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'Venom: Let There Be Carnage' Review October 4, 2021 By: Hunter Friesen Venom: Let There Be Carnage is an insult. It’s an insult to the pieces of paper that were mutilated to make the script. It’s an insult to the film stock. It’s an insult to the millions of dollars that could have served an infinitely better purpose. It’s an insult to activists, as it waves gay pride around with an ultra-corporate attitude. It’s an insult to the talents of Michelle Williams, Naomie Harris, and Robert Richardson. But most importantly, it was an insult to my time, as it took much more from me than merely ninety minutes. The first Venom was bad for its reasons, as it was tonally inconsistent, with Tom Hardy and director Ruben Fleischer having conflicting ideas on what the movie should be. In the end, Fleischer’s darker take overpowered Hardy’s goofiness. Throw in weak characters and plot, and you got yourself one of the worst movies of 2018. Venom: Let There Be Carnage has addressed one of those problems, as it swings the tonal pendulum entirely in the other direction, resulting in self-parody. The sequel picks up where the last film left off, with Eddie and the alien symbiote, Venom, learning to live together within the same body. The two of them seem to be ripped from a Capra screwball comedy, as they’re sparring in slapstick fashion. Marking his return since the post-credit scene in the 2018 original, the deranged serial killer, Cletus Kasady, is about to be put on death row. But before that fateful day arrives, Cletus and Eddie’s paths cross, resulting in the birth of Carnage, the T-1000 to Venom’s T-800. Cletus and Carnage spark their symbiotic relationship, one that seeks the doom of Eddie, and the rescue of Cletus’s longtime flame, Shriek. Replacing Fleischer, who was busy with Zombieland: Double Tap and currently working on Uncharted , is motion-capture wizard, Andy Serkis. It’s a fitting lateral move, considering he’s worked with visionary directors such as Peter Jackson (as Gollum in The Lord of the Rings trilogy) and Matt Reeves (as Caesar in the Planet of the Apes trilogy), two people able to seamlessly blend visual creations within reality. Serkis hasn’t fancied himself much as a director, with Breathe and Mowgli: Legend of the Jungle being so underseen that they may as well not exist. With Venom: Let There Be Carnage , Serkis has landed on strike three, hopefully landing him in director jail. There’s an erratic and jerky quality to the film, one that tries to reflect the inner torment between Eddie and Venom. Locations become interchangeable, and so does logic as character motivations become lost in the struggle. Many of the actors seem lost as well, with Michelle Williams (way too talented to stoop this low for a paycheck) constantly trying to find a reason to exist beyond just being the contractually obligated “love interest that got away.” Things quickly become hard to follow, with Venom acting as Eddie’s inner monologue, butting in at every possible moment with one cringe-inducing line after another. Integral information is doused while the three characters speak at the same time, making the effort needed to keep things straight not worth it. Once Venom and Eddie split up their bromance, you’re relieved as it means a few moments of peace and quiet. There also seems to be an inevitable ugliness to the Venom films, as Matthew Libatique turned in the worst work of his career in 2018, and now the legendary Robert Richardson (a frequent collaborator with Quentin Tarantino, Oliver Stone, and Martin Scorsese) produces his most drab and cheap-looking work. At some point, you have to wonder how many people are involved in this franchise just for the money. Definitely not here for the cash is Tom Hardy, who has deepened his involvement by receiving the first writing credit of his career. Hardy has always delivered 110% for each of his roles, even if it wasn’t in the best interest of the film. With this sequel, Hardy, as well as Harrelson, have dialed things up to a Looney Tunes level of zany. There’s at least some unintentional comedy in their line readings, with a highlight being “I’m a real boy and you’re just an amoeba!” The badness of Venom: Let There Be Carnage made me appreciate other comic-book films even more. Marvel may be getting stale with their formula, but at least it works on a fundamental level. And based on the post-credit scene, we’ll have to see which side of the coin wins out, a battle which I am not looking forward to. Must Read 'Wolfs' Review It’s fun in the present and harnesses the power of movie stars in a time when that magic has steadily faded. SHOP 'The Wild Robot' Review The film will captivate younger viewers and leave older ones reflecting on the delicate balance between the human (and mechanical) and natural worlds. SHOP TIFF24 Dispatch #4 Anora, Megalopolis, Oh, Canada, The Substance SHOP TIFF24 Dispatch #3 April, On Swift Horses, Relay, The Fire Inside SHOP TIFF24 Dispatch #2 Bird, Harbin, The Assessment, The Order SHOP

'Blue Beetle' Review August 18, 2023 By: Hunter Friesen Blue Beetle is the best DCEU film in years. But that’s not much of a statement, as it would take a monumental amount of skill to make something lesser than Black Adam , Shazam: Fury of the Gods , or The Flash . It's like a student got three straight F's on their exams and then got a C-, or Shaquille O’Neal finally making a free throw. The act itself isn’t noteworthy, but the context makes it a landmark moment. There’s also not much fun to be had with Blue Beetle ’s competence, as every story element and character decision is pulled directly from the “How to Make a Superhero Origin Story For Dummies” textbook. Take a shot each time a sentence in the subsequent paragraph reminds you of another superhero film. Jaime Reyes (Xolo Maridueña) is just a kid from Palmera City who’s the pride and joy of his immigrant family. He’s returning home after obtaining his college degree, but family hardships prevent him from unlocking his true destiny. He and his wise-cracking sister (Belissa Escobedo) take jobs as part of a mansion cleaning staff. There he crosses paths with Jenny Kord (Bruna Marquezine), the niece of tech billionaire Victoria Kord (Susan Sarandon). Jenny asks him to hide something called The Scarab, which quickly decides to attach itself to Jaime, making him a world-killing supersoldier (he’s DC’s Iron Man, to put it bluntly). He didn’t choose to have these powers, but he’ll need to learn to put them to good use as people like Victoria want to use them to take over the world. Blue Beetle wears its heart on its sleeve when it comes to the family dynamic within the cast. For the most part, it greatly succeeds in establishing that special bond. Jaime’s uncle Rudy (George Lopez, doing a pretty good job spinning gold out of the lead he’s given) is the “Mexican Doc Brown,” and he always fears that the government is tracking them. But it’s not like the Reyes family would just lie down and take it, as Nana (Adriana Barraza) has a secret revolutionary past, a joke that tries to go on longer than its shelf life. This is a tight-knit