This yearly post is becoming a pièce de résistance for Today Junior – the mega highways for my entire collection of feelings and thoughts from the calendar year. I want to start dropping these additional mini reviews scattered in here, throughout the year someday soon. Because I write them as I see the movie, but they sit in a document, on my computer, until the A to Z post comes. They really help round out and complete the year, when I can’t write a review for every single movie I see, but every movie I see deserves the time and dedication put into it to express my thoughts on the matter. You shouldn’t regret clicking on this link, I reckon.
2024 Index: An A to Z for 2024
A Quiet Place: Day One
What this franchise gets right is that it realised how characters drive the story in any given premise. A Quiet Place gave us the Abbott’s youngest and that buzzy aircraft, the new baby’s birth, and the daughter, Regan, seeking independence. The monsters are just the window dressing. Mind you, this isn’t a perfect franchise; I still find the whole idea of the Death Angels a bit contradictory – they’re aliens that track the tiniest sound, but don’t tangle with each other, and can decipher and steer clear of running water 🤷♂️ But Lupita Nyong’o forms a character worth standing by, and that is the number one reason why A Quiet Place: Day One is worth watching. Joseph Quinn is no skeez either, and Alex Wolff, always a God damn pleasure. The views of New York look so real too – so either CGI is becoming immaculate, or real large locations were used, and if it’s the latter, it’s simply refreshing. (It was a four block model of New York built in London, and it looks amazing). Hey, this is director Micheal Sarnoski’s second feature – his first being Pig – and it’s another huge winner, highlighted by the fact that this guy seems to prioritize the right stuff, when it comes to location, atmosphere, and character. Dare I say, there’s a bit of Denis Villeneuve in his approach. And A Quiet Place: Day One contains a few memorable shots – Sam (Lupita Nyong’o) going against the crowd on her way to Harlem, is certainly one. The air deflating out the tire, while Sam is underneath the car, is also righteously tense. This movie is really nothing special, but when the year has produced a river of shit, it’s great to be able to turn around to a movie I missed on release, and see some character and spectacle done well. A Quiet Place: Day One – the tale of a cat and pizza. This would be a filler episode for The Walking Dead, but the execution makes it undeniable. I tip my hat to screenwriter and A Quiet Place chief daddio, John Krasinski. 4.5
Abigail
Creepy ballerina? Sure. But with Abigail played by Roald Dahl’s Matilda the Musical alumni Alisha Weir, and after M3GAN was such an unexpected delight, in the category of surprise feminine child-like killers, I’m more inclined to check this out. And sometimes you get lucky, for I didn’t know this movie was directed by Matt Bettinelli-Olpin and Tyler Gillet; two horror directors with great ideas I’m very interested in, even if I’m still a little sour over Scream VI ☹ I’ll get to the movie, but the overwhelming final thought to come out of Abigail is, another movie ruined by marketing 😤 The movie doesn’t reveal that Abigail is anything but a normal child until halfway through, so how did I know that she was going to have sharp teeth ahead of time?! And I’m a guy who avoids trailers and marketing as much as possible 😩 It’s so disappointing! Because imagine the horror in Abigail first revealing her alternate form, hiding her face behind her hands, and then screaming at our rat pack, if we didn’t know it was coming… I’m so bitter. But as for the movie, considering now what I knew, it is slow for anything to happen, despite a solid crop of characters that are meant to carry the time. And after the supernatural reveal, it’s obvious what’s going on – a vampire girl has organised her monthly game of cat and mouse to pass the time away, which is a cool premise actually. I was numb to the framing of Joey as a motherly figure to Abigail, because despite a final tense battle, where they both need each other to survive, are we supposed to forgive that Abigail is a vile murderous hell-demon, just because her daddy doesn’t appreciate her? I don’t think a thousand years of daddy issues is anything believably relatable to anyone on a “human level”. In fact, I might’ve scrapped the idea that Abigail has to answer to a father at all, allowing Abigail to be purely self-sufficient in her reign and tyranny, which is more terrifying, to think that a ten-year-old girl has amassed a powerful empire and only wants to classically dance. But I like how Bettinelli-Olpin and Gillet fuse humour and utilise dopey characters in their horror movies, as is the same in Ready or Not. They sure do favour their copious blood explosions in stuffy houses, ey? 🤯 Abigail is fun, elevated by performances, particularly from Alisha Weir, Kathryn Newton, and Kevin Durand – the latter forming an unforeseeable phenomenal duo that made me smile at any given time. Contrastingly, Melissa Barrera and Dan Stevens create a stock standard rivalry, but prominently anchor the movie affectively. Plus, I just find Barrera so attractive. If she’s ever reading this, please call me… 3.0
Alien: Romulus
2024 Reviews – Alien: Romulus – Today Junior!
All of Us Strangers
2024 Reviews – All of Us Strangers – Today Junior!
American Fiction
I am confused as to what exactly the movie wants to say. But then, as the ending comes, the movie outwardly embraces its own ambiguity, so I’m precisely picking up what the movie is putting down. I was completely agreeing with Dr. Thelonious “Monk” Ellison (Jeffery Wright), and his thoughts on the cold race war going on right now – a time of a new positive pandering blacksploitation, if you will – but then Sintara (Issa Rae) argues so strongly about the market, and how it’s always been the same, for all people, while Monk doesn’t really have an answer. I also have to recognise that “Fuck” is probably only a hit because people think it comes with a voice of authenticity, and the public wouldn’t have swallowed it if they knew otherwise. Monk’s mother calls him a genius, but she thinks she’s talking to Monk’s brother Cliff (Sterling K. Brown), so is it really that Monk is too smart to connect with common people, or is he wrongly wearing his antisocialism like a badge of honour? As a writer I probably fall into a similar quagmire from time to time, and in many ways, this movie is delivering akin to the movie Barton Fink; self-aware in the parable of a writer who believes he’s beyond the system, only for the kookiness of the story to swallow him up. American Fiction may also be blasé at times, but it’s still poignantly articulated, so it doesn’t feel contrived, unlike a movie like Old Dads, which was direct but still reaching in its specific shots at wokeness. I specifically appreciate the scene in American Fiction where the writers are adamant they need to listen to black voices, all while outvoting the two in the room 💁♂️ But I also found the straight drama of the movie doesn’t always gel with the satirical exploration at play; both are worthwhile, but not necessarily snug, hand-in-hand. Jeffery Wright is an actor who has greatly benefitted by the inclusiveness in Hollywood roles, scoring both James Bond’s Felix Leiter and Batman’s Commissioner Gordon in recent years, and has become a renowned character actor – he is great here, communicating a feeling of isolation formed by a perceived mire of degrading hypocrisy and ignorance towards this man’s identity. Sterling K. Brown is magnetic, but does he do enough, considering his Oscar nomination? And Issa Rae is an actress I’ve never really liked, but it’s nice to see her take part in a project that spotlights this intellectual concern. 4.0
Anyone But You
Okay, I’m catching up with this after Twisters, but I’m now sold on Glen Powell’s beefcake lover-boy energy. This is my first true interaction with Sydney Sweeney’s talents too, since Madame Web doesn’t count, and I am impressed; this could be the beginning of a sneaky-good, deserved career, along the romcom path with other stops on the way 🤨 Sweeney is not just her “top-end assets”, that are so meme-able when the internet is having a good day, and ain’t that something 😄 I may’ve really underestimated this movie actually. Anyone But You is funny, and poses good characterisation from both sides. It isn’t just lollipop-sweet for a romance, and sharper writing lends to better edge than something like No Hard Feelings from last year, which also leaned into the raunchy comedy. Anyone But You even does the “character-overhears-the-wrong-end-of-a-conversation” cliché, and does it well 👍 Anyone But You even does the sing-along montage at the end, and warmed my heart well enough by that stage to enjoy that too! Thanks for allowing me to get in touch with my softer side, movie 😌 I also am notably a sucker for big family movies – The Family Stone, Happiest Season, Dan in Real Life – AND reviving classics like Natasha Benningfield’s “Unwritten”. This movie is supposedly helped along by being based off William Shakespeare’s Much Ado About Nothing, but you still have to stick the entertainment. Ricky Stanicky, another comedy movie released this year, also filmed in Australia and pretended it didn’t, while with this movie embracing the location, not only does it flatter me personally, but it helps the movie stay authentic. And it looks like they filmed in Summer Bay! Wild, wicked, cool; I couldn’t be happier this movie gained a small following way back when (January). Alexandra Shipp, Dermott Mulroney, Bryan Brown – not a half bad supporting cast neither. I’m tempted to give this movie a really strong 4.0, but I’ll lower half a star due to some pacing. 3.5
