The Banshees of Inisherin Review

The Banshees of Inisherin is a wonderful, dark comedy, drama film that follows two Irishmen as their friendship unravels. This film reunites stars Colin Farrell and Brendan Gleeson with director Martin McDonagh, who first worked together on the cult-classic film, In Bruges. This slow burn of a movie feels like it easily could have been adapted from the stage as fantastic actors combine with a great script to deliver a remarkable piece of cinema.

Colin Farrell and Brendan Gleeson star as two best friends Pádraic and Colm, who live normal, boring lives on the fictional island of Inisherin set off the coast of the real island of Ireland. The movie begins as Colm decides to end his friendship with Pádraic for unknown reasons and what follows are the ramifications of that decision. Pádraic lives on the island with his sister Siobhan played by Kerry Condon and interacts with the village idiot, Dominic, played by Barry Keoghan. I will discuss the greatness of this script more, but I will first give credit to these four actors who just bring something truly incredible to the screen and this world feels real and lived in largely because of the performances. Farrell is able to convey so much heart and honesty as Pádraic and Gleeson is fantastic as the older, wiser, and more distant Colm. Kerry Condon’s performance is elegantly dedicated to her role as the lonely, reasonable woman, and Keoghan seems to act with every muscle in his body as the dimwitted, lovable Dominic. Thanks to these actors, it was only when the credits rolled that I remembered I was watching a movie at all. 

Martin McDonagh once again proves that he makes great movies as he sits in the director’s chair for The Banshees of Inisherin. The setting of this movie is perfectly chosen, and the technical aspects are simple but beautiful. Shots of beautiful pastoral landscapes and sea-battered cliffs further accentuate the reality of this community and the separation from the mainland. McDonagh frames it all with a cool colour palette of blues and greens blanketed in mist. McDonagh also has the main writing credit for The Banshees which is really the mosaic of a foundation that everything else stands upon. The premise of the story is simple and ultimately relatable, but the journey can be quite unexpected. The dynamics between characters are active and true, providing touchstones and viewpoints into motivations and overall themes. There is humor here, and some great wit to these Irish folk that lend to this movie being quite funny. It is comparable to reading a great novel. I think about the feeling after reading works like Moby Dick by Herman Melville or The Sportswriter by Richard Ford. These classic novels may not be the most exciting examples of the written word, but they are great examples of well-crafted and well written stories. It actually is also comparable to a Shakespearean play, but perhaps slightly less grand. It’s not a feeling I could pin down immediately after the credits rolled, but something that grew on me over time. 

The Banshees of Inisherin is a slow-paced character study, and it’s not a movie for everyone. There is no feeling of elitism to this movie that makes me think that, but I can see the nature of the story not being the most enjoyable for everybody. Also, not everybody likes or enjoys reading. Themes about the strength of friendship and love circle around ideas about ambition and legacy, set to the backdrop of the Irish Civil War. The island of Inisherin is removed from the fighting but occasional reverberations reach this community adding subtle layers to everything else. 

All-in-all Martin McDonagh and the team have crafted an excellent film that feels unique. There were some aspects that still fell flat, and the pacing and accessibility will just barely keep it from my perfect score, but I can see this movie being a highlight of awards season. I feel fairly certain that upon rewatching, I will regret not giving The Banshees of Inisherin a 5/5, but upon first watch I don’t think, as a whole, it’s exactly perfect (but it is very, very good). This is a high recommendation for anybody that enjoys watching theatre productions, reading Shakespeare, or studying literature. I would still give this as a recommendation for anyone that even thinks they might enjoy this funny, tragic, character driven, great film.

4.5/5

Black Adam Review

Black Adam is an action-packed attempt at a spectacle blockbuster from Warner Brothers and DC in an attempt to revitalize their Justice League franchise. Starring Dwayne “The Rock” Johnson in the titular role adapted from the DC comics villain, Black Adam unfortunately squashes decent performances and an interesting premise with its terrible writing. 