group, providing both the most emotional and entertaining moments of the film. Unfortunately, writer Gareth Dunnet-Alcocer put all his skill points in that area. Besides the family, there’s not much of any reason to care about what’s going on. There’s very little introduction or explanation into what The Scarab actually is, why it chose Jaime, and what Victoria’s evil plan is supposed to accomplish. Although I’m sure the answers to these questions would have been just as clichéd as everything else, I still would have appreciated the courtesy of having them addressed. Director Ángel Manuel Soto doesn’t do much to make up for those problems with the action. It’s the usual “overpowered hero takes out tons of goons before fighting the final boss, who has the same powers they have” that we’ve come to expect (again, the comparisons to Iron Man are uncanny). At least Tony Stark felt like a person in a suit, unlike the poorly rendered CGI creation that Maridueña just ADRs over. The Cobra Kai has the charm and looks to be a superhero, but those seem to be his only assets. It’s hard to nail down where Blue Beetle lands in this whole DC shakeup, not only because of the wishy-washy answers from head honcho James Gunn but also because it feels so much like a product of the old regime. If it’s meant to cap off this decade-long run that started with Man of Steel , I guess we could have gone out with something worse. If this is the start of something new, then there’s not much to get excited about. Same shit, different day. Must Read 'Wolfs' Review It’s fun in the present and harnesses the power of movie stars in a time when that magic has steadily faded. SHOP 'The Wild Robot' Review The film will captivate younger viewers and leave older ones reflecting on the delicate balance between the human (and mechanical) and natural worlds. SHOP TIFF24 Dispatch #4 Anora, Megalopolis, Oh, Canada, The Substance SHOP TIFF24 Dispatch #3 April, On Swift Horses, Relay, The Fire Inside SHOP TIFF24 Dispatch #2 Bird, Harbin, The Assessment, The Order SHOP

'Eden' Review September 10, 2024 By: Tyler Banark Eden had its World Premiere at the 2024 Toronto International Film Festival. It is currently seeking US distribution. Ron Howard’s recent track record has been met with absolute inconsistency. It seems as though since his Best Picture-winning film A Beautiful Mind , he hasn’t hit a home run or at least gotten more than a double. He’s known to be a “safe” director, which is the case as many of his movies, especially recent ones, don’t shoot for the moon or offer any new substance. The worriers should be pleased that Eden looks to end this streak, as it’s Howard’s best movie in years, as well as his darkest one ever. It is a gritty thriller that sees a stacked cast consisting of Jude Law, Vanessa Kirby, Sydney Sweeney, Daniel Brühl, and Ana de Armas play a game of survival of the fittest that is sure to be jaw-dropping for all viewers. Set in the late 1920s, Eden follows three groups of Germans who fled their country to the isle of Floreana in the Galápagos Islands. Law and Kirby play a doctor and his handicapped wife looking to find solace on the island as the first to do so in an attempt to escape from society. Sweeney and Brühl are a couple with a young son looking for a new start, while de Armas is an enigmatic socialite looking to build the nicest hotel in the southern hemisphere. The three groups find themselves at odds when looking to establish dominance and power amongst each other. Everything that happens from there is sheer bedlam as each group plays mind games to try and turn certain characters against each other. To say things get dark for a Howard movie would be a gross understatement, but it’s best to leave audiences knowing as little about it as possible beforehand. Right out of the gate, the cast delivers strong performances, from the subtle Kirby and Law to the loud and expressive Brühl and Sweeney. However, de Armas is the MVP of it all, taking on a character far from what we’ve previously seen from her. The Baroness is an evil, manipulative woman whose welcoming demeanor comes off as fittingly reckless and untrustworthy. When we first meet her, she’s being carried off the boat by two servants who are to help her build the hotel. The way de Armas toys with the other island residents and her helpers is devious, and she executes the character’s intentions phenomenally. She’s always been able to adapt to different accents, as she dons an unmistakable German one mixed with other parts of Europe. Sweeney is another contending standout as she gives another fierce performance (similar to her recent horror flick Immaculate ). Howard’s direction and translation of his and Noah Pink’s script are impeccable. Throughout the plot, audiences can never tell whether the characters are playing chess or checkers, with motivations constantly fluctuating. The plot is well-planned and thought out, and the production value fits tremendously. There are some speed bumps in its cinematography and score. DP Mathias Herndl has difficulties shooting this movie, with the coloring giving a grainy color scheme, and the camerawork takes time to find its footing. Hans Zimmer’s score is routine, which unfortunately falls in line with the majority of his work as of late (the Dune films serving as the exception) Of everything Howard has made thus far, Eden is one of his boldest films, not simply because of its haunted qualities. It speaks volumes and provides a resonant tale, as his best works do. Eden is no different by showcasing how ugly humanity can be in the face of fight-or-die situations. The cast he assembled is one of the year’s best, and it will surely be a conversation topic once it’s picked up for distribution and seen by audiences everywhere. You can follow Tyler and hear more of his thoughts on Twitter , Instagram , and Letterboxd . Must Read 'Wolfs' Review It’s fun in the present and harnesses the power of movie stars in a time when that magic has steadily faded. SHOP 'The Wild Robot' Review The film will captivate younger viewers and leave older ones reflecting on the delicate balance between the human (and mechanical) and natural worlds. SHOP TIFF24 Dispatch #4 Anora, Megalopolis, Oh, Canada, The Substance SHOP TIFF24 Dispatch #3 April, On Swift Horses, Relay, The Fire Inside SHOP TIFF24 Dispatch #2 Bird, Harbin, The Assessment, The Order SHOP