Aquaman and the Lost Kingdom
2024 Reviews – Aquaman and the Lost Kingdom – Today Junior!
Argylle
I lost the thread of this movie when *spoilers* Elly Conway (Bryce Dallas Howard) turns out to be a secret spy as well. Who would’ve thought, with a movie called Twisters in cinemas this year, it would be Argylle that contains the most twists! Argylle is a strangely ambitious movie, given credence through director Matthew Vaughn, of Kick-Ass and Kingsman fame, and this movie is a little bit Kingsman, a little bit Spy Kids, Stranger than Fiction, and even Crazy Stupid Love and The Number 23 all compacted into one. How fun for Bryan Cranston, getting to play the leader of a vile secret agency as well as a bland sweater-wearing papa in the one place. I’m also loving Catherine O’Hara; and the twist involving her is the best one. I thought it was weird to have Argylle (Henry Cavill) keep showing up intermittently while our new spy, Aiden Wilde (Sam Rockwell), is kicking butt and breathing fresh air into this movie during the train sequence, but I guess it was necessary to keep the storybook character relevant, and it gives this movie its knack. But Aiden Wilde juxtaposes the look and sophistication of a fictional spy, like Argylle, and James Bond, so well, so I was enjoying that dichotomy, while the movie doesn’t continue down that road. At one point, I also considered if Bryce Dallas Howard was the right fit as the fiction writer, whose intuition seemingly supersedes that of the most secret undercover organisations, and was considering a Helen Mirren type as my preferred choice; but then that’s laughable, ultimately, as the movie takes the audience on more janky sharp turns than a rundown fair ride. And it all became too much. If this movie was shorter, then I could see it possibly gaining a following amongst small children, but I just found it went on and on. Not for me, unfortunately. 2.0
Beetlejuice Beetlejuice
2024 Reviews – Beetlejuice Beetlejuice – Today Junior!
Blink Twice
2024 Reviews – Blink Twice – Today Junior!
Borderlands
I’m only here to dance on a grade-A corpse. Because I hear this movie is dog water. But you know what? I actually found my discarded gem of the year – every year, I seem to find a movie that everyone hates that gives me a good time, and I love it. In short, I think the set design is amazing, the characters are good, and the story is enjoyable – what more could you want?! Maybe Cate Blanchett can do no wrong in my eyes, and I’m about to feel like a defender with a lit torch warding off a mob of angry villagers out to kill. But I do tune in and am often turned off by heroes in our movies that are said to be major badasses, who only go and get themselves into sticky situations through a lack of competence, and I didn’t find that. I actually did go into this movie believing it was a Kevin Hart vehicle, and couldn’t have been less enthusiastic about another bout of his quick-talking smack that fails as comedy half the time – and was relieved to find that Hart can be quite reserved, serving the ensemble, while our lead is Aussie Cate. In fact, I found all the characters eye-nabbing, and the dialogue to be zappy. Tiny Tina (Ariana Greenblatt) wears bunny ears and a pink band-aid across her nose – what a look! I also get that Borderlands is probably mostly a movie made for people who are at least familiar with the video game, where I wouldn’t know it from Tetris, so it’s all new to me. You can’t disappoint a dumb-dumb 🥴 But let’s bounce Borderlands off the other action adventures to come out this year and see how it compares… In Boy Kills World, I wanted to know more about the dystopian circumstances, where this universe is elaborate; colourful, deadly, and dusty. In Rebel Moon – Part Two: The Scargiver, the world is established, but the dialogue was heavy and dragged. Furiosa: A Mad Max Saga tired quickly for me, and the similarly familiar Alien: Romulus had portions that felt more like a video game than this, an actual movie based off a video game 😮 Yep, Borderlands is my favourite new universe of the year 🤯 The only qualms might be with how the Psychos show up to fight alongside Atlas’s army at the end, and it doesn’t make sense to me that they would be allied. Plus, it’s a very open secret that Lilith (Cate Blanchett) is probably the true chosen one, yet when the reveal comes, it still isn’t offensive. Claptrap answers the question of how annoying R2-D2 would be if he didn’t just beep-bop-boop – but I assume Claptrap is also annoying in the game, so it’s kind’ve his thing. Maybe Claptrap is aiming to be a plush for kid’s birthdays, I don’t know 😕 But, you know, the people have spoken, and Borderlands was a box office bomb, and critical flop. I’m left to wonder what everyone hated that I didn’t see, and there will be fun in finding out why. Ultimately, I just see this as another extravagant ragtag action adventure caper, just like last year’s Dungeons & Dragons: Honour Among Thieves (which gained a whopping 91% RT approval rating, mind you), and I liked this one better. 4.0
Boy Kills World
Doesn’t H. Jon Benjamin already claim enough characters to throw his epic voice behind? 😄 Well, here’s got one more! When I first saw the trailer for this movie, I was excited by the prospect of another Kick-Ass – bloody, funny, uber-stylised joy. But while watching this movie, I regret to report, that I don’t find this movie a standout, or particularly special to me. I’ve agonized over why, and I just think that while it is objectively original, it follows the same familiar beats as most revenge movies taking down corruption. But as for originality, there’s the epic voiceover, for one. I also love how Boy (Bill Skarsgård) never understands anything Benny (Isaiah Mustafa) says, and how the sister spirit follows Boy around. The brainwash twist was nice, as well as the all-out Frosties sponsored murder spectacle. So maybe it’s me, maybe I’m spoilt, or just hard to satisfy in the spunky action genre. Maybe I was turned off by the first fight scene, by just how many bullets miss our hero; yet the final fight scene is amazing. Boy Kills World reminded me of Monkey Man from a few months back, and if I had to choose between the two, I’m just more impressed by the maturely handled sadistic world created by Dev Patel, than I am by this whacky enclosed product formulated by Moritz Mohr 🤔 Yayan Ruhian is really cool as Boy’s Mentor, and it’s been a while since I’ve hung out with Famke Janssen. Brett Gelman enjoys a large speaking role, recognisable to me through Stranger Things. But Bill Skarsgård must be up there for “actors with the most amount of screen time in silence”. It, The Crow, Boy Kills World – bloke barely speaks 🤫 Even if I never warm up to Boy Kills World, I can still admire its readiness for fun, and recommend it to others looking to give it a go. 3.5
Challengers
2024 Reviews – Challengers – Today Junior!
Civil War
2024 Reviews – Civil War – Today Junior!
Deadpool & Wolverine
2024 Reviews – Deadpool & Wolverine – Today Junior!
Dream Scenario
2024 Reviews – Dream Scenario – Today Junior!
Drive-Away Dolls
2024 Reviews – Drive-Away Dolls – Today Junior!
Dune: Part Two
2024 Reviews – Dune: Part Two – Today Junior!
Ferrari
2024 Reviews – Ferrari – Today Junior!
Fly Me to the Moon
Scarlett Johansson isn’t going to win any awards here, but she’s a professional. Actually, Kelly Jones (Scarlett Johansson) is a well-rounded character by the end, and you care about her, largely, due to Johansson’s performance. I always like characters who take charge and excel at their jobs, so Kelly manipulating those car manufacturers with a pregnancy pillow, framed her as a beauty from the very beginning 👌 Next, let’s talk about Channing Tatum. First of all, hot! Am I right, ladies? But is it just me, or has he been taking a lot of joke roles lately – Deadpool & Wolverine and Bullet Train, and probably going back way too far when I think of This is the End – but it’s nice to see him inhabit a fully-fledged dramatic movie character again. He’s not as strong as Johannsen or Woody Harrelson though, but I do wonder if the role might’ve packed more punch if the character were older (like a Kevin Costner type, in Bull Durham or Tin Cup) instead of hunky, and on Kelly’s same level. But in Fly Me to the Moon’s favour, is a snazzy script, and witty dialogue will get you far. I appreciated a different depiction of NASA than I’d seen before; as poor, and comprised of younglings. I also don’t think I’ve ever considered that the preparation of NASA’s space launch coincided with the Vietnam War in our collective history; pretty amazing polarising time, so thanks, Fly Me to the Moon, for the context. This movie also does an excellent job of recreating the pride and spectacle, of when man first walked on the moon. I enjoyed learning about how advertising and brand partnership shaped the public perception too, and I wonder what people who’ve watched Mad Men think about the advertising component of this movie, since it’s set in the same time period? 🤔 Such a wonder… Jim Rash is perfect in a meatier role than he’s used to seeing in movies – I got director Lance Vespertine’s (Jim Rash) early jab at Stanley Kubrick, since the theory goes that he’s the one who filmed the real fake moon landing; but then the movie repeats the joke anyway 🙄 And OMG, what a thought to think that a stray black cat could’ve ruined America’s democratic image entirely 😮 Since the movie’s fictionalisation entertains a moon landing of governmental conspiracies, Fly Me to the Moon does have a darkened underbelly, whether it would willingly admit it or not, but still remains a light-hearted fun affair. Perfect to take your grandmother to see 🤗 If anything, the movie’s a little toothy, as in “long” in the tooth (not sure that idiom truly works here, but it sounds cool anyway); although at least you get your money’s worth. 3.5