The story of Black Adam follows the character of Teth-Adam, a slave in the fictional, ancient empire of Khandaq, who is granted powers to free his people. Flashbacks throughout the movie tells this more interesting story, while in the present day Teth-Adam is reawakened after 5000 years by treasure hunters. Fearing what he could do, a group of modern-day superheroes dubbed the Justice Society enter Khandaq with the goal to put him away. This is a story with some decent potential that is ultimately failed by an uncommitted and poorly written script. A lot of the dialogue feels like it was crafted by a group of seventh graders. The movie glances at big themes like “American” superheroes becoming involved in foreign countries, the question of rulership and who is worthy, and mostly the idea of an anti-hero. This movie felt advertised largely based on this concept of the anti-hero, someone who uses violent means to achieve an ultimately good goal, but in the end none of these ideas are treated with any seriousness. It is made even more disappointing because I didn’t come up with these themes by an in-depth analysis, they’re presented to the audience and then just left hanging. I kept expecting the movie to come back to them, and there were times where it felt like something interesting could happen in the script, but it would consistently dissolve into a cheesy one-line or a bombastic action scene.  Writing credit goes primarily to Adam Sztykiel, but it’s clear to see that whatever studio that was in charge edited out anything with substance to present the most banal script they could.

It’s a shame that the script falls so flat because the performances from the superpowered characters were mostly engaging. Dwayne Johnson plays a little bit against type in a much more reserved role than we normally see him in. In a Terminator 2-esque role he performs with a mostly appropriate air of seriousness, Johnson actually delivers a unique and grounded performance. Sure, he does find the moments to show off his own Dwanye Johnson type of acting, but despite those few times where it cracks, Johnson is very good. The part of me expecting “The Rock” was pleasantly surprised by what it got to see. The Justice Society is made up of Aldis Hodge as Hawkman, Pierce Brosnan as Dr. Fate, Quintessa Swindell as Cyclone and Noah Centineo as Atom Smasher. Hodge and Brosnan are quite good in their roles, considering what they’re working with, and Hodge especially plays a good-guy foil to Johnson’s Adam. Its a difficult role but done well. Brosnan is a perfect casting for this version of Dr. Strang- I mean Dr. Fate- and it is very pleasant to watch him play this adaptation of the character. If I continue my comparison to Terminator 2, where Johnson is the Terminator, then Sarah Shahi and Mohammed Amer play as this movie’s Sarah and John Conner, and the script does not give them any help at all. 

Enough of that boring stuff, Black Adam is a comic-book superhero movie starring Dwayne “The Rock” Johnson, so how about the action and directing? It’s mostly pretty okay. Sure, it is difficult to create action scenes around an all-powerful character with god-like powers in a way that is interesting, but the way they are structured is often inconsistent. Visually they are impressive enough, using CGI and VFX to showcase interesting powers and exciting lights, but it’s not enough to make it a better movie. The action scenes were engaging enough to keep me in it, but often have been done better in other films in this superhero genre. While I don’t need every fight scene to be something revolutionary, the fun sequences in Black Adam did not deliver what was needed to make this movie better than what it is.

In short, Black Adam is a fine, entertaining enough film that is unfortunately held back by a terrible script. It does just enough for me to give it a low recommendation, but I wish it could have pushed further on the few moments of interesting storytelling to deliver something greater. The acting and action just barely lift it over the bar.

2/5

P.S. Shazam is my favourite comic book character so I would have added an extra half-point if Black Adam had the comic accurate point ears or adversary.

Athena Review

Athena, available on Netflix, is a French film that delivers a new meaning of urban warfare. This foreign-language film is directed by Romain Gavras and follows a trio of French-Algerian brothers dealing the murder of their youngest brother by police. The entire titular neighbourhood, Athena, becomes a battleground as one brother, Karim, declares war against the police until the murderers are identified. Athena is filled with some incredible one-take action sequences and performances despite unfortunately faltering in delivering the implied message. 

The three brothers represent immigrant roles that can be translated into any country but feel especially fitting this setting. Ouassini Embarek gets the least screen time as the eldest brother, Moktar, a drug dealer trying to get out of Athena before the police lock down the neighbourhood. Sami Slimane plays Karim as a passionate revolutionary who gathers like-minded youths and turns his block into a fortress. Karim was the closest to the murdered Idir and is devoutly committed to his cause despite the damage around him.  Dali Benssalah is Abdel, a veteran of the French Army stuck who is uniquely situated to quell the embroiling conflict between the police and his community. Benssalah’s performance as Abdel is nuanced and powerful. Later on in the film, his character makes some choices that a lesser actor simply could not sell with the honesty and realism that Benssalah provides, even across the language barrier. I would already put him in the conversation for an Academy Award nomination. Altogether the three brothers sell a heart-wrenching family dynamic that serves as the glue to anchor this film amid the action. 