'Death on the Nile' Review February 14, 2022 By: Hunter Friesen The cards have been stacked against Kenneth Branagh’s sequel to Murder on the Orient Express for some time now. It had its production and release disrupted several times on account of the ongoing COVID-19 pandemic. It was part of the jumbled merger when Disney acquired Fox, creating a whole new set of business problems behind the scenes. And it was caught up in the scandal that swallowed the career of star Armie Hammer, as well as the anti-vax statements made by Letitia Wright and Russell Brand. And unlike any great mystery that would take those elements and spin it into something beyond your imagination, those ingredients simply turn out to be part of an equation where their sum equals the rotten product that is Death on the Nile . There, I’ve solved the mystery that every critic sets out to conquer: Is a movie worth its cost, in both time, energy, and money? In this case, it most certainly is not. But I can’t let this mystery go away so easily, as it must be dissected and analyzed so we know how and why this movie died in such an ugly fashion. Like the skilled cinematic detective that I am, I’ll go through the autopsy piece by piece. The first reason for the film’s demise lies in its cast, which, both on paper and in the flesh, is a sharp downgrade from its predecessor. Say what you want about Murder on the Orient Express , but you can’t deny the legendary assortment of actors that it assembled in Michelle Pfeiffer, Johnny Depp, Willem Dafoe, Judi Dench, Olivia Colman, Penélope Cruz, Derek Jacobi, Leslie Odom Jr., and Daisy Ridley. They had the perfect combination of movie star wattage and talent. When it came time for Branagh to reload for the sequel, he wasn’t able to scrounge up enough to replace what he had lost. I mean no personal disrespect to these actors, especially the wonderful Annette Bening and Sophie Okonedo, but they pale in comparison to the originals. Any casting director could have told you the writing was on the wall the moment you replaced Michelle Pfeiffer with Gal Gadot. Next on the list of causes of death is the technicals. I’ve been working on a theory that there is an inverse relationship between the number of visual effects that Branagh uses within his films and their overall quality. His earlier Shakespearean work of Henry V and Hamlet (clocking in at a daunting 238 minutes) still stand the test of time in part because of Branagh’s use of lavishly authentic sets and costumes. It’s one of the reasons why his Cinderella is the only Disney live-action remake that deserves attention, and why he’s recently been nominated for Best Director for Belfast . But when Branagh ups his budgets (as he did here, going from $55 to $90 million) and tries to push the envelope, such as he did in Thor and Artemis Fowl , things start to look and feel messy. For not a single second did I believe that Death on the Nile was taking place on the Nile River. The CGI-rendered backgrounds are glossy and wouldn’t fly for 2002, let alone 2022, and rob the film of any sense of wonder and grandiosity. The third and final, and most important, explanation is the central mystery at hand. In both the original Agatha Christie novel and film adaptations, the unraveling of Murder on the Orient Express is top-rate. For someone like me who wasn’t familiar with the plot going into Branagh’s adaptation, the ultimate reveal was shocking and satisfying. The twists and turns within Death on the Nile , on the other hand, are far more on-the-nose. Screenwriter Michael Green and Branagh put a little too much attention on certain lines of dialogue and specific edits, making it all too easy to pinpoint who the killer is and how they did it. I was only one-third of the way through the film by the time I pieced it all together, which made the next hour quite tedious as I waited for the characters to catch up. What fun is a murder-mystery whodunnit if you can easily solve it? The answer is that it’s no fun at all. On nearly every level, Death on the Nile is a serious dropoff in quality compared to its 2017 predecessor, which now looks much better in hindsight. Branagh has expressed interest in continuing the adventures of Hercule Poirot with further sequels, which, at this point, I’m not looking forward to. Must Read 'Wolfs' Review It’s fun in the present and harnesses the power of movie stars in a time when that magic has steadily faded. SHOP 'The Wild Robot' Review The film will captivate younger viewers and leave older ones reflecting on the delicate balance between the human (and mechanical) and natural worlds. SHOP TIFF24 Dispatch #4 Anora, Megalopolis, Oh, Canada, The Substance SHOP TIFF24 Dispatch #3 April, On Swift Horses, Relay, The Fire Inside SHOP TIFF24 Dispatch #2 Bird, Harbin, The Assessment, The Order SHOP

TIFF23 Dispatch - Part 2 September 17, 2023 By: Hunter Friesen All of the films were screened at the 2023 Toronto International Film Festival (TIFF). Click here for additional full reviews and dispatches. Select films below will receive separate full-length reviews at a later date, most likely in connection to their public releases. The Royal Hotel It’s adapt or die for Hanna (Julia Garner) and Liz (Jessica Henwick) as they take jobs as bartenders in the only pub in a remote Australian mining town. The temp agency warned the girls that they needed to be “okay with a little male attention,” which turns out to be quite the understatement as their first night is filled with nasty jokes, unruly stares, and just general douchiness. Choosing adaptation is a death sentence, as there’s no reward for allowing this toxic mob to take control of their mind and body. Director Kitty Green announced her talent with the matter-of-fact The Assistant in 2019 (also starring Garner). This sophomore effort is a leveling up of her prowess behind the camera, lining every scene with a grimy sense of dread. It feels like a thrill ride, except none of the thrills are satisfying. Green greatly elevates her script, written by Green and Oscar Redding, which never packs the depth needed and tends to loop around as it tries to sustain the 90-minute runtime. Garner and Henwick are powerful anchors, “supported” by some convincing creeps. I have no doubt Green will be hitting it big within the next few years. (3/5) The Beast Bertrand Bonello’s The Beast is the pretentious European version of Cloud Atlas , which is a statement that tells you everything you need to know about whether you’ll like it or not. I was all in on this movie, even if its ultimate message and specific story beats are hard to follow. Bonello jumps between 1904, 2014, and 2044, intersplicing the three time periods to tell a story about love conquering time. Léa Seydoux and George MacKay play characters in each period, navigating the unknowable connection they feel for each other. It’s overindulgent and excessive, but Bonello displays a mastery of tone and vision across the 146 minutes. There’s passion, fear, humor, drama, and everything in between. I’d love to see it again sometime down the line. (4/5) Les Indésirables Ladj Ly's sophomore effort is not an answer to a question, but a further examination of it. There's dissatisfaction at the end of the road, both intentionally through Ly's honest depiction of political warfare and unintentionally through the overloaded script that tries to combine too much. Even with this slight slump, Ly's voice continues to grow, and I can't wait for it to click sometime in the future. (3/5) Evil Does Not Exist Drive My Car writer/director and all-around arthouse superstar Ryûsuke Hamaguchi makes his most outspoken work with Evil Does Not Exist . The tranquility of a Japanese village is being threatened by the introduction of a “glamping” (glamorous + camping) site proposed by a talent agency. The site would negatively impact much of the environment around it, with many of the village resident’s livelihoods