Force of Nature: The Dry 2
2024 Reviews – Force of Nature: The Dry 2 – Today Junior!
Furiosa: A Mad Max Saga
2024 Reviews – Furiosa: A Mad Max Saga – Today Junior!
Ghostbusters: Frozen Empire
Maybe I kind’ve underestimated Ghostbusters: Afterlife as a kid-friendly adventure reboot of the Ghostbusters franchise. But also, Ghostbusters is a mega-cult hit to which I stand on the outside looking in – for you see, I wasn’t a kid of the eighties, prone to adore the first movie; I had Mighty Morphin’ Power Rangers and Space Jam in the nineties 🙌 Yet I really like how the trailer for Ghostbusters: Frozen Empire makes it so anyone can be a Ghostbuster, and continues on with a notion that, whilst ghostbusting is a scientific breakthrough, it is also a dirty blue-collar job. I’m also excited by the trailer that shows how an icy threat will challenge the Ghostbusters on a visually invigorating city-wide scale! But as the movie starts, I’m surprised by how underdeveloped this universe continues to be ☹ The Spengler family know nothing – they drive around recklessly, and damage property to bust ghosts, yet they don’t even know how Winston’s ghostbusting organisation works. Plus, if there’re so many ghosts around, causing havoc, then why don’t the Ghostbusters have a working relationship with the authorities? And why are there still people undecided as to whether ghosts exist, when there’s blue dragons flying across the city? Basically, these fundamental questions are brought about by this movie’s poor plotting, shoddy movement through each scene to get our action from point A to point B, which suggests the screenplay ain’t great ☹ You must know by now how I always say I like movies where people are good at their jobs? Well, maybe you don’t 🤔 But these people in Ghostbusters: Frozen Empire are constantly under-educated and screwing up left and right; it’s a complete drag and it forms nothing to root for. But at least we have an original story, and not just another retread for a Ghostbusters sequel. And I like that 😊 Even though we see the Ghostbusters originate in the first movie from 1984, it also makes sense that ghostbusting would go back eons, where the more our characters delve into an ancient past, the more earthly secrets they’d find. I can really see how they might’ve gotten a 140+ episode cartoon series out of this franchise, back in the day, because the lore can run deep 😊 But this movie doesn’t do a good job of balancing all of its characters either, and the jokes are lame. The first reboot was heavily compared to Stranger Things in conception, but in practicality, Stranger Things is also such a better example of a story balancing a large roster of characters, who discover elements of the same mystery from different angles. The most this movie really ever has going for it is that it’s called Ghostbusters 🙄 Call me heartless, but I also could care less about how the movie goes about setting up an unlikely friendship between Phoebe (Mckenna Grace) and the flame ghost Melody (Emily Alyn Lind). Can a ghost’s “unfinished business” really turn out to be about preventing something external to their life, that’s only one possibility for the future? I think not, what claptrap. So what I was most excited for from the trailer doesn’t lead anywhere; it’s mostly aesthetic, so the movie can show more people with proton packs, and do some pointy things with ice. We have an interesting premise, that follows no rhyme nor reason. The more I think about this movie, the madder I get. 2.0
P.S. Some of this movie’s watered down elements have a whiff of saying, “ghosts have feelings too, ya know?” 🙄 So what about a scene, say, where the Ghostbusters are called to a café, because the owner says they have a ghost to get removed, but the ghost just be chilling, minding his own business, so the ghostbusters won’t bust him, and the café owner gets the shits? That would provide some context, as to how on top of the authorities not appreciating their destruction, the public don’t completely understand their practices, leaving them squeezed on both fronts. Because if some of the ghosts aren’t causing a mischief to the living, then there’s no need to bust them. I think Spider-Man: Homecoming is the movie that showed best how the police and public don’t appreciate Spider-Man for different reasons, and I want something like that (or is it The Amazing Spider-Man 🤔). But I wouldn’t come to Ghostbusters: Frozen Empire with any expectation of introspection as clever as that.
Godzilla x Kong: The New Empire
2024 Reviews – Godzilla x Kong: The New Empire – Today Junior!
Harold and the Purple Crayon
This is amazing! In the most cliché story – I mean, I cannot overemphasize how overplayed it is – the movie facilitates a smorgasbord of nostalgic veterans to fill each role. Zachary Levi is an uber-friendly, childlike, fish-out-of-water, as the titular Henry, just like he played in Shazam! 😮 Zooey Deschanel has to ground that giddy energy, just like she kind’ve does in Yes Man, and definitely does in Elf. Lil Rel Howery is a wisecracking deadpan sidekick, honed to perfection across Free Guy and Get Out. And Jermaine Clement is the selfish nerdy antagonist… a combination of everything else he has ever done in his career and Men in Black III? These guys probably just glanced at the script, agreed to the movie, and just asked the director for the gist scene-to-scene, knowing they could make it pop with their eyes closed! Piece of cake 🍰 And you know what, aces in places do elevate the material 🤗 I do find it peculiar that someone decided to make a 90-minute full-length movie out of this relatively obscure picture book though, especially since the decision extended to turning the book’s main character from a bald toddler to a grown man. I mean, Harold and the Purple Crayon is nowhere near as famous as Where the Wild Things Are, or Thomas the Tank Engine, is it?! But I do love that beyond this point, everything that Harold draws in the real world is purple – it would’ve been so easy for him to draw a tire, say, and for the movie to just makes it a generic black tire; but the purple is necessary to give the movie its style, and I appreciate the effort 👍 I believe in all this movie’s in-world crazy logic, except for how long it takes Terri (Zooey Deschanel) to believe in the crayon! I also enjoyed how the awkward librarian guy can only think to fight with medieval weapons, as a delectable way for the movie to avoid a bloodier conflict, and a higher classification 😄 Harold and the Purple Crayon isn’t going to set records, but it’s an inoffensive light-hearted movie that I can see adults keeping one eye on in the background, while they’re children are either transfixed or eating crayons themselves. Harold and the Purple Crayon is the perfect creche movie ☺ Now what did I rate the first Sonic the Hedgehog movie, I wonder… Because this is better. 3.5
Heretic
Oh, how good is our introduction to the girls?! One is skeptical, and one is naïve – we care about them right away, and it just goes to show the power of small conversations in confirming characterisation. It’s just a reminder to jot down simple ideas as they occur, like the porn story, if ever wanting to write a movie, because wielding them can be ever so favourable. I’m also impressed by the film language of Heretic. I believe there’s knowing where the camera should go for form, and then putting it into practice, playfully and masterfully, on the day and in the editing room. They say the best filmmakers already see the movie they’re making in their heads before filming, and I reckon these guys are made of the right stuff. Who are they anyway? Scott Beck and Bryan Woods? They did 65, that Adam Driver movie, which I really liked but was virtually alone in that. Surely people will come round with Heretic because it is really entertaining 😍 The dialogue, again, just makes you thankful when many modern movies don’t dare make this type of effort. Dare I say, it’s Tarantino like, using playful analogy and argument, bouncing thoughts through the characters for challenging POVs. The movie is clearly dealing in different subject matter than Tarantino would seldom touch, but I feel it enough to mention it, and Heretic is more affluently written than those a shade below that aim to do the same, like something like Bullet Train. I also admire that this movie has a clear point, and doesn’t cop out by leaving Mr. Reed (Hugh Grant) and his tomfoolery open for interpretation. I also applaud that the movie doesn’t feel the need to infuse any more additional feminism than it has, where so many movies in recent years couldn’t resist hammering it in with this type of premise. I love a good cat and mouse game, and Heretic feels like Barbarian situationally, but more steadily assured with deeper conversational elements in fruition. All three performances are spot on, and the two young girls, I’ve never seen before. Hooked! Glued to the screen, I was! I soaked it up like a sponge, until, perhaps, the deux ex machina that practically brought Sister Barnes (Sophie Thatcher) back to life. And the butterfly ending seemed forced to bring faith back into question. Yet, I don’t know how else I would end this, other than with three deaths, and who would want that? 4.5
