and creaky foundations? You too can hit for the low hanging fruit for humor and mystery if you have the PR push (edgy political commentary for current year flavor? Ooh, tell me more before I stick a fork in my brain and call it art), where using buzzwords for certain moments makes for okay satire.

It certainly has the style to inspire charm, and there are no real bad apples in the acting bunch, so that does tend to help the film in its favor. If you happen to be in the mood for eccentric family drama, this probably seems right up your alley, unless one is more into the sleuth and his southern fried accent. In this case, Craig is easily the best part of the film, amusing in his mannerisms when it comes to working out the oddities that tend to arise, never overstaying his welcome in any sense. Armas makes for a fairly compelling lead to follow when faced with the mystery and the facts that surround her, handling things with a dash of grace and confidence. Evans is tasked with delivering oozy charisma (while doing it in a silly sweater) for the film's second half, and he proves just fine with that in mind, where brash confidence at being the entitled black sheep of the family just comes with the territory. When it comes to the other members of the family, I find myself gravitating towards Curtis and Shannon when it comes to how they interact with the others in their family, for better or worse. Honestly, I feel like the film could've just focused on them even more, since the film doesn't even have red herrings or anything that would lead the mystery solely back on these quirky caricatures besides flashbacks. Plummer is wry and easy to follow as the center of this whole film for when needed that fits the film's bill to a T.

Am I so jaded that I can't appreciate the idea of a mystery that is ever so clever in not really being that much of a mystery? Sure, it seems to want to have cryptic seriousness, before it deluges itself with self-awareness that seems as smug in trying to be clever as having a character vomiting when they lie. Gee, I wonder if this will be used over and over for laughs. By the time the film tries to deliver on its payoff, I was thankful moreso because it meant that the film actually meant something to make 130 minutes seem worth more than just hearing about grandstanding praise for a film that teeters on being dangerously hollow. The film does have a nice look to it, seeming fairly authentic when setting up its story trappings, complete with plenty of knives. It seems cruel to nitpick at a film like this, because my fair expectations were met with mild entertainment alongside confusion at its ultimate execution. Sometimes you can shoot the target and still hit for average in the final tally, but I do at least see myself wondering what could come next from Johnson at least. Curiosity can prove rewarding for this film, if it manages to hit all the right buttons for those who seek it.

Overall, I give it 7 out of 10 stars.

Hereditary.

Review #1099: Hereditary.

Cast: 
Toni Collette (Annie Graham), Alex Wolff (Peter Graham), Milly Shapiro (Charlie Graham), Gabriel Byrne (Steve Graham), and Ann Dowd (Joan) Directed by Ari Aster.

Review: 
If you had not already heard, my city had quite a storm on Tuesday night/Wednesday morning, with the result being that some parts of my town were flooded. As such, the review for this film (which had already been out for nearly two weeks by the time I saw it on Tuesday night) was delayed from its original intended day of Wednesday to now - apologies for doing so, but I hope that you will enjoy this review, which somehow managed to be over 700 words.

Admittedly, horror films can span numerous threads and situations, where it can be things besides just trying to get a quick scare, and there have been some recent films that showcase interesting examples of getting scares. I'm reminded of The Witch (2015, also distributed by the film studio A24), which mixed its 17th century family dynamic (and a short cast) with some creepy atmosphere to make for some fine entertainment. It had a methodical way of pacing despite being 93 minutes, but I bought into what it sold. With this movie (and its 127 minute run-time), you would not be surprised that this is a slow burn to watch, complete with family drama and occasionally creepy horror moments. For better or worse, this film sets out with ambition to tell a nightmare tale mixed with tragedy - with one result being some whiplash.

In its short cast, Collette delivers the best performance, fully committed to her role with the kind of devotion and grace that you would expect in a film (whether involving family horror or not) that certainly lends itself some attention. Wolff is fairly solid for his time on screen to watch, but it isn't anything particularly memorable aside from what you'd probably expect from a conventional role - for better or worse. Shapiro, in a role that seems in-line with creepy kids you'd see in horror films is okay, but it isn't anything too special. Byrne is fine, if not a bit unassuming. Dowd is slightly refreshing in that she's the only one in a prominent role that isn't one of these dreary family characters, even if it's a brief role. Watching this movie play out is an exercise in seeing people disintegrate in terms of emotional state that toes the line between being compelling and unintentionally amusing. The dinner room sequence in particular is an example of where the movie may gain or lose some people, in that you might find yourself either finding it to be something to think about, or something to giggle at in how these lines could almost be used ironically. The cinematography by Pawel Pogorzelski is pretty fine to look at, and it sure helps in a movie that likes to linger at times. Perhaps it is the clutter of its subplots that ultimately serves to the film's benefit or its downfall for viewers, and I find myself in the latter category. It has a few moments that are a bit surprising, but those are more offbeat than terrifying. It isn't so much that I wanted the film to bask itself in being familiar, but scenes such as the seance actually seemed more interesting than when it liked to linger on its family drama or even the reaction shots. Sometimes the cliche or the tried-and-true method really does make for an entertaining movie over just one that likes to play around with occasional intensity, complete with an ending that I'm sure will satisfy anyone looking for jarring ways to close off the family angle - but for me it was just a way to get one good laugh. Whether it is disturbing or just silly is up to you.