The director Romain Gavras and cinematographer Matias Boucard deliver an incredible action film composed of many one-take long shots including a 10-minute opening sequence that is a thrilling masterpiece. Nothing else quite lives up to the promise of the opening, but the camerawork in these single take moments ratchets up the tension as chaos is choreographed into every part of these continuous shots. The viewer watches from right in the middle of the action one moment and finds themselves pulling out into a wider view the next before whipping around a corner back into it again. It is engrossing and chaotic in the best ways. It helps to convey the desperation on both sides as the kids and the cops realize that perhaps there are no winners in this fight. Despite that, the tension is occasionally broken with important little moments of quiet that are sprinkled in to allow the viewer to catch their breath. 

Athena does something pretty interesting by not giving the viewer any truly ‘bad’ characters. Except perhaps, for the mysterious terrorist Sebastien, but even then, there are arguments one could make. I’m still conflicted on how I feel about this aspect. On one hand it provides a realistic nuance to all of the characters as they exist in this gray zone between right and wrong. On the other hand, any thematic punch the movie might have wished to carry is dulled by this and the ending feels too casual given the previous ninety minutes and the seriousness of police brutality. With that said, Athena is not an intriguing political thriller but a stylized action film that feels insightful in the moment buy actually has very little to say about any deeper themes. 

The spectacle of the action and cinematography as well as remarkable performances carries Athena across the finish line to serve as an electrifying film to watch. There is little else to think about at the moment, as the viewer is pulled through this story hoping that the inevitable conclusion is somehow resolved for everyone. There is definitely a lot to enjoy about Athena and wit hits the target more than enough time for me to recommend it.

4/5

See How They Run Review

See How They Run is another excellent entry into the recent trend of movie murder mysteies. Starring Saoirse Ronan and Sam Rockwell as the two central investigative figures who seek to pinpoint the murders taking place in a popular London theatre. This movie is directed by Tom George and was such a fun and enjoyable experience and one I would absolutely recommend. 

The premise of the movie starts simply. A popular showing of an on-stage adaptation of an Agathie Christie novel “The Mousetrap” is in discussion to be re-adapted in a movie when someone is killed during their 100th performance. In short, we are watching a movie about a murder mystery during a play about a murder mystery based on a book about a murder mystery based on a real life murder. It is in this meta-depiction that much of the movie’s cleverness lies. The parallels between the mystery we are watching and the mystery the characters are performing provide a compelling throughline as we go along. Much of the humor also comes from these meta-references and winks and nods to both audiences. Director Tom George keeps things aligned in a style that seems to take a lot of inspiration from Wes Anderson while never crossing the line to direct copycat. The script, written by Mark Chappell, is full of dry British humor which hits more than it misses and wraps everything up in a circuitous and satisfying ending. Like the great ‘whodunnits’ it was only after the big reveal did I look back and kick myself for missing the signs. 

Like many murder mysteries the list of suspects are an interesting crowd. It includes people involved in the play and those who wish to take it to the big screen. Many of these fall into stereotypical roles with little to no development. The stereotypes of the whodunnit are cleverly used to continue the mirroring of the two stories but are ultimately pushed to the side in favour of the mystery and the two lead investigators. Saoirse Ronan and Sam Rockwell also fall into the classic stereotypes of eager young constable and world-weary older detective. However, what initially comes off as an almost Anderson-esque caricature for these two continues to grow into fully-fledged and well-developed characters that set up and deal with some surprisingly heavy concepts around loss and relationships. Ronan especially keeps things engaging and her character Inspector Stalker, who admits to loving murder mystery films, acts as a parallel for the audience and might serve as a lesson in jumping to conclusions. The rest of the cast is mostly there for the ride, although nobody gives a bad performance, and if I had to pick another standout it would be Adrien Brody as the potential director of the film adaptation Leo Kopernick. 