I Saw the TV Glow
Here’s a movie for which I had no expectations at all. And I’m not usually a fan of Justice Smith – I worried how this guy was going to pass for 15-years-old at one stage, although he actually does surprisingly well. Timid and uneasy; that’s what works for Smith, and this is the most I’ve ever liked him 👍 I Saw the TV Glow is slow, and I feel it’s deliberately so, to account for the trudge of day-to-day life, certainly true for our main character. I thought the movie was setting up to contrast that with an erratic excitement, when, if ever, the TV miraculously glowed, and I’m confident that would’ve been the option if certain “choices” were made to go in that direction (here’s looking at you, Owen (Justice Smith)). But nevertheless, this movie is never boring; quite captivating actually, due to an impeccable application of colour, and a savage lure of “just what will happen next”. It’s the most unique movie of the year, certainly amongst the many I’ve seen. I couldn’t even confidently put a finger on a chosen style – I’d have to lasso around a few estimated inspirations, including David Lynch, nineties teen cult landmarks, and indie comedies, like Juno. The Pink Opaque certainly feels so familiar, like a mix of Buffy the Vampire Slayer and something from Nick at Nite; I already want an obscure in-movie TV show reference as a T-shirt 👕 Don’t think I missed the subtle normalization of transgenderism in this movie either, through Smith’s character, but I thought the movie’s approach was executed positively, like a warm hug. I’m sure this movie will prove a polarising experience, like a spacey dream some people won’t connect with; but that’s okay too – I think this movie tells a common message, about following your dreams, and never forgetting you’re the star, but is presented through an absolutely original voice. Director Jane Schoenbrun, very well done 👏 This is also the first movie role for Bridgette Lundy-Paine since she was perfect as Ted’s daughter in Bill & Ted Face the Music, and she’s too good to be hidden away. All that’s left to wonder is, what TV character could I be if only I’d bury myself alive? Tommy from Mighty Morphin’ Power Rangers? Gordo in Lizzie Maguire? And now it’s over to you, Harold, to see if you can match such good use of the colour purple, with your magic crayon. 4.5
IF
This movie is so bright! That’s the first thing to notice, as director Krasinski favours simple sharp lighting to give this movie an originally vibrant feel. John Krasinski; he’s not a personality I ever set out to love, but if he continues to prove himself an industry leader, while also appearing sympathetic, ingenious, and witty, then it’s hard not to be impressed. The designs for these creatures are really inspired; they take familiar concepts and put many ideas into practice. The main Imaginary Friend, Blue, is like Grimace, and that alien from Home, as a big fluffy oaf. Blossom is like a Betty Boop, Minnie Mouse, ladybird, hybrid. The premise takes the idea of imaginary friends, and wonders what happens to them if they exist externally in the real world, and don’t disappear like Bing-Bong in Inside Out, if their kid forgets about them. I don’t know about you guys, but that one scene with Blue’s original child, played by Bobby Moynihan, is up there with the best emotionally crafted scenes of the year 😢 I don’t completely get the casting of Ryan Reynolds though; he’s playing the reluctant hero role, but he’s halfway between coming across as a curmudgeon and a maverick, landing in a mucky yucky middle ground. He’s not as charismatic as Peter B. Parker (voiced by Jake Johnson) from Spider-Man: Into the Spider-Verse, say, and that’s a clearer personality type that could’ve fit well. Conversely, Cailey Fleming is grand, hitting her emotional beats and leading the movie – I knew I’d seen her before, but didn’t recall where; but she’s Judith, from The Walking Dead, just continuing to grow up 🤗 Can it be assumed that the movie wants us to believe that Cal (Ryan Reynolds) is like the master key, able to see all the IFs on the streets, and since succumbing to the dreary and often dead-end prospect of finding new kids for the abandoned Ifs, he has imagined a nursing home as their place of residence, while Bea (Cailey Fleming) comes along, with a breath of fresh air, and turns the refuge into a luxurious hotel? That’s how I make sense of that scene anyway, and it’s very clever ☺ I may not have always been crystal clear on if I liked what was happening in IF at any given moment, but it was always fascinating, captivating in keeping my attention, unlike some similar children’s fantasies out there, like last year’s Lyle, Lyle, Crocodile 🙄 IF builds a world like Toy Story, and lends itself to deep adult themes, like aging, while still keeping the wonder too. It’s the second great and varying universe to come out of Krasinski’s noggin now, following on from the ‘Quiet Place franchise. I was taken away by IF; I didn’t even look out for a possible twist ending coming, and I liked that too. I hope this movie finds an audience. 4.5
Immaculate
Sydney Sweeney is the drawcard here, making hay while the sun shines on her fledging career. I’m also watching this to “compare the pair” as it were, following on from The First Omen, and the subcategory of “Nuns who don’t want their baby”. With a runtime of 89 minutes, I still felt like this movie drags in parts, but I do enjoy where it goes. A bloody faced Sweeney makes for an impassioned intensity right at the close; an outrageous note to leave on, which may prove memorable. I like Benedetta Porcarolli – I like her character’s sass, as Sister Gwen. And Simona Tabasco is good for a daring stare too. Immaculate is not high art, and I’m not sure whether it’s overly original, but I’m not mad that I watched it. My only note would be, next time, on the reveal, Father Tedeschi (Alvero Morte) should say, “Please, allow me to wheel you to my Jesus room.” Jurassic Park for Catholics. 2.5
Inside Out 2
2024 Reviews – Inside Out 2 – Today Junior!
Joker: Folie a Deux
2024 Reviews: Joker: Folie à Deux – Today Junior!
Kinds of Kindness
2024 Reviews – Kinds of Kindness – Today Junior!
Kingdom of the Planet of the Apes
2024 Reviews – Kingdom of the Planet of the Apes – Today Junior!
Kraven the Hunter
2024 Reviews – Kraven the Hunter – Today Junior!
Late Night with the Devil
2024 Reviews – Late Night with the Devil – Today Junior!
Lee
I’m comfy with Kate Winslet. I do consider her one of my favourite actresses of all time, and it’s a long list. Incidentally, I didn’t realise the parallels I would be able to draw between this and Alex Garland’s Civil War – both revolve around crusty female photojournalists who did their duty in wartimes. I remember the drudgery of the job depicted in Civil War, but Lee shows the bravery, and the need to adapt in unforeseeable everchanging life-threatening conditions. This Lee Miller was tough – Kate Winslet appears a tad old for the role in the early years, up against Alexander Skarsgård, but her ability as an actress accounts for the disparity and it’s fine, where a lesser performer would make it seem like a dud pick; it’s real funny how that works. Andy Samberg on the other hand; let’s just say it takes me a while to warm up to his part, and he’s hard to swallow in his dramatic performance for the first half of the movie. The movie then devolves away from photojournalism into a common bleak depiction of WWII, and I don’t mind being reminded once again just how bad it can get, how debased the ‘wrong’ people were made to feel, and how callously ruthless society can be if our watchful eye lets it slip. There’s also a rape element in this movie that comes full circle with Lee, and it’s one of those things where you hope the movie hasn’t invented it for dramatic effect, mostly because the movie doesn’t need it. But if it really happened, then you’re almost obligated to include it 😔 I’ve also decided that I don’t like the last minute twist in framing that occurs, although it is incredible that Lee’s son never knew of his Mum’s incredible accomplishments until years later 😯 It’s great to be reminded just how talented Marion Cotillard is, if only for one scene, of complete pain and detachment, that really gave me chills. Andrea Riseborough will go unthanked, but is also fantastic. And we all know what Ricky Gervais once said to Kate Winslet – do a war movie, that’s how you get your Oscar. Well, she may be nominated again. 4.0