You might say that this is something that probably needs a second watch to really look into what makes this movie tick with its sensibilities to try and make a nightmare ride, but I can't find myself doing so. It especially suffers if you compare it to other modern horror films, such as The Witch or It, or even newer releases like Upgrade because I felt not so much less unsettled by those movies but more satisfied with where it ultimately went. Movies can be emotionally powerful things to watch, but this one felt a bit flat for me, although that's not to say it won't be for someone with more patience or more understanding, however. Perhaps it is my disappointment that influences my thoughts on the movie, which isn't terrible in any real sense. It is hard to find the right grading for a movie that certainly will work for people buying into what it is trying to sell in horror and tragedy, but it is also a film that feels hollow in the parts that mattered most to me - being compellingly scary. If you're into the sort of thing that this movie is going for, all power to you, but for me I can't do the same.

Overall, I give it 6 out of 10 stars.

Movie Night: The Way Way Back.

Review #575: The Way Way Back.

Cast
Liam James (Duncan), Steve Carell (Trent Ramsey), Toni Collette (Pam), Sam Rockwell (Owen), Maya Rudolph (Caitlyn), AnnaSophia Robb (Susanna), Allison Janney (Betty), Rob Corddry (Kip), and Amanda Peet (Joan) Directed by Nat Faxon and Jim Rash.

Review
The Way Way Back may feel cobbled together out of tropes (The loner, the parents who are useless, the northeastern setting (I suppose), the one villainous character, the romance subplot, the quirky qualities of one or more characters), but at least this is a well made cobble of tropes. The movie has its quirks, it has moments of zing that try to make for a fun movie, which it does for the first half. The second half isn't exactly as good, but I guess it could be worse. Sam Rockwell is just a joy to watch, he has a level of quirk to him and he works well with James. James himself is a decent child actor, he works well with Robb, the chemistry awkward, but it does feel just right. I wasn't aware how effective Steve Carell could be in portraying an irredeemable character (no, Gru from Despicable Me doesn't count), which essentially tells me I should watch more of Carell's work. The second half just isn't as great, maybe it just feels so downbeat mixed with some sweetness just for kicks. The movie just has a bittersweet ending that either breaks the movie due to it being a buzz kill on the fun or it just wraps the movie up nicely and makes the movie work. I'm more on the former, but this is at least is an decent comedy that works for someone looking to spend an afternoon on a hot summer day...

Overall, I give it 7 out of 10 stars.

Movie Night: Shaft (2000).

Review #545: Shaft (2000).

Cast
Samuel L. Jackson (John Shaft), Vanessa Williams (Carmen Vasquez), Jeffrey Wright (Peoples Hernandez), Christian Bale (Walter Wade, Jr), Richard Roundtree (Uncle John), Busta Rhymes (Rasaan), Toni Collette (Diane Palmieri), Pat Hingle (Dennis Bradford), Dan Hedaya (Jack Roselli), Ruben Santiago-Hudson (Jimmy Groves), Josef Sommer (Curt Flemming), and Lynne Thigpen (Carla Howard) Directed by John Singleton.

Review
Shaft is strangely not a remake of the notable 1971 film, instead a sequel (The 1990's/2000's/2010's were a hotbed for remakes of films, in fact, there's a RoboCop remake in theaters right now, remakes of films 20-80 years old are common), and hey, the original star from the '71 film (Roundtree) even makes an appearance. For those who don't know, Shaft was a franchise in the 1970's (originally based off the novel of the same name by Ernest Tidyman), consisting of three films: Shaft (1971), Shaft's Big Score, and Shaft in Africa, along with a television series. So after all that history (or whatever), how is the film itself? It has its moments of good action, and Jackson does a wonderful job. But what makes the movie stand out is its (unintentional) hilarity that I sometimes received from the movie. Some of the scenes were effective, but they were also hilarious because of how over the top it could get, the way that the characters react to the action made me laugh. It's funny how Christian Bale went from this film to Batman in only 5 years, just shows that anyone can be Batman (Isn't that right, Daredevil-I mean Ben Affleck?), given the circumstances. The movie has a good deal of style and the right amount of charm (I do like the scenes with Jackson and Roundtree, from...nephew to uncle. I guess Shaft had a brother who named his son in honor of John) to make for a fun film.

Overall, I give it 8 out of 10 stars.

Movie Night: The Sixth Sense.

Review #039: The Sixth Sense.

Cast
Bruce Willis (Dr. Malcolm Crowe), Haley Joel Osment (Cole Sear), Toni Collette (Lynn Sear), Olivia Williams (Anna Crowe), Donnie Wahlberg (Vincent Grey), Glenn Fitzgerald (Sean), Mischa Barton (Kyra Collins) Directed by M. Night Shyamalan.

Review
Ah, this movie. This jump started M. Night Shyamalan's career, and most regret that he made more after. Granted, I have not actually watched any of his films (That would require me having to say "Let's watch The Happening" with a straight voice) Anyway, this film has suspense that develops as the film progresses. It doesn't rely on CGI, most of the effects are just for the dead, as it scares using moments such as the school scene (won't spoil it) or the famous hospital scene. The film foreshadows what you get in the end, which then makes you want to watch it again to see if you missed anything. This films benefits from good atmosphere and good acting, especially from Willis. Directing is fine, but if you thought it would get better, you're wrong. Dead wrong (Pardon the pun)

Overall, I give it 10 out of 10 stars.