I would like to clear up one last thing which is that I expect that others will not like this movie as much as I did. I think everyone can find a lot to like here, but there were just certain boxes that were all checked for me in the style, the humor, and the metatextual references that won’t be there for everyone else. That being said, See How They Run is worth going to see for an enjoyable night at the movies. While not as revolutionary to the genre of ‘whodunnits’ as the recent Knives Out was, See How They Run manages to carve out its own space, which I really liked. This absolutely charming film asked for my compliance in maintaining the sacred secrecy of the mystery and so I finish by recommending this movie and providing a score. 

4/5

Godzilla vs. Kong

Godzilla vs. Kong is the blockbuster sequel to Godzilla: King of Monsters and Kong: Skull Island and brings back the two titular titans to battle it out for alpha. 58 years after the original King Kong vs. Godzilla (1962), it is a clash of epic proportions with these iconic creatures. It also includes a large cast of human characters including some familiar faces in Millie Bobby Brown and Kyle Chandler as Madison and Mark Russel from King of Monsters. 

Godzilla vs. Kong is sharply directed by Adam Wingard. Running just under two hours, there is still plenty of time for the story to develop. I appreciated the time frame and as Wingard said, any extra time would not have included more of the titan fight scenes. I was very satisfied watching the moments when Godzilla and Kong would clash on scene. The visual effects on Kong were great of course, and Godzilla looked scarier and more dangerous than before. Luckily, there was an open IMAX theatre near me and getting the chance to watch it on the big screen was really great. Another technical aspect I was impressed with was the sound and the score. This may also have been amplified by the theatre settings, but the composer, Junkie XL, clearly put a lot of great work into it and the music was used well to supplement the scenes. Godzilla and Kong also sounded great, as well as another titan that makes a surprise appearance. The sound and visual effects really worked well to characterize these monsters. 

The main stars in this film were definitely the monsters. Most of the human characters were relatively uninteresting which was bolstered by some truly terrible dialogue. Fortunately there was plenty of time spent with Kong, and developing the massive monkey. Much of the movie is spent with King as Godzilla seems to have turned away from his role as savior by attacking coastal America. So, the organization run by Demian Bechier’s character turns to Kong for help. I really enjoyed watching Kong throughout this show and was even able to feel a connection with him. His ability to communicate his quest for freedom and his home is just enough to bring out an emotional connection. I went into this movie sure Godzilla would have no trouble in the titular conflict, but I did find myself cheering for Kong. Watching these two clash was very exciting. For the majority of the sequences, the fights were easy to follow and the power levels of each felt recognizable. The neon highlighted sequence in Hong Kong was flashy but visually brilliant. Godzilla too, had some work done and everything about Godzilla was more fluid and well-realized. Some of the best shots were from the street view as he towered over and rained down fire.

Unfortunately the movie falls apart due to a weak script. I am all for having human characters like this in a Godzilla movie, especially with Universal’s attempt to build out its “Monsterverse” with these interconnected titles. But the dialogue and interactions between the characters are so poorly written. None of the humor lands the way the script intended and all of the characters turn out boring. The story of these characters was interesting but unnecessarily complicated. The highlights of the human characters were Rebecca Hall as Ilene Andrews and Kaylee Hottle, a deaf actress, who played her adopted daughter, Jia. I am a big fan of Julian Dennison but I think his character was meant to be comedic relief and unfortunately was not supported by the script. Wingard could have removed him from the story and it would have improved the movie, at least by removing his scenes at the end. I don’t have much else to say because none of the other characters had any major impact on me or the viewing experience. As a science-fiction type movie, there are of course elements that are beyond our current technology, but some of the concepts were aggressively ridiculous and completely pulled me out of the film. I specifically had a problem understanding the device that can scan an energy source and send the signature so that the energy can be replicated without the actual source. The way I understood it, the device was essentially emailing gasoline, or nuclear power I suppose.

Issues with the script like that as well as the bad dialogue begin to bog down this movie. Fortunately Kong and Godzilla are more than enough to save the movie and I was a big fan of the additional titan that was brought in, despite its introduction. Kong was a good choice for the audience to follow and we really get to see and hear some cool effects. If you are excited about seeing a big, well-done CGI monster fight, then Godzilla vs. Kong is exactly what you want.  