Love Lies Bleeding
2024 Reviews – Love Lies Bleeding – Today Junior!
Longlegs
2024 Reviews – Longlegs – Today Junior!
Madame Web
2024 Reviews – Madame Web – Today Junior!
MaXXXine
2024 Reviews – MaXXXine – Today Junior!
May December
2024 Reviews – May December – Today Junior!
Mean Girls
2024 Reviews – Mean Girls – Today Junior!
Megalopolis
I’m having an Aubrey Plaza day! I’ve just seen My Old Ass, and now into Megalopolis. Frances Ford Coppola – what a treat. The last time we were about to see a new movie of his in a calendar year, it was 2011. Megalopolis verges on an overstuffed fever dream, trying to be very big in theme and mystery, but doesn’t quite click together with all its components. Like, I think an early cog that’s important we care about, is Julia (Nathalie Emmanuel), but her introduction to Cesar (Adam Driver) over breakfast is terribly scattered, where their wits make her so many things at once – a salacious socialite, an investigative admirer, unworthy, but worthy of undertaking Cesar’s tutelage, and capable of undermining her father. It’s a jumble and I can’t grab onto her, making me evaluate if Nathalie Emmanuel can mingle with the big boys for half the movie, when it’s her character that really isn’t her fault. But when all is said and done, I’ll concede that some of the burden in misunderstanding this movie might fall on me, since I’m not familiar with all of Shakespeare’s work and other established classics. The message seems to be to forego the plight of the present day to steady the future. And there’s some Trump symbolism thrown in there, among other things, to represent how the poor present as fickle, insignificant, rageful. All I can say to that is it is a headscratcher – it isn’t charitable, proudly elitest, if not detestable in its narrowminded calloused conclusion. It’s a way of doing things, certainly a way, and an uncommon notion to see in a Hollywood film. But I don’t know, I’d probably be more willing to contend with this idea if the movie was more engaging in its analogy. Megalopolis is so bloated and thick that the experience is like walking into a headwind in the teaming rain. With a runtime of over 2 hours, it felt like four. And by the time we actually get to the golden city, I could care less. I ultimately like that Giancarlo Esposito and Nathalie Emmanuel have been promoted to some fairly hefty roles in this who’s who of audacious casting. Aubrey Plaza is the most appealing, but it’s mostly because she is vivacious while the others around her are more monotonal. This movie didn’t fare well when it hit the cinemas, and I think the wider public made a good choice; although I’m convinced it wasn’t made for them. It’s a triumph visually, I’ll give it that, and they don’t make enough movies like this with such lavish pizazz, unless inspired by comic art or something (Sin City, Batman). Megalopolis is high concept, and I don’t think it’s that I don’t understand it as much as it has large portions that fail to connect. Who knows; maybe I’m just not on the right wavelength. I can let it marinate, because I’m sure this is a movie that’s worth more than the sum of its parts, so I could see myself revisiting Megalopolis someday knowing now what to expect, but it’s a 50/50 proposition as to if my rating would improve. Oh, and I also like Chloe Fineman as a dynamic sex kitten, taking a left turn from funny from SNL. And Grace Vanderwaal gets to sing again, once admired as Disney’s Stargirl. 2.0
Migration
There are so many animated movies that come and go, falling by the wayside. Like, do you remember Ferdinand? Spies in Disguise? Abomination or Smallfoot? Storks was one I really liked, but I haven’t heard a peep about it since its release. Now we have Migration, which came out way back on Boxing Day, and is already fading into obscurity. I better get to it quickly, before I completely forget… And I ran along with Migration for about half the runtime, but checked out once the mallards start salsa dancing. This is a generic cross-country plot, but a nuclear family going on a migrating adventure can always lend itself to some levity with the right creativity, and it’s an amazing premise for a bunch of animated ducks. But unfortunately, the adventures they get up to won’t set the world on fire. The pitstop with the herons is probably too scary for young children; fighting with the tiniest tough pigeon over a racist slur, only to befriend said pigeon for more city hijinks, is tiring. There’s also a chef that somehow owns a military-grade helicopter (😳), while the movie strains ever so hard to make the littlest hatchling hilarious. The movie initiates an emotional throughline with the father being afraid of adventure, only taking part for the good of his family, before it devolves into a narrative about how the father doesn’t fully trust his son 🤨 It’s nice to see the ducks marvel at the new terrains they discover, and Keegan-Micheal Key gives a more charismatic Jamaican accent than Daveed Diggs ever did for Sebastian. But this movie is barely by the numbers, going through the motions of animated cliches and never breaking free to be memorable. I wonder if we really have too many animated movies each year now, that they don’t get enough time to bake, or hone in on making something truly excitable. Migration – another one for the pile; not disgusting, but relatively aimless. I thought this might be the National Lampoon’s Vacation for fowl, but the family interconnectivity isn’t properly prioritised. 2.5
Miller’s Girl
The lure of Jenna Ortega as a seductive wild child? I’m only flesh and bone 😩 The first thing to note about Miller’s Girl is how they don’t make movies like this anymore! Poison Ivy, Wild Things, Cruel Intentions – all relics of the past, tantalizing porn-adjacent edging fantasy, a bastion of patriarchal entertainment. Nowadays, if movie girls harness their alluring femininity, it’s despite a man’s interest, if they do it at all. I thought this movie handled the fallout from teacher Jonathan Albert Miller’s (Martin Freeman) side better than most, as it always surprises me how the adults in authority always want to hide their potential misdemeanors instead of reporting it themselves, telling people as soon as possible; at least Mr. Miller tells his wife. There’s a strange familiarity going on in this movie, between teacher and student, that doesn’t seem realistic – but since this movie takes place in the fog, and there’s barely ever any other students around, the movie also has its dreamy surrealist elements, and this just adds another. Miller’s Girl’s style is impeccable, through the ghostly woods, vine wallpaper, and gothic housing. Jonathan’s wife, Beatrice (Dagmara Domińczyk) is given some depth, and isn’t just there to be naggy or distant, like could be the case in these movies elsewhere. I love the juxtaposition in Cairo’s voiceover (Jenna Ortega), for the most part, where Cairo is whirling down the depths of love from a literary sense, while the actions taken by Mr. Miller and Cairo in the real world are small and measured, if not even a little mundane in being beyond the pale. But that’s teenagers, isn’t it, when you’re trying to match the experience with what you’ve heard, painting in broad strokes, and Cairo is certainly one entuned and well-read to inflame her imagination. I like that Miller’s Girl has left me thinking about it into the day, and therefore, don’t think this movie deserves such a low 29% approval rating on Rotten Tomatoes; but I do understand it, due to the awkward subject matter, and evident pontificating, and handholding, in the final act, when this movie could be more, and be explaining less. There’s something just quite off with all the characterisations and their choices by the end, despite the movie being an engaging attempt at dogged elegance. If it were me making Miller’s Girl, I wouldn’t have had the moment where Mr. Miller and Cairo kiss on Cairo’s doorstep, whether it’s meant to be fantasy or not, but instead have Cairo only beckon Jonathan into her home, and leave it be a mystery for the rest of the movie as to whether he went or not, despite wanting to. I also thought the story could’ve been richer if schoolmate Winnie (Gideon Adlon) did have relations with Borris Filmore (Bashir Salahuddin), and her unrest in the final scenes is a result of it not being perfect, as she’d imagined – you could still read the movie as if that is what happens, although Mr. Fillmore is believably adamant that he “knows where the line is”. But it would just add another layers of salacious irony to this movie, in that Jonathan Miller gets the sack, brought about by probably not sleeping with a student, while Fillmore and Winnie hide in plain sight, although emotionally destroyed. There’s also a last-minute sense that Cairo has gone through this whole charade as a willing catalyst, to get Mr. Miller to write again, but it’s not explicit and I don’t buy it; I’m convinced she was in love, and went psycho when scorned (as pedestrian as that actually may be). Pretty much, Miller’s Girl teaches us just to beware of books! Bonding over literature can lead to treacherous places 😄 Challengers is probably the other most sexy movie of 2024 to date, and Miller’s Girl is half as good. 3.0