being forever altered. Despite being clear in his message, Hamaguchi never eviscerates the villains of this story. The extreme slow cinema approach will test the patience of many expecting a return to the leanness of Drive My Car . Those who embrace the molasses will find themselves powerfully transported to one of the few places left that hasn’t been bulldozed by capitalism. Eiko Ishibashi delivers a magnificent score. It angers me that I’ll have to wait several months until it’s available to stream on Spotify. (4/5) Finestkind Writer/director Brian Helgeland told the TIFF audience that he wrote the script for Finestkind thirty years ago, a fact that becomes glaringly obvious the longer the film goes on. The story is stuck in the past in the worst ways possible, soaked with cheesy sentimentality, a laughably underdeveloped female character that Jenna Ortega somehow signed up for (did she owe someone a favor?), and an out-of-nowhere crime plot that undermines all the heart and soul mined in the first half. As per his contract demands these days, Ben Foster goes crazy a few times, and so does Tommy Lee Jones as he realizes he’s appearing in a stinker. It’s a Paramount+ production, meaning it’ll play well to the “guys being dudes” crowd that has been gorging on Taylor Sheridan's diminishing machismo these past few years. (2/5) Must Read 'Wolfs' Review It’s fun in the present and harnesses the power of movie stars in a time when that magic has steadily faded. SHOP 'The Wild Robot' Review The film will captivate younger viewers and leave older ones reflecting on the delicate balance between the human (and mechanical) and natural worlds. SHOP TIFF24 Dispatch #4 Anora, Megalopolis, Oh, Canada, The Substance SHOP TIFF24 Dispatch #3 April, On Swift Horses, Relay, The Fire Inside SHOP TIFF24 Dispatch #2 Bird, Harbin, The Assessment, The Order SHOP

'Marriage Story' Review December 12, 2019 By: Hunter Friesen “Divorce is like death without a body.” With nearly half of all marriages ending in divorce in America, this quote from Noah Baumbach’s new film now rings truer than ever. Debuting on Netflix, Marriage Story centers on the relationship between Charlie and Nicole Barber. Charlie is an emerging New York theatre director and Nicole is a revered actress who's followed him on the stage for the last decade. The good times are over now and the couple is in the process of divorce, with their eight-year-old son, Henry, caught in the middle. The couple first decided to part ways amicably, but over time things got messier with lawyers and a sudden move by Nicole to Los Angeles. Now on opposite coasts, the two sides must bear the immense strain of splitting up while still trying to keep some semblance of their family together. The tenth feature from Baumbach (and second for Netflix), the unfolding of Marriage Story takes several cues from its stage theatre setting. Numerous scenes play out in long, uninterrupted takes as characters move around the space, delivering monologues aimed at the audience just as much as they are at other characters. The blocking of each camera and character movement is superb as it allows scenes to flow with grace and deliver their maximum effect. Accenting Baumbach’s work behind the camera is an orchestral score from legendary musician Randy Newman. The score calls back to Newman’s similar work in Toy Story as the mood swings back and forth from playful to somber. More of a writer first, and director second, Baumbach’s screenplay contains both unparalleled honesty and authenticity. The film opens with Charlie and Nicole saying what they love about each other, only for it to be revealed that it’s all part of an exercise assigned to them by their divorce counselor. This perfect establishing scene and many others work wonders at making us feel for their relationship and connect it to our experiences, both good and bad. Being as this is a semi-autobiographical film for Baumbach about his earlier divorce, you may fear that bias would be present. Luckily, Baumbach isn’t interested in taking sides. He may give Charlie a little more of the benefit of the doubt, but overall he paints a balanced picture where both the features and flaws of each character are on display. And despite the depressing subject matter, the film is still able to be quite funny as comedy gets weaved throughout. This is usual for Baumbach, who uses humor as an addition to the drama rather than a clean break from it. Playing Charlie and Nicole are Adam Driver and Scarlett Johansson, respectively. Each of them is amazing on their own and will deservedly be showered with awards this season. They each have their big individual scenes and one grand one together, but where they each make their money is in the little scenes between the big ones. A small facial movement here or special line delivery there goes a long way in developing who they are and what they stand for. Laura Dern is also great as Nicole’s no-nonsense lawyer, Nora. Dern has made a name for herself as a tough character, and she continues that here with a fierce, commanding performance. Alan Alda and Ray Liotta play Charlie’s two lawyers that have two very different styles that complement each of their acting strengths. Alda is the gentler and more presentable one when compared to Liotta’s more hostile and brash demeanor. Never before has a film been so pleasantly depressing and genuinely funny at the same time. You’ll laugh, you’ll cry, or you’ll do both at the same time. By the time the credits start rolling, you’ll have been on a journey with not just these characters, but also with yourself. Must Read 'Wolfs' Review It’s fun in the present and harnesses the power of movie stars in a time when that magic has steadily faded. SHOP 'The Wild Robot' Review The film will captivate younger viewers and leave older ones reflecting on the delicate balance between the human (and mechanical) and natural worlds. SHOP TIFF24 Dispatch #4 Anora, Megalopolis, Oh, Canada, The Substance SHOP TIFF24 Dispatch #3 April, On Swift Horses, Relay, The Fire Inside SHOP TIFF24 Dispatch #2 Bird, Harbin, The Assessment, The Order SHOP