2.5/5

Nomadland

Nomadland is adapted and directed by Chloé Zhao based on the book by Jessica Bruder. Nomadland is simply beautiful and beautiful in its simplicity. Zhao directs a pseudo-documentary style film that looks at real lives and real stories through the lens of the protagonist Fern. After losing her husband and her town, Fern moves into her van and becomes a nomad, travelling and working in small towns across the western United States. Frances McDormand portrays Fern and her interactions with other real life nomads with a quiet weight that hangs over the whole movie. 

Nomadland is beautiful in its minimalism. There is no story or plot here to push the characters forwards, just the characters themselves pushing them onward down the road. Zhao simply picks days in the life of Fern that show her character and the reasons that she travels as she does. The camera is quiet and patient as it tracks Fern on her walks or her drives. Zhao chooses to stay outside of the story for the most part, and the camera rarely finds itself where it shouldn’t be. The nomad life is one of minimalism and this movie really embodies that theme. This is especially brought out in the contrast of the huge RV’s being advertised and the vans and trailers that the characters live in. Fern’s life is simple, but still hard, as she travels town to town looking for seasonal jobs in a place where she can set up her van for a bit. She never stays long, true to the nomad style, and she is soon on the road again. 

This is not an instruction guide to the best way to live the van life, but a demonstration that van life might be the best way to live for some. The search for a place to park mirrors many of the characters’ search for themselves and their desires for the rest of life. In a way the nomad life is romanticized, but the many of the hardships are not appropriately realized in order to minimize and focus on Fern and her few friends.

Nomadland may feel like a documentary, but it isn’t. Frances McDormand does a phenomenal job in this role and really brings Fern to life. McDormand is rarely emotional in her portrayal but the viewer can always feel her emotions nonetheless. Fern is stubborn and resilient, but also has a true warmth inside her when she cares for others. Another ‘professional’ actor, David Strathairn, brings Dave into this world, not so much as a foil to Fern, but an alternative route that she lost, but also refused. Surrounded by real nomads that act within the scene and the screenplay, but are just acting as themselves. Real characters like Bob Wells, Linda May, and Swankie bring their real lives and stories into the frame for McDormand to interact with and it’s incredibly touching. It is just beautifully crafted.

I don’t think that everyone will necessarily enjoy this movie as much as I did. We all have had different experiences in our past that will affect our feelings about Nomadland. As I mentioned before, there is no story or plot that drives the movie, it just goes to the next place it needs to. For some this will not be entertaining, as it is not entertainment in the traditional sense. There isn’t even a large amount of character growth for Fern here. No, Nomadland is an exploration of that character in a moment, or the time this movie takes place. If there isn’t anything that ties you to that character, then it can be a difficult watch. We do get ties to Fern, and the audience is sympathetic to a character who has lost so much and still finds little ways to be happy. The resilient nature of Fern is a commentary on the type of people that can live as nomads, but it is also a commentary on life in general. Fern’s situation is not so different from the rest of us. 

Nomadland is not a film that will be loved by everyone, but it is a film in which everyone can find something to love.

4/5

Raya and the Last Dragon

Raya and the Last Dragon is an animated film produced by Walt Disney Animation Studios that tells the story of Raya in an attempt to find a legendary creature that will bring peace to the land. Raya, voiced by Kelly Marie Tran travels through the broken landscape and scattered tribes all heavily inspired by Southeast Asian cultures with quirky and fun sidekick dragon Sisu, voiced by Awkwafina. 

Animation veteran Don Hall and rookie Carlos Lopez Estrada combine directorial forces to bring an impressive display of worldbuilding and story. The setting of the world of Kumandra is wonderfully animated and full of vibrant colours. I suppose the time has passed for viewers to be surprised by the incredible animation put out by Disney, but the locations and creatures animated here were verdant and diverse and just a pleasure to watch. I also thought that the setup in the first act prologue served as a great foundation for the rest of the film to come. Five main locations and tribes exist on what was once Kumandra for Raya and Sisu to experience each in turn during their quest. The landscapes at least are vastly different even if the viewer doesn’t get a sense of how that affects the people. 