Moana 2
2024 Reviews – Moana 2 – Today Junior!
Monkey Man
2024 Reviews – Monkey Man – Today Junior!
Mufasa: The Lion King
2024 Reviews – Mufasa: The Lion King – Today Junior!
My Old Ass
I said this is weird, just as Elliot (Maisy Stella) and Elliot (Aubrey Plaza) say “this is weird” 😱 But what I was referring to was how Aubrey Plaza adds to this movie; because she’s blasé in her attitude to life in interviews, while I know she’s deeper than that, but she gets to perform introspective here too, taking on a role that picks on her character’s age and young regrettable flaws. For the most part, the “old ass” element of this movie is just used to tell you how to appreciate the moment, and be grateful for what you have. I really like the scene with young Elliot playing golf with her brother, where both find their familial bond that they’ve been ignoring. The ticking clock that this movie installs, as there’s 22 days left before Elliot leaves for college, is a clever way to subtly ratchet up the tension in this movie too. Then there’s Chad (Percy Hynes White), who is perfect – he’s literally a mechanic, and charming, speaks French, knows the cranberry business, wants to study biomechanics, AND pharmaceuticals 😍 Wife him up now! “What Chad did” hangs over our head and we keep waiting for the hammer to drop. Did he kill someone? Does he get Elliot pregnant? Will he die? My money was on that he died, and I’m glad that the movie doesn’t show us. But while Plaza is gearing up to tell us the news, I did get a flash of an alternate reality where Elliot reveals that she’s just been negging her young ass so she’ll fall in love with Chad because he’s the one who got away… Wouldn’t that be a perfectly wicked Aubrey Plaza thing to do? Can’t you just imagine her gloating, by saying, “and you fell for it, ya dumb slut!”? 😆 Oh, but nah, this movie’s ending, the way it is, resonates on your heartstrings, and makes you evaluate love; it’s pretty great too. The movie softens off for a short while, when Plaza’s Elliot won’t pick up her phone, but her absence is probably a necessary component to the overall narrative. I was really impressed by Maisy Stella – I’ve never come across her before, and she floats in between an erratic JoJo Siwa impression in the beginning, to the holier-than-thou Britney Spears depiction of the late 90s by the end. I do wonder what else she can do 🤔 But what’s with Elliot’s little brother? The kid is so queer – incredibly flamboyant, but he loves Saoirse Ronan, so at least I half understand him 😄 4.0
Next Goal Wins
I bookmarked this movie earlier in the year only to dunk on it, after the trailer contained two racist jokes to market this movie. I haven’t been a fan of Taika Waititi in what seems like forever, but 2024 could be the year where the rest of the world might be catching up to me, growing tired of Waititi’s laconic and debased antics too. At best, Next Goal Wins should be able to enter the category of inspiring underdog sports stories, with a clash of cultures fanning the fire like Cool Runnings. But then you see Waititi impose himself in the frame in the first few seconds, acting like the movie’s narrator, as if he were Korg again, and, oh boy 🙄 The movie’s depiction of American Samoa does make it look like a beautiful place, and the people’s connective community comes through on the screen, but through nearly all the local characters pushing the comedy, it also makes them look really dumb. This isn’t a very funny movie, despite all its efforts. And I also found Thomas Rongen (Micheal Fassbender) bland and unlikable, so I didn’t care about him rediscovering his animus. It’s fairly unrealistic how much Thomas has no understanding of the local customs, like praying, despite being on the island for what seems to be days. Next Goal Wins is a bit of a drag, with nothing unpredictable, until the final moments of the soccer match, relayed to Tavita (Oscar Kightley) through his son, where the energy and editing of the movie picks up. The most interesting development to come out of this movie for me was an entry point in learning about the Fa’afafine – an American Samoan third gender that is prevalently respected in their culture; and even though Jaiyah (Kaimana) really isn’t given much to do by most movie’s standards, she’s effective as the movie’s most sympathetic character. Easiest acting cheques Elizabeth Moss and Will Arnett will ever cash, and FYI, this movie is set in 2012, but Sia’s “Chandelier” didn’t come out until 2014 😕 1.5
Origin
When a movie admits upfront it is a “dramatization” and “artistic interpretation” of something regarding race or gender, then it’s a red flag 🚩 Because the only other movie I’ve seen rip a real world tragedy and make it their own is Women Talking, and that was loaded with pretentious political agenda. But I can rest at ease, because Origin does have something intelligible to say, exploring an angle of caste and racism, not afraid to go deep into uncomfortable corners that will even challenge its own disposition. The movie’s igniter is a real crime murder involving Trayvon Martin, and the placement of an Obama press conference on the telly, gives the incident the necessary framing to relay its national importance. From there, Isabel Wilkerson (Aunjanue Ellis-Taylor) delves into a concept that places “racism” as too simple a term to explain deep grooves of unease and unrest that continue to permeate society today. An investigation takes her to Germany, and India, elevating their historic caste systems to comparison with slavery and its existing ramifications. Origin is notable for its unconventional camera framing – off-centered close-ups, harsh lighting, and whatnot. Conventional camera framing is so for a reason, because it works, but this difference helps give Origin its character, along with flashes to past events, and stylised autumn leaves at an untimely death – a narrative structure that continues throughout the movie and works to its advantage. I also don’t mind the metaphor at the end, regarding the rundown house that is our responsibility to renovate. I also really like the scene where a plumber comes to house call, letting his MAGA hat do the talking, before Isabel bores through his shell to find commonality and humanity. I remember being so perturbed by the way the MAGA hat was used in Da 5 Bloods, but here, it is elegant, and affective, pursued through a real ground-level scenario. Origin utilises the interview structure in the same way we see in She Said, to inform us upon what the movie insists are real events, and even though I was fine with She Said for what it was, I’d have to say the same structure is used here with more weight and direct purpose. And I just like movies where people are good at their job. Origin’s messaging is strong, and even though I was positioned to be skeptical in the first minute, I was hooked from the near halfway point, sitting straight at full attention; because the movie is able to explain an itch I’ve had personally for many years, in society’s shallow understanding of acts condemned as racism. Jon Bernthal – we’ve seen him play a dozen sleazeballs, and the mentally broke, but this is the first time I’ve seen him play a whole person; I like it. Aunjanue Ellis-Taylor is fantastic as the movie’s anchor, and it must feel like a real blessing to land such an important role. Audra McDonald’s one scene is also so powerful; it cannot be understated. Yet still, due to that precisely worded opening, where most movies would suffice by simply saying, “based on a true story”, I will have to check out where the dramatic liberties have taken place, and hope they’re with Isabel’s personal journey, and not concerning any distortion of historical facts. The latter would be a real weed wedged in my whacker. 4.5
Poor Things
2024 Reviews – Poor Things – Today Junior!
Priscilla
2024 Reviews – Priscilla – Today Junior!
Rebel Moon – Part 2: The Scargiver
2024 Reviews – Rebel Moon – Part 2: The Scargiver – Today Junior!
Ricky Stanicky
The premise is amazing, and much to do with the premise works well, especially the first time Rod (John Cena) makes the scene at the bris as Ricky Stanicky. But I found the majority of the trimmings sterile, from the locations, to characterisations, to the dourer notes of humour. About halfway through, I got a sense that this movie might’ve been filmed here in Australia, with a few distinguishable faces showing up in minor roles. And by the end, the movie isn’t even hiding it anymore, with Aussie accents flying everywhere 🤠 Zac Effron gets a pretty generic dopey role we’ve seen him hold before, and we know he can do better with more. But Andrew Santino was surprisingly solid, fitting in with these verified actors. It’s easy to see why John Cena agreed to take this job too, getting to spread those acting chops with butter and rosemary. In a word, fine. 2.5
Road House
I’m seeing Patrick Swayze’s Road House for the first time in 2024, and I know eighties nostalgia is a mighty force, but I didn’t mind it. There’s certainly enough of a shell to improve upon in parts, and I think Jake Gyllenhaal is an intriguing pick to continue on the Swayze legacy. He’s got the abs, now we just need the tits and high kicking to complete the Road House experience… 😋 Listen, I like movies where people are good at their jobs, so how do you think I feel about a suicidal Dalton (Jake Gyllenhaal) sitting on the train tracks? Goodness me 🤮 I’m also all for diversity, but some roles are just better the way they are. I didn’t realise at first, the mix of both pleasant and intolerant masculinity that underpins the original Road House, but you sure do miss it once it’s stripped away. In the original, the Road House master is that movie’s example of bravado and weakened masculinity, while Dalton is the balanced and protective tolerance and strength, before he goes too far. So then listening to these new female characters bring about their self-serving smarm – agony! The new Road House owner, Frankie (Jessica Williams), ridiculing Dalton for not knowing who Hemingway is; having Ellie (Daniela Melchior), a doctor, actually leave the hospital grounds to wrongly assume and insult Dalton as a rage-fueled dickhead; who thought this was a good idea?! So many things around this new movie’s framing are impotent and adolescent. Even selecting a pompous manchild as the movie’s erratic antagonist (and depicting him getting a shave on choppy seawater, as an example of his grandiosity 🙄), when we’re all aware that it is an older man, with calculated reservedness, that holds true formidable power – so again, the original had it right. I also think the flashbacks, leading to Dalton’s unfortunate backstory, would’ve served the character and story better if they were just showed upfront 💁♂️ Every other character references his past anyway, so it’s hardly a well-kept secret to anyone but us. The fight scenes are okay, for something different, if not before going over the top in the finale; but those computer-enhanced punches surely improve after Post Malone leaves the fray 🤜 The abundant CGI though: cheap. Thank God for Jake Gyllenhaal and the beautiful Florida Keys, otherwise this movie would have nothing. Watching this movie with me, would’ve been a treat in swears and ridicule. I really haven’t been this offended by a movie’s chosen tact since Wonka, and even before that. Road House is so, so, so, so bad. 0.5