Decoding the Fall Festival Lineups July 26, 2024 By: Hunter Friesen With both the Toronto International Film Festival (TIFF) and Venice International Film Festival announcing their slates this week, the fall festival rush has officially begun. And with the premiere status designations supplied by TIFF, we’ve got a pretty good idea of the films that will be bowing in the mountains of Telluride right between the two other festivals. The puzzle still isn't fully clear when it comes to the overall Oscar race, but we’re a lot closer to realizing which pieces the studios are prioritizing. Similarly to last year (although that could be chalked up to the dual SAG-WGA strike), it looks like no film will be making the trip to all three festivals. Telluride famously doesn’t reveal their lineup until the day before their festival begins on August 29, but Venice director Alberto Barbera hinted that Pedro Almodóvar’s The Room Next Door and Luca Guadagnino’s Queer will be making their world premieres on the Lido during the back half of the festival, meaning they won’t be eligible for Telluride. Other Venice titles such as Walter Salles’ I’m Still Here , Justin Kurzel’s The Order , and Athina Rachel Tsangari’s Harvest were all announced as North American premieres in TIFF’s Gala/Special Presentation announcement, so Pablo Larraín’s Maria might be the only Oscar-buzzed Venice title to pop up at Telluride. But fear not Telluride attendees, as the mountain-based festival will also have its crop of world premieres as hinted by the TIFF announcement; including Better Man , Conclave , The Friend , The End , The Piano Lesson , and Piece By Piece . Netflix’s total absence from Venice comes as quite a surprise considering their relative dominance over the past decade, but the presence of The Piano Lesson at both Telluride and TIFF shows that they won’t be out of the awards race altogether. They’ll also be reintroducing Emilia Perez after it won the Jury Prize and Best Actress prize (for its ensemble) at this year’s Cannes Film Festival. Other Cannes titles that are confirmed to be playing at both Telluride and Toronto include the Palme d’Or winning Anora , Grand Prize winning All We Imagine as Light , and Andrea Arnold’s Bird . TIFF won’t be announcing its Centerpiece program until August, which usually contains a few more films that had their premieres at the spring and summer festivals (Sundance, Berlin, Cannes). TIFF will also host world premieres for films from several high-profile directors such as Ron Howard ( Eden ), Mike Leigh ( Hard Truths ), and Marielle Heller ( Nightbitch ). Leigh has been overdue for an Oscar for decades now. However, the combination of the rumor that his film was rejected by both Cannes and Venice and the delayed release to mid-January by Bleecker Street does give pause to those aspirations. Ironically, the TIFF title with the highest Oscar potential at the moment is Sing Sing , which debuted at the festival last year and is currently in theaters. Skipping the fall festival trifecta altogether is Steve McQueen’s Blitz , which will be opening the London Film Festival on October 9th, and then closing the New York Film Festival the following day. Both festivals haven’t been the best breeding ground for Oscar success over the years, but the decision to start there makes sense considering the London setting for the film and McQueen’s unwavering loyalty to NYFF throughout his career. It’s a high-risk, high-reward strategy by Apple as they could avoid the usual fall festival glut and have space all to themselves, or come out too late and fail to find space in the race. Searchlight Pictures will likely be in the same position with their Bob Dylan biopic A Complete Unknown . The last-second nature of the announcement for its unspecified December release could be interpreted as a small act of surrender for Nightbitch and A Real Pain, both of which never seemed poised to repeat the same level of success that the distributor is known for. Depending on how the premiere of Nightbitch goes at TIFF, look for them to accelerate a Gala premiere for James Mangold's film at AFI Fest in late October. Must Read 'Wolfs' Review It’s fun in the present and harnesses the power of movie stars in a time when that magic has steadily faded. SHOP 'The Wild Robot' Review The film will captivate younger viewers and leave older ones reflecting on the delicate balance between the human (and mechanical) and natural worlds. SHOP TIFF24 Dispatch #4 Anora, Megalopolis, Oh, Canada, The Substance SHOP TIFF24 Dispatch #3 April, On Swift Horses, Relay, The Fire Inside SHOP TIFF24 Dispatch #2 Bird, Harbin, The Assessment, The Order SHOP

Christopher Nolan Ranked July 14, 2023 By: Hunter Friesen As quite possibly the most famous director working today, Christopher Nolan has repeatedly pushed the boundaries of cinema, captivating audiences with his thought-provoking themes, mind-bending concepts, and stunning visual spectacles. His filmography is a tapestry of iconic movies that have left an indelible mark on popular culture. From the mind-bending puzzles of Memento to the gripping exploration of dreams in Inception and the epic superhero saga of The Dark Knight trilogy, each film offers a unique cinematic experience. Whether you are a long-time fan or a newcomer to his works, this ranking will provide a comprehensive exploration of Nolan's filmography, celebrating his unparalleled creativity and his lasting impact on the world of cinema. 11. Following Whether you're Martin Scorsese, Damien Chazelle, Barry Jenkins, or Christopher Nolan, everyone starts their career with a small black-and-white movie they crafted with the tools available to them: sweat and determination. Like most Nolan movies, this can be overcomplicated just for the sake of it. But there are some impressive things going on, especially when you consider how Nolan was able to continue his ambitions within the studio system. 10. Batman Begins On paper, this is just another well-known origin story that we’ve seen before. Nolan doesn’t totally transcend that pitfall, but he skillfully elevates the comic book genre into the real world. He immerses the audience in the griminess of Gotham City, a place that can only be saved by a man willing to meet the criminals on their terms. It remains an important stepping stone that would be used to fulfill the much grander scope of its sequels. 9. Insomnia Truth and guilt come crashing together in Nolan’s first foray into studio filmmaking. While it’s the only film that he didn’t have a hand in writing (at least officially), Nolan still is able to instill psychological depth into the material through his atmospheric cinematography and heightened editing. Al Pacino applies his mid-2000s sleepiness to a role that suits it, and Robin Williams skillfully transforms into a role against type. 8. Tenet Tenet is a full-on assault of the senses that contains unparalleled moments of spectacle and ambition. It surely takes multiple rewatches to comprehend, with the lack of interesting characters and convoluted stakes making that a bit of a tall order. But if you are brave enough to take on that mission, make sure to pack some ibuprofen and prepare to have your mind twisted in ways you never thought possible. Full Review 7. Interstellar Nolan has always claimed 2001: A Space Odyssey to be his favorite movie, and 2014’s Interstellar seems to be the clearest illustration of its influence. The accuracy and scientific detail are unparalleled compared to most blockbusters, with visually stunning sequences that demand the biggest screen possible. Its ambitious narrative can be a bit of a challenge to follow, but the emotional payoff (not something Nolan is known for), makes the difficulty all the more worth it. 6. The Dark Knight Rises Each entry in Nolan’s Batman trilogy is bigger than the last, with this finale seeing The Dark Knight going out on the epic stage he deserves. Batman is at his most vulnerable here as he battles a broken body and spirit at the hands of Tom Hardy’s Bane. No sequel would have been able to match the heights of 2008’s The Dark Knight , but this one has its moments and still flies high above most of the entries within the superhero genre. 