Perhaps that is the point as the story of Raya and the Last Dragon is about people coming together despite past disputes. This one theme about trust and setting aside differences ties each of the strands of the story together and builds into an emotional finale. Simple trust is accentuated by the betrayals Raya has faced and the near-naivete of Sisu. Tran does a great job of conveying the pain of Raya in a role she clearly has enjoyed being a part of. Raya feels much more grown than any of the other Disney princesses and it’s a natural progression of her character to move past her flaws and learn to trust again. This also accented by the animated fight sequences and a lack of music and singing that was present in similar films Frozen and Moana. The finale, in which Raya squares off against rival warrior princess, Namaari, is stunningly animated and intense with a real sense of stakes. Of course the stakes are relative to a children’s movie like this, but the entire family would find something to enjoy here. 

From this review so far, the beginning and ending of the movie were clearly enjoyable to me. I did not however, enjoy the middle as much. Raya and Sisu spend this time travelling to the different tribes and filling their boat with a collection of side characters and animal sidekicks. One of which, a baby skilled in martial arts and a troupe of monkeys were enough to pull me out of the movie every time. Benedict Wong makes a vocal appearance among these as Tong and Izaac Wang as an enterprising young captain Boun both provide a surprising amount of heart to the journey. A few scenes of the antagonist, Namaari during this time do nothing to show any motivations or progress the character meaningfully. This is a shame as Namaari turns out to be conflicted and compelling just a little bit later. These extra characters are at the expense of Raya and Sisu, slightly, in a way that removed their development from being the centrepoint of Raya and the Last Dragon. It was not enough to destroy my overall enjoyment of the film, although the thieving baby came close, but it was enough to dull it for much of the second act. 

This is a movie carried forward more by the intense story and compelling narrative then by the characters of Raya and Sisu. While strong and developed to a degree, the protagonists tend to feel swept along by the events around them. It is possible this is a result of having the story credits be given to eight names, which is quite a lot to juggle. Overall, Raya and the Last Dragon is an enjoyable movie with enough upsides to cover its faults and bring about a new and recognizable face to the long lineup of animated Disney characters. Also Alan Tudyk voices Tuktuk who might be one of the cutest animated animals ever. 

3.5/5

Wonder Woman 1984

Wonder Woman 1984 is the blockbuster sequel centered on the beloved DC Comics character of Wonder Woman. Set in 1984, obviously, Wonder Woman, aka Diana Prince, must save the world from the dangers of greed and excess, not by using her incredible strength but by showcasing her deep humanity. Gal Gadot and Chris Pine return as Diana Prince and Steve Trevor, respectively, and are joined by Kristen Wiig and Pedro Pascal. In all honesty, this was a movie that had many faults but still was a comic book inspired film that I really enjoyed.

Returning to the director’s seat is Patty Jenkins, who does a good job of bringing colour and life into most of the scenes. While the ‘80s was not important to the concept of the movie as much as the title suggests, it serves as a part of the setting and Jenkins brings a lot of the colour and nostalgia from the decade as a backdrop. The use of ‘1984’ in the title implies dealing with themes of surveillance and government control that can serve as a really interesting basis for a superhero movie, but are not done so here. The visuals fall flat in just about every fight or action sequence. The special effects, CGI, and green screen work were jarring and oftentimes interrupted the suspension of disbelief. Although I liked seeing more fight scenes with the iconic lasso of truth, it is difficult to choreograph those scenes in a cohesive way and the overediting  and bad effects diminished the overall experience. 

Jenkins is also credited as one of the writers and while some moments are corny the majority of this movie shines with heart and personality. I love the overall plot of the movie for feeling like it was lifted straight out of a comic book. There are some big issues, of course, namely with Steve Trevor, the romantic interest from the first movie. Trevor is there to fly and be Diana’s love interest, and while Pine and Gadot’s chemistry can get you to overlook the glaring issues here, in the end the way he is brought back and can still pilot are plot failures. The use of wishes as a major plot device is always bound to cause continuity issues and the resolution of renouncing a wish could have been handled better. I understand wanting to use Robin Wright if you have her, but there was no real need to flashback to a younger Diana on Themyscira in that scenario and instead could have used those ten minutes for something else or cut them entirely. As I hinted at before, this is a superhero movie that feels like a comic book movie. While the plot is convoluted, it is not detrimentally so and the whole movie feels like it jumped right off the page of a copy from the local comic book store, especially with an iconic piece of Wonder Woman history.