‘Salem’s Lot
2024 Reviews – ‘Salem’s Lot – Today Junior!
Saturday Night
I’m uneasy. I don’t love the chaotic nature of this movie. And, I know, I know, that’s the point – to show how stressful this show was to initially get to air, while people in every corner were doubting how revolutionary Saturday Night would be. But the constant camera gyration, the frequent score heightening tensions… My favourite scene is probably when Lorne Micheals (Gabriel Labelle) is talking to John Belushi (Matt Wood) on the ice, because it’s quiet 🤫 But I loved learning about the early hours of SNL. I loved anywhere where I could squeeze out some insights, like how Dan Aykroyd was so articulate and passionate about his craft, or how the writers – played by Tommy Dewey and Rachel Sennott – considered their business. The impersonations of all these comedic legends might not quite have the look, but they have the voice patterns down – Chevy Chase (Cory Micheal Smith) is so effortlessly charismatic and cocky, and Billy Crystal (Nicolas Podany) is perfection 👌 I waited to discover who wrote this movie, and it was Jason Reitman. I’m not sure I’m overly familiar with his work – Thank You for Smoking, that’s one of his, isn’t it? I know the name, but I haven’t seen it. I do wonder if I could’ve liked this more if it were handled by Aaron Sorkin – I do feel like the writing is in the same vein, blending wit and backstory into simple conversation, but it’s just a shadow beneath. And so I’m like Lorne Micheal’s first show, because I think Saturday Night certainly has all the ingredients, but I’m just not set on the format. Perhaps I’d prefer a documentary series, even. Ultimately, this movie is not for me, but the performances are there. 3.0
P.S. Oh, I do know Jason Reitman! Up in the Air and The Front Runner are fantastic films. Juno, Tully; the bloke has had a lot of hits.
Shirley
Eh, the movie is just a bunch of talking. And you might be asking, what did I expect from a movie about a political campaign, whether it be the first black woman to ever run or not? But I’ve seen pollical campaign movies be entertaining – The Front Runner. I’ve seen “eat-your-vegetables” movies, about idealistic black figures, be enthralling too; for only last year, I was all a wraps for Colman Domingo as Bayard Rustin, the civil rights motivator for Martin Luther King Jr, in Rustin. For this movie, I could never get past Regina King’s accent and prominent mouth prosthetic, no matter how accurate it might be. Sure, call me tiny-minded! But I like Regina King, I like her in performances like Watchmen, and maybe she’s good in this movie, but I can’t see it. I remember I wasn’t all that enamoured by her turn in If Beale Street Could Talk back in the day, so I’ll concede that maybe she’s a potential blind spot for me anyway. But even through a copious amounts of dialogue, her political message is almost too clean – Shirley Chisholm sounds perfect, through a purity of defiance, and adamance for nuance. I’d vote for her today, if possible. Admittedly, the movie began to get engaging after Wallace (W. Earl Brown) gets shot, and the Black Panther movement get involved, but that’s over an hour in! I found this movie boring, preachy, and hardly unreal in circumstance, given we live in the crazy political times of 2024; even though she was a trailblazer. (I’m seeing this in September, after Trump’s 2nd assassination attempt, and admittedly, this movie mightn’t have aged so poorly if I were watching it on its release, back in March). It’s good to see Lucas Hedges still knocking about – he was the flavour of the month a few years back, but I haven’t seen him in a while. And Lance Reddick, never not a pleasure. I’ve seen so many movies now I assumed were his last. Busy boy. Surprisingly, when they show the real people in the credits, the movie’s done a pretty good job of matching up the actors and their likeness with the supporting characters. 1.5
Smile 2
2024 Reviews – Smile 2 – Today Junior!
The Bikeriders
I’d feel bad giving this the full review treatment, having never seen Easy Rider or The Wild Ones – two movies The Bikeriders pays homage to by name in this telling. The Bikeriders does feel like a movie out of history, which is a compliment to its set design and cinematography, while also wanting to be one of those modern pictures that deconstructs a phenomenon to its essence, like First Man, foregoing a pursuit of pure Hollywood entertainment. Around the middle, one might start to wonder how there’s not really much happening, and how the main three characters drop in and out of the story infrequently. But by the end, I can certainly say, that I like what The Bikeriders is doing – in fact, I think I might even like what the movie is doing, more than what it’s actually doing. I seriously think the Johnny character (Tom Hardy) needed more shading, to make sense of what wants to be a decent guy forced into playing tough until things get out of hand. I have seen similar scenes, that electrify the air more viscerally than the one we get where Kathy (Jodie Comer), concerned about Johnny’s veracity, loudly prepares her drink. But as a wider perception on the history of biker gangs, and how they started, as a club for gentle outsiders, before devolving into crime and debauchery for being too big, I see value 🏅 A shock to the system comes when first hearing Jodie Comer put on such a strong Chicago accent – isn’t this the same woman with a waspy British accent in Free Guy? But as the movie continues on, I really like her, although I could understand if others find her polarizing – none more so than Jared Leto in House of Gucci though, and that man got an Oscar nomination 😮 Speaking of accents, Tom Hardy is doing yet another funny voice, but he’s a pro by now 😤 And this movie isn’t going to do Austin Butler any harm. Oh boy, white pants were a dangerous choice, for Kathy, or anyone else, especially when we first see Benny (Austin Butler) smolder; he could burn a mark right through! I’ve figured out that Butler is just like this generation’s James Dean crossed with the variety of Johnny Depp – protect him at all costs. 3.5
P.S. Norman Reedus’s mouthpiece was distracting 😄 But he packs that biker charm in the few scenes he’s in. And Aussie actors, Damon Herriman as Brucie, and Toby Wallace as The Kid (whom I recognised from Babyteeth), make their presence felt – well done.
The Color Purple
2024 Reviews – The Color Purple – Today Junior!
The Crow
2024 Reviews – The Crow – Today Junior!
The Fall Guy
It makes movie sets too trivial. Not that I’d know, of course, but movies based on the industry exist, like Once Upon a Time in Hollywood, Babylon, or even something like Synecdoche, New York. The Fall Guy wants to make fun with props, and the process, implanting a soft romance and faint action mystery into the fun to produce a movie. The most light-hearted in the audience might have a good time, but I look for something more. Harshly, how am I even supposed to care about a missing person’s murder mystery, when the playful will-they-won’t-they love affair is presented interchangeably, and with equal, or even more, passion? That is to say, I don’t think the two plots mesh succinctly, making The Fall Guy more stitched together that a crochet Frankenstein. I also understand that the movie wants to make a point of actual stunt work, but it’s less impressive to me if the spectacle of the stunts is just for the sake of stunts. And, I dunno, I feel like the point is moot if the stunts aren’t done by Gosling himself, OR filmed in a way to make the stuntperson visible – which are probably ideas too bold for reality, but then John Wick takes the cake for celebrating stunt performers in its world of gun fu. The constant movie references throughout the script are clawing – Next Goal Wins did similar earlier this year, and I suppose it just makes me nostalgic for better movies. What’s most surprising about The Fall Guy is the complete lack of surprises. Red Notice was another by-the-numbers winky genre film, but I remember finding much more bounce and enjoyment in that. Emily Blunt is bringing it – she’s charmingly fun – but every other main performance is well down on their capabilities. Forgettable. Positively, I do get what the movie is trying to do in honouring practical stunts, and I appreciate the sentiment. The Fall Guy isn’t an eyesore because it is action-packed, with a nice soupçon of romance. But I say it all when I write that the “making of” final credits sequence is more entertaining than the actual movie. 2.0
The First Omen
2024 Reviews – The First Omen – Today Junior!
The Garfield Movie
I was planning to rewatch the Bill Murray Garfield movies ahead of this one, but who has the time? Although, I can’t believe I’m going to say this, but Breckin Meyer is my Jon! I don’t know what Nicholas Hoult is doing with the voice work here – impersonating Micheal Cera? It’s way too whiny for the character, for my liking 👎 But don’t worry, because this movie doesn’t even attempt to be a Garfield movie. Instead, it evokes some sort’ve elaborate Mission: Impossible or The Hitman’s Bodyguard situation to get milk – and with a plot like this, these characters could be anyone. There’s really no attempt to replicate the routine or wit that made the comic famous. The movie mostly reminded me of Scoob! – trying to shift the format of the beloved property into a more heightened action adventure. Plus, I remember Scoob! also did the same flashback, in showing how the young animal first met their human companion. From the very beginning, this movie also commits to an overreliance on modern technology in nearly all jokes and visuals, and I know I’m far behind the times, but it immediately dates these events, cements them in stone, and doesn’t make this movie universally acceptable, while the Garfield comic strip has been around since the 1970s. And I’ll level with you guys – I was never excited to see this movie; but I did see it, giving it a chance to surprise me. Yet, The Garfield Movie is as unworthy as it seemed. All in all, I don’t mind the idea of putting these characters in a new type of situation, but the result is an exercise in futility. I’ve mentioned Scoob!, but I really liked Scoob!, so The Garfield Movie is more like that animated ‘Grinch movie from a couple of years back – not terrible, but not a go to if I want anything in the realm of comedy, cartoon action, or family feels. Avoid ⚠ 2.0
P.S. Voices from Ving Rhames, Samuel Jackson, and Chris Pratt are fine. Cecile Strong is thinking she’s in Fargo.