5. Memento Serving as the beginning of his trademarked enthralling bewilderment, Memento captivates with its unique narrative structure, thought-provoking themes, and exceptional performance by Guy Pearce. You piece together the past and present with Leonard, never sure what’s reality and what’s all in your head. The stripped-down scale (at least compared to other Nolan mind-benders) makes it all the more impressive and makes it easy to see why studios were falling head over heels to hire him for their blockbusters. 4. Inception Inception is Nolan’s magnum opus in terms of visual ingenuity, made clear by the film winning the Oscars for both Best Cinematography and Best Visual Effects. The seamless shifting between the dream levels creates a sense of unease and uncertainty that complements the film's psychological undertones. Hans Zimmer delivers probably his most signature score to date, with Leonardo DiCaprio in peak movie star form as our guide through this maze of the mind. 3. Dunkirk Dunkirk is an immersive, visceral experience that conveys the horrors of war without relying on excessive violence and gore (or even showing the enemy). Instead, it focuses on the psychological toll of the events, capturing the fear, desperation, and camaraderie among the soldiers as they face impossible odds. Hans Zimmer's haunting and relentless score serves as an additional character within this large ensemble, intensifying the sense of urgency and heightening the emotional impact of each ticking moment. 2. The Prestige Cinema is a form of magic by itself, and Nolan is one of its greatest magicians. The Prestige is probably his most rewatchable movie, not just because of the theatrical twists and turns, but because it's such a well-put-together production that keeps you on your toes as Hugh Jackman and Christian Bale’s obsessive war of one-upmanship progressively gets more dangerous as it goes along. 1. The Dark Knight Being able to deliver top-notch entertainment while still touching on interesting ideas is what separates the legends from the lepers during the busy summer movie season. Nolan’s masterful direction has the movie fly at a breakneck pace while still savoring all the details. No further words need to be said to honor Heath Ledger’s towering performance, with Aaron Eckhart’s portrayal of Harvey Dent being a standout second-fiddle. There’s been nothing like it since, and likely won’t for a very long time. Must Read 'Wolfs' Review It’s fun in the present and harnesses the power of movie stars in a time when that magic has steadily faded. SHOP 'The Wild Robot' Review The film will captivate younger viewers and leave older ones reflecting on the delicate balance between the human (and mechanical) and natural worlds. SHOP TIFF24 Dispatch #4 Anora, Megalopolis, Oh, Canada, The Substance SHOP TIFF24 Dispatch #3 April, On Swift Horses, Relay, The Fire Inside SHOP TIFF24 Dispatch #2 Bird, Harbin, The Assessment, The Order SHOP

'Titane' Review July 15, 2021 By: Hunter Friesen Titane premiered at the 2021 Cannes Film Festival. Neon will release the film at a later date. Containing some of the most disgusting and in-your-face grisliness that has ever graced the silver screen, Julia Ducournau’s Titane holds you like a vice grip from minute one, refusing to let you go no matter how much you squirm. The experience of watching the film can borderline on torture, as violent punishment is enacted in ways that can only be seen to believe. The screening of the film at the Cannes Film Festival resulted in several walkouts within the first fifteen minutes, of which I do not blame certain viewers who are squeamish. Those that can stomach the film will be rewarded with an exhilarating story about acceptance and companionship told by one of the most original emerging filmmakers. A newcomer to the film scene, the French auteur (a status she has achieved in my books) Julia Ducournau is the complete opposite of the stereotype of the woman director. She made her debut feature in 2016 with Raw , a story about womanhood and repression that just so happened to contain the element of cannibalism. Like David Lynch and David Cronenberg, Ducournau confidently confounded her audiences with her bold take on a story as old as cinema itself. Titane is proof that Raw was not a stroke of beginner’s luck and that she is the real deal. Translated from the French word for titanium, Titane follows the life of Alexia, who immediately causes a severe car crash within her first few minutes on screen. This leaves the girl with a metal plate implanted within her head (which is gruesomely illustrated) and a twisted attraction to the vehicle involved in the accident. Like the characters within Cronenberg’s Crash , Alexia can’t seem to help herself from being allured by vehicular and sexual violence. After physically recovering from her injuries over the years, Alexia (now played by the self-assured newcomer Agathe Rousselle) now works as an exotic dancer at a car show (very fitting). Through a nearly seven-minute long take, Ducournau traverses the show filled with neon lighting and an electric score. Cinematographer Ruben Impens, reteaming with Ducournau after Raw , shoots the film in harshly contrasting light, often blinding the viewer with lens flares. From this car show, Alexia quickly succumbs to her violent tendencies, forcing her to go on the run, but not without horrifically mangling her face so it would be harder to identify her. This brings her in contact with the local fire chief (a steroid-infused Vincent Lindon), who later turns out to be just as demented as she is, making them a match made in hell. Throughout several instances within Titane , audiences have to give themselves over to Ducournau’s vision and accept the logical fallacies, which nitpickers could have a field day with. To be fair, a literal Cadillac becomes sexually involved with a human in the first fifteen minutes, so the laws of reality (and anatomy) were thrown out the window from the get-go. Like Raw , Ducournau is able to relay a positive message that sticks with you just as much as the gore. Through their interactions, Alexia and the chief find a common emotional ground that brings them together through both lies and deceit. However, a problem that occasionally appears is what exactly Ducournau wants you to feel as too many elements come crashing together at odd times. The film wants you to focus on several different storylines at the same time, some of which don't amount to much and could be classified as red herrings. Still, once you cut through the clutter, there’s enough treasure to reward your patience. Titane requires a lot from the viewer, such as mental fortitude and an iron gut. It’s an uncompromising vision that bites off more than it can chew from time to time but still sticks the landing due to the duo performances from Rousselle and Lindon, and the boldness by Ducournau to go where no one would dare. Just make sure to watch it on an empty stomach. Must Read 'Wolfs' Review It’s fun in the present and harnesses the power of movie stars in a time when that magic has steadily faded. SHOP 'The Wild Robot' Review The film will captivate younger viewers and leave older ones reflecting on the delicate balance between the human (and mechanical) and natural worlds. SHOP TIFF24 Dispatch #4 Anora, Megalopolis, Oh, Canada, The Substance SHOP TIFF24 Dispatch #3 April, On Swift Horses, Relay, The Fire Inside SHOP TIFF24 Dispatch #2 Bird, Harbin, The Assessment, The Order SHOP