The highlight of the film was the performances. Gal Gadot has easily cemented her role as Wonder Woman in cinema history. The strength and charisma she brings to this role are uniquely hers and a joy to watch. Gadot really plays well into the role reversal here as now she is the one introducing Chris Pine’s character to her world. Pine plays a great companion to Gadot and brings a lot of charm into his role in the brave new world. Kristen Wiig as Barbara Minerva has a great turn in her part as she goes from playing the classic Kristen Wiig role into a Barbara that carries a great amount of menace. Pedro Pascal also steps in as business man Maxwell Lord who just absolutely chews up every scene he’s in. Playing the central antagonist in this story, Pascal brings a wild-eyed demeanor to Lord and is able to mark a dramatic turn as he pulls off a crazy comic book plot turn. It is incredibly easy to forgive the faults in this movie because of the power of these actors.

I find myself thinking of Wonder Woman 1984 as a character showcase more than an action blockbuster, and I think that is both because the action falls flat and the characters shine so bright. This is in no way a great masterpiece of cinema but it is enjoyable despite its fault. It fell into the oldest sequel trap in the book of trying to do too much and could have been saved with a few redone moments and better action. Perhaps because I was not a crazy fan of the first movie I ended up feeling satisfied with this sequel.

3/5

Ma Rainey’s Black Bottom

Ma Rainey’s Black Bottom is adapted from a play with the same name by August Wilson, and it feels like it. The story takes place at a single recording session in the 1920’s for Ma Rainey, played by Viola Davis, and the boys in her band, which the late Chadwick Boseman is cast as the trumpet player Levee. All of the band members truly embody the essence of blues, playing as powerful figures that hold a deep sadness inside themselves and give performances as riveting as the music of Ma Rainey itself. 

Going into it, I was not aware that this movie was based on a play. It is one of the ten adaptations of August Wilson’s plays intended by Denzel Washington, the first being Fences in 2016. Directed by George C. Wolfe, this film adaptation watched very much like a play, with a low number of locations and distractions meant to amplify the performance of the actors. The sparse sets and short time frame led to scenes changing that felt like stark delineations of one act to the next. While this is not a negative necessarily, Wolfe is not experienced enough as a director for it to feel fluid. The camera did weird things at times, zooming in at times when I wanted to see more of the room and of the actor. On stage, the audience typically has a view to the entire body, and the best actors can use that to their advantage. Viola Davis and Chadwick Boseman are those great actors who can use everything to their advantage in a scene. There were certain points in the film when I wanted to see more taken from the medium of cinema. 

However, the play stylization allows for an actor’s showcase and despite the title of the movie, Chadwick Boseman’s Levee was the main character to me. The trumpet player in the band, he has ambition and a jovial confidence in himself that really sets up the contrast in his darker moments. An untimely death means that this is Boseman’s last role and it certainly gives his soliloquies greater prescience and prestige. Boseman has had a career where he has acted as African-American legends and instilled them relatable humanity, legends like Thurgood Marshall and Jackie Robinson. That is another reason why his performance is fascinating as Levee the trumpet player is just a man who has dreams of being great, of being a legend. Viola Davis is always fantastic and she continues her streak here as Ma Rainey, the mother of blues. She is the legend that Levee, at least in part, wants to be and she uses her imposing power and figure to navigate through the racism that surrounds her and her position. A standout performance is given by Colman Domingo as veteran trombone player, Cutler, who is a touchstone when tensions rise between Ma and Levee. 

I’m not sure how much of the script is still Wilson’s and how much is the adapted screenplay, but the dialogue is fantastic. Each of the four band members are memorable characters and add a great deal of perspective for the young Levee. The main themes in Ma Rainey’s Black Bottom are ones of ambition and desire, but they are tainted by the era of racism that these African American musicians play in. Even when it isn’t the main topic of discussion, the issue of race is always in the background of the dialogue and presents itself through great imagery. The idea of locked doors, elevation, dead ends, and shoes are powerful thematic elements hinted at early that come to a larger point of conclusion later on. Some of these themes may be slightly too much for the movie in the time span, but it never felt too unsatisfactory. 