The Holdovers
2024 Reviews – The Holdovers – Today Junior!
The Iron Claw
Well, I was prepared to say this movie is pleasant, enjoyable, about four brothers who have each other’s backs in the non-familiar world of wrestling for me. But the way this story turns tragic beggars belief. I hadn’t heard of the Von Erich family curse, perhaps because I’m not a wrestling fan (and out of all the names in this movie, I’d only ever heard of Rick Flair), but this movie presents an amazing circumstance for all the wrong reasons. For the most part, this is really Fritz’s movie (Holt McCallany), for how his drive for the World Heavyweight Championship belt pushed his sons to be muscle-bound specimens for the industry. Yet Zac Effron is sure good at looking concerned – I like him in dramatic roles, and this performances reminded me most of Charlie St. Cloud, due to its serious nature; a movie I hadn’t thought about in a long time. My favourite scene in this movie is actually when Doris Von Erich (Maura Tierney) doesn’t cook dinner, to signify how the family can stop trying so damn hard. And then, the final scene to follow 👌 The Iron Claw is a story about how a family suffers more tragedy than anyone should handle, so yeah, don’t watch The Iron Claw for easy viewing, date night, or a chill-out session, but it’s well-made, a quality movie well worth your time. 4.0
The Substance
2024 Reviews – The Substance – Today Junior!
The Watchers
2024 Reviews – The Watchers – Today Junior!
The Wild Robot
Why do I feel like I’ve watched a movie and its sequel in one place? Gosh, The Wild Robot is surprisingly tranquil and amazing, up until Brightbill finally finds his place in the sky. Then, I was waiting for this movie to be over, but it keeps going. The movie is also admirably dark, in not shying away from exploring the balance of nature, depicting death and the harsh reality of survival in the wilderness. And then the winter storm is a turning point on that, where circumstances change so the animals now work together – perhaps a necessary alteration to achieve a grand ending, but one I certainly would’ve been more prone to accept if it had come softened by time, and through a cut to a sequel. Not meaning to sound like a broken record, or a robot myself, but this movie had fulfilled its objective, with proxy mother Roz teaching son Brightbill how to eat, swim, and fly – but the movie was only 70 minutes long at the point, and wanted to find another 30 minutes to tack on the end. Optimally, I would’ve hoped for no more than another 20 minutes to pad the story up before that, to where Brightbill flies off with the other geese, and save the winter scenario and the revenge-robots, as the basis for The Wild Robot 2! Because as it is, the movie’s largest emotional swell is the midpoint of the movie – please, tell me I’m wrong! I also worried Fink the fox was too similar to that of Nick from Zootopia at the beginning, but he becomes a wonderfully complex character, surrogate stepfather and best friend to Roz by the end. The movie utilises an animation style that is computer generated, but flattened to appear idyllic like Wish; and in actual fact, I think I remember Puss in Boots: The Last Wish had that storybook texture too, as the previous DreamWorks production to do it first. Initially, I also felt I would connect more to this movie if I were a mother, as this movie goes above and beyond in homing in on the sacrifice, and guestimations, that take place within the process of motherhood. But by the time Brightbill is ready to fly, we all have mothers, and as a son, I still got it choked up inside, grateful for all that mothers can do 😪 A thorough and thoughtful movie, even if I’m still a bit miffed by the movie’s chosen structure. 3.5
The Wonderful World of Henry Sugar and Three More
2024 Reviews – The Wonderful Story of Henry Sugar and Three More – Today Junior!
Trap
2024 Reviews – Trap – Today Junior!
Turtles All the Way Down
I’m concerned Aza (Isabela Merced) has the “cutesy” OCD; sure, cutting your finger to stave off infection is a psychotic chore, but it’s more a character quirk in this movie, rather than what I imagine the more horrific hang-ups of OCD could be. Although, I’m no expert. I’m certain this movie doesn’t name Aza’s condition anyway, and it seems to be there to serve as a catch-all for a many number of social or neurological concerns a young teen might be facing, from anxiety to schizophrenia, and I think that’s smart. Turtles All the Way Down grabs at a mix of Nancy-Drew-style mystery solving, and the type of coming-of-age romance that I like. I really like the friend, played by Cree, who is spunky and supportive while being fleshed out enough to be jagged as a wholesome person. Although, I really only watched this movie for Isabela Merced, and scene to scene, this movie provides a good meaty role for the young star to happily add to her quietly impressive catalogue. As Aza’s condition gets more serious, and the movie becomes introspective, it can be a little sappy, moment to moment, from a certain point of view, but I think that’s a risk you have to take in pursuit of something heartfelt. Yet, Turtles All the Way Down manages to stand out just enough. I haven’t seen all of John Green’s works adapted for screen, but what I like most about this, is how it’s not aged-up to deal in more adult themes than it needs to – it reminded me of a fond relic of yesteryear in that persuasion, like romance in nineties’ Home & Away. It’s also really well made, so credit where credit is due, for director Hannah Marks. 3.5
Twisters
2024 Reviews – Twisters – Today Junior!
Unfrosted
2024 Reviews – Unfrosted – Today Junior!
Venom: The Last Dance
2024 Reviews – Venom: The Last Dance – Today Junior!
Wicked
2024 Reviews – Wicked – Today Junior!
Wicked Little Letters
Jessie Buckley, Olivia Colman, and the promise of laughs – sign me up! But Wicked Little Letters, ey, what a weird one. Firstly, there’s actually quite a few emotionally low moments for a movie that also wants to be tonally upbeat. But this movie certainly works, and with a big help from a tremendous cast that’s dialed in. It’s not the first time Jessie Buckley has played a rambunctious little scamp, but she exceeds. Same goes for Colman – gosh, she’s great at portraying empathetically repressed, as well as comedically conceited too, isn’t she? Timothy Spall is appropriately wicked, and I’ll make a note of Alisha Weir after arriving on the scene as this century’s new Matilda last year too. But I really should name the whole cast, and would be remiss if I didn’t mention Gemma Jones, and the heroes of the day, played by Anjana Vasan, Joanna Scanlan, Eileen Atkins, and Lolly Adefope, respectively. The plot is unique in all, and emboldened by being based on a true story, that I’m glad hasn’t been lost to time. But I will say, it is strange, and always strange, when a movie wants to sing the sins of the past, and of woman’s oppression, while also holding to modern standards of diversity, in settings of the past. I mean, this movie makes a big deal about how absurd it is in 1920s England to have a woman police officer, all while a black lawman has ascended all the way to judge and that’s completely fine. I’m sure the next movie will quite rightly wish to inform me of how racist old English society used to be, but we’re just not dealing with it here, picking and choosing our depictions. This shifting ground for diversity and inclusion, versus authenticity, seems to be a problem facing all of English media right now, following on from Wonka, and what I’ve heard of Doctor Who; and I’m not to say whether what’s good and what’s bad, but just to say it’s a precise highwire act, that involves a trade-off to be reckoned with at each production. It doesn’t particularly make me comfortable, as I’d fall more on the side of authenticity, but then the opposite might make someone else uncomfortable, so it’s just an example of this give-and-take world we want to live in. And I also realised, personally, through this movie, how sometimes I can feel the social justice rhetoric can go too far, but that’s probably nothing compared to the ignorance, and slights, older women might’ve had to sit through in their rigid societies – I have this movie’s church scene in mind when I make that epiphany ✌ So I’ve taken the long way to say, Wicked Little Letters: two thumbs up. Buckley and Colman don’t disappoint. 3.5
Wish
Leave a Reply