'The Predator' Review September 20, 2018 By: Hunter Friesen The original Predator from 1987 was a film full of mindless action done in a smart way. Every other sequel, spin-off, and reboot following has just been mindless action done really dumb. The Predator , the new quasi-reboot/sequel, is no exception to that trend. The Predator tries to be a lot of things at once: an ultra-gory action thriller, a witty character comedy, and a relationship drama between family and friends. Instead, it’s none of these things as each piece is weighed down by the other until the whole thing falls apart into one lazy mess. The Predator comes as the first failure by director Shane Black, who previously did well with Iron Man 3 and The Nice Guys . Black’s trademark use of witty banter doesn’t go over well here as it has in his previous films. Most of the jokes are shoehorned in for the sake of having them and are delivered with little effort. They also seem really out of place. Dramatic scenes have jokes in them for no reason and scenes that are supposed to be comedic end up being dry. Also, the whole tone of the film just feels off. It never settles and constantly keeps seesawing between hard action and silly over-the-top fun, which jarringly contrast each other. When the film is hard action, it’s ordinary gory action that’s been done better by others. Specifically, the whole third act of the film feels like a generic shoot ‘em up. It’s a huge disappointment considering that the film had been building up to this moment throughout the first two acts. Along with Fred Dekker, Shane Black also serves as a writer. Similar to his directing, Black’s writing is lackluster and a letdown when compared to his previous work. The overall plot comes off as lazy. There really isn’t a big picture for the film and how it connects to the rest of the franchise. We do get some connectors and facts, but mainly they’re just cast aside in favor of more action set pieces. Another misstep is the introduction of the main character’s son, Rory, who acts as a link between the aliens and humans. Just like every other kid in an action movie, Rory’s only purpose is to artificially raise the stakes and force us to care for him just because he’s a kid. The biggest gripe against the writers is how they take the Suicide Squad approach towards the characters. We go around introducing each character and learn one trait about them. Then the characters only act on that one trait the whole movie, which quickly gets tiresome. Half of them don’t even serve a point until they die at the end in a desperate attempt to make us care for them. Stemming from the bad writing is some equally bad acting from the main cast. Boyd Holbrook plays our lead character, Quinn McKenna, an elite stealth sniper. Holbrook is very boring in the role and plays the same “conflicted army character with a heart of gold” that we’ve seen over and over. Just like Holbrook, Olivia Munn plays her character, Dr. Casey Bracket, like every other action movie scientist. She gives some science mumbo jumbo every few minutes and doesn’t do much else. Sterling K. Brown lacks his usual confidence here. He always looks unsure of himself as he doesn't know how to play his character. He wants to be a multi-layered villain but ends up being a cartoon. One slight nod can be given to Keegan-Michael Key. His manic energy allows for some of the jokes to not totally fail. Everybody’s heard the saying, “Shoot for the moon. Even if you miss, you'll land among the stars.” Most films embody this statement, shooting too high and coming out average. The Predator , on the other hand, does the exact opposite of this statement. It seems like the filmmakers didn't care enough to shoot for the moon. They shot for average at best and missed badly, leaving us with a film that feels like an empty shell of what it could have been. Must Read 'Wolfs' Review It’s fun in the present and harnesses the power of movie stars in a time when that magic has steadily faded. SHOP 'The Wild Robot' Review The film will captivate younger viewers and leave older ones reflecting on the delicate balance between the human (and mechanical) and natural worlds. SHOP TIFF24 Dispatch #4 Anora, Megalopolis, Oh, Canada, The Substance SHOP TIFF24 Dispatch #3 April, On Swift Horses, Relay, The Fire Inside SHOP TIFF24 Dispatch #2 Bird, Harbin, The Assessment, The Order SHOP

'Showing Up' Review July 17, 2021 By: Hunter Friesen Showing Up premiered at the 2021 Cannes Film Festival. A24 will release the film at a later date. As Woody Allen once said: “80% of success is just showing up.” But for the character of Lizzy (Michelle Williams) in Kelly Reichardt’s Showing Up , which premiered in competition recently at this year’s Cannes Film Festival, showing up doesn’t seem to be leading to much. She has a sort-of career at a small arts college in Portland, complete with her mother as her boss and Andre 3000 as the flirty pottery expert. Her cat owns her personal life with around-the-clock needs for attention, and her neighbor/landlord, Jo (Hong Chau), still hasn’t fixed her water heater after two weeks of constant requests. Is Woody Allen wrong, or is this all her life is cracked up to be? Either way, it’s not a comforting thought. Reichardt’s work has been infrequent, yet always well-reviewed. 2008’s Wendy and Lucy marked the first of many collaborations between the director and Williams, followed by Meek’s Cutoff and Certain Women . But even with those great reviews, Reichardt’s films have never lit the box office on fire. First Cow , seemingly an epic in comparison to her other work, was prevented from having a chance due to its unlucky release during the origin of the COVID-19 pandemic. Maybe as an act of self-commentary, all of that can also be said of Lizzy in Showing Up . Sculpting intimate creations, Lizzy’s work has always been appreciated but never put on the same pedestal as her contemporaries, such as Jo and her unwieldy creations. Lizzy is struggling to meet the deadline for her new exhibit, and questions whether she should even attempt to show up. In its low-key nature, Showing Up can be a comforting ode to small artists persevering to put their creations into the world. Just as Reichardt often sleeps on people’s couches and teaches at Bard College (all of which was revealed by Michelle Williams), Lizzy has to put up with no hot water and a never-ending litany of problems to finish her work. And taking the connecting through-line of the bond between humans and animals from First Cow , Reichardt finds a way for Lizzy’s life to be upended, and ultimately transformed, by a pigeon that injures itself by crashing into her window. Both sides of the debate will correctly say that not much happens in Showing Up . But for those that are familiar with Reichardt's work, is that much