A proper adaptation of the play, Ma Rainey’s Black Bottom tells a self-contained story and tells it well. It ends up being carried by the performances of Viola Davis and Chadwick Boseman, who spent time actually learning the trumpet for his scenes, and the movie feels very much like watching the recording of a stage play. As a fan of blues myself, the music is of course great, but is fittingly not the focal point. This is a character piece and the score is as much part of the setting as the recording studio, or the time period, but it is fun to watch the times when the blues sings through the movie. The characters are well crafted and fit together nicely to tell a great story of ambition and race. 

3/5

Tenet

Tenet is a new time-bending spy blockbuster from director Christopher Nolan. This movie follows John David Washington’s character known only as the Protagonist in a globe-trotting adventure and a race against time. As stressed throughout the movie, the mechanism at play is what Nolan calls “time inversion” and it is not time travel, or a time machine, but somehow much more complex than that. There is not much more I can say on time inversion theory as this movie, more so than others, would be easy for me to spoil with the wrong word. Just know that a lot about this concept is confusing but the movie will still be enjoyable if you can understand the basics and ignore the physicist jargon. 

First and foremost, Tenet is an action movie and this is demonstrated from the very first scene. While the set pieces and plot concepts may be both beautiful and overwhelming, the action is quick and simple. It is reminiscent of the best Bond movies, just without the same traditions and catchphrases. Tenet moves forward at a breakneck pace, and the action reflects that. Nolan is a master at leaving an audience holding their breath and at the edge of their seat right up until the very end, when the good guys succeed. In Tenet, Nolan uses this feeling for the whole movie. His adept rhythmic tension snowballs through the whole movie and doesn’t let up until the credits roll. Even after the third act finale, the tension can still be felt as the fates of some characters are still in question. The time inversion concept is put to good use in action sequences you would find in any Bond movie: fist fights, car chases, and more. While it can be confusing at times, the stunt work and filming technology that create the inverted sequences are really a testament to Nolan’s skill as a director. 

John David Washington is never not charismatic as he steps into the world of the super rich playing a fresh faced protagonist. Despite not knowing much about the character (even his name) or the organization he works for (the mysterious Tenet for which the movie is named) I couldn’t help but be drawn in by Washington’s portrayal and his character’s sense of righteousness. Kenneth Branagh shines as Russian billionaire, Andrei Sator, who chews the scenery with everything he’s given to great effect. Branagh is constantly menacing in his role and provides a concrete villain for the audience to hate amidst the more abstract concepts. Tenet also boasts really strong supporting performances from Robert Pattinson and Elizabeth Debicki. It is Debicki’s character Katherine who serves as the emotional focal point for the film. Because the threat facing the protagonists is abstract, it is hard to connect with stakes, but Debicki grounds the movie with something much more relatable. On a side note, I am a big fan of Himesh Patel, and I really liked his role here and how he made use of the limited screen time he was given.

Another area where Nolan constantly impresses is the way his movies sound. Tenet is no different. Pairing up with Ludwig Göransson, the score is bombastic and threatening, but also extremely modern. Synthesizers and electronics are used to create these threatening tones in the background that constantly add to the tension the audience feels. Remember the name Göransson, because if he keeps up with this level of quality he could be the next big name in cinema scoring. Surprisingly, Travis Scott is also credited with work on the score and end credits song is quite good.

There is so much to like about this movie, the incredible cast, and Nolan’s directing that it’s a shame I didn’t enjoy it more. The time inversion concept is incredibly brilliant and the scenes which it comes into play are some of the most cinematically astounding that I’ve seen in a long time. Yes, the idea is complex but for the most part it works. Unfortunately, the parts of it that don’t work can cause significant confusion. Even after watching Tenet more than once I felt like I both understood the concepts at play a little more, while also understanding them less at the same time. I can’t say too much more without spoiling the film, but I think inversion could have been simplified and in doing so, made the movie more personal.

Tenet is somehow both a refreshing and exhausting movie. A great cast and beautiful photography elevate the movie above most of its faults. If you have been missing a blockbuster experience and want to see something cinematic then Tenet is my recommendation for you. As long as there is a safe theatre to go and see it because Tenet is definitely meant to be seen on the big screen.

3.5/5