of a surprise? Plot has never been on the priority list. Ditto to pacing, as Reichardt, serving as her editor as always, lets the credits roll in extended fashion across the first several minutes, and makes time for Williams to meticulously craft the arms to one of her sculptures in an unbroken take. With that slow pacing, Reichardt has often been able to mine deep and expose the hidden feelings that faster-paced works can’t. Not many could carefully tell the uplifting and heartbreaking friendship within First Cow . Showing Up tries to find a similar vein but doesn’t deliver the same refined fulfilling message about the way unforeseen people and circumstances shape our lives. Unlike Lizzy’s clay creations that start as wet messes and end up as fully formed creations, Reichardt’s work stops just short of the kiln and ends up feeling more like a shallow puddle of good ideas. Showing Up won’t win Reichardt any new fans, but it could potentially offer another helping of what her supporters love so much. For them, Reichart has supplied the goods, now it’s time for them to show up. Must Read 'Wolfs' Review It’s fun in the present and harnesses the power of movie stars in a time when that magic has steadily faded. SHOP 'The Wild Robot' Review The film will captivate younger viewers and leave older ones reflecting on the delicate balance between the human (and mechanical) and natural worlds. SHOP TIFF24 Dispatch #4 Anora, Megalopolis, Oh, Canada, The Substance SHOP TIFF24 Dispatch #3 April, On Swift Horses, Relay, The Fire Inside SHOP TIFF24 Dispatch #2 Bird, Harbin, The Assessment, The Order SHOP

'Civil War' Review April 10, 2024 By: Hunter Friesen Alex Garland’s Civil War is the cinematic equivalent of clickbait. A generic montage of violence is interspersed within an equally generic speech by the president (Nick Offerman) about how the Western Forces of California and Texas have suffered great defeats at the hands of the United States Armed Forces, and that the Florida Alliance is on its last legs. America is now in the final stages of democracy, where the people have risen and the Second Amendment is the ultimate law of the land. From that very opening moment, Civil War begs you to ask questions that it not only can’t - but refuses - to answer. Why have California and Texas seceded from the union and joined forces to overthrow the government? What are they fighting for? And why is Florida on its own side? I suppose Garland’s vagueness about the whole thing is meant to allow you to apply your doom-scrolling mentality to the situation. He’s banking on our collective post-2016 consciousness’ to fill in the details, almost as if each person gets their own individual puzzle. It’s cowardly and lazy, becoming one of the great modern magic tricks as this “intellectual blockbuster” carries less of a brain than the giant ape vs. giant lizard showcase we just got in Godzilla x Kong: The New Empire . I could put my tinfoil hat on and theorize that Garland and A24 sanded down the rough edges of the story to make it appeal to a broader audience. After all, this is A24's biggest production by a large margin, with its reported $50 million budget more than doubling the previous record holder of Everything Everywhere All at Once . The cost of working on a bigger scale is more than just literal dollars, it also requires a willingness to circumvent controversy. Of course, there’s the glass-half-full approach that none of the other large studios and streamers (Warner Bros., Paramount, Netflix, etc.) wanted to touch this property with a ten-foot pole, so I should be thankful that there’s still someone like A24 that’s willing to pony up the cash to make something that’s not been market tested to the nth degree. But even though that’s all good and true, should I blindly bow down to something just because it’s not like everybody else? Am I asking for Garland to blatantly come out and say that this civil war is about Republicans vs. Democrats, or incorporate some sort of attack on the far-right or far-left? I wouldn’t have minded what Garland had said, just as long as he said something. ANYTHING! It all holds the same weight as your coworker telling you that “our country is really divided right now” and then never elaborating on that opinion. That rotten meat makes it hard to appreciate all the other fine ingredients in this all-American hamburger. In her first role post-Oscar nomination from The Power of the Dog , Kirsten Dunst gives a towering performance as a jaded war photographer named Lee. A not-so-subtle comparison is made between her and a famous real-life photojournalist Lee Miller (recently played by Kate Winslet in the ho-hum biopic Lee ) by Jessie (Cailee Spaeny, continuing to rise up the ranks of the best younger performers working today), a up-and-coming journalist who’s desperate to be on the frontlines. Sensing that the end is near, Lee and Joel (Wagner Moura) are on their way to the White House to try and get an interview with the president, now serving an unelected third term in office. Their journey takes them down a road from hell, littered with the sight of dead bodies and the sound of bullets and bombs. Garland and his production crew permeate this route with as much tension as possible, with gunfire becoming bone-rattling and trigger-happy soldiers positioned at every corner. IMAX is not the format normally associated with A24 films, and Garland takes full advantage of what he’s been given. It’s a great shame that almost all of these incredibly nerve-wracking action set pieces are undercut by groan-worthy offbeat needle drops. While he doesn’t have ideas about the macroeconomics of this war, Garland does deliver themes on those that document it. Even in a digital world with everything available everywhere, a simple image still contains more power than a thousand words. Garland cuts the action to the photographs being taken by our central characters, giving a glimpse into how chaos can be processed for history. “We record so other people can ask the questions” is the mantra that Lee takes. That’s been enough of a mental excuse for her in foreign lands, but how can you block out something happening in your own backyard? It’s the same question Garland poses to his audience when the Lincoln Memorial and Washington Monument are being destroyed. We’ve become numb to seeing nondescript Middle Eastern cities being leveled, and now the weapons are pointed back at us. But even though that imagery is admittedly startling and something we haven’t seen before with this intention, it all comes back to the emptiness of the message. It’s all sound and fury, signifying nothing. Must Read 'Wolfs' Review It’s fun in the present and harnesses the power of movie stars in a time when that magic has steadily faded. SHOP 'The Wild Robot' Review The film will captivate younger viewers and leave older ones reflecting on the delicate balance between the human (and mechanical) and natural worlds. SHOP TIFF24 Dispatch #4 Anora, Megalopolis, Oh, Canada, The Substance SHOP TIFF24 Dispatch #3 April, On Swift Horses, Relay, The Fire Inside SHOP TIFF24 Dispatch #2 Bird, Harbin, The Assessment, The Order SHOP