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Reviews
Bodies Bodies Bodies (2022)
Modern Horror That Works!
BODIES, BODIES, BODIES is strong film that does not take itself seriously. It knows what it is and executes on that vision. It appears that the filmmakers behind this refreshingly well executed movie know a lot about movie making, so much so that you do not realize the precision with which you are being seduced into a story that has a wonderfully surprising yet unassuming ending.
Halina Reijn, in her English language debut as a Director directs with confidence and an understanding of American youth culture that originates from a strong script from Sarah Delappe.
This film is that increasingly rare form of story that comments on modern culture while enveloping the viewer in a horrific comedy. It is like a real good American burger that is cheap, knows it is cheap but still uses expensive handmade ketchup.
The Tender Bar (2021)
A great cast in a mediocre coming of age film
The Tender Bar, directed by George Clooney is mild and simplified adaptation of a far superior memoir.
While the acting is strong throughout, especially Ben Affleck, the film misses the mark in its lack of a dynamic plot and the mild manner in which it is directed.
You love Affleck playing the surrogate father to Tye Sheridan and those moments on screen hold your attention but the rest of the film is sort of OK but I am glad we hung in there till the very end as there is worthwhile ending.
The underdog subplot of the young boy finding his way to adulthood is a familiar one and is made traditionally endearing by the boys circumstances.
He writes about his own life while pursuing and ivy league education while fights the odds against him including his poverty, abusive father and a dysfunctional albeit caring family.
If you want to watch a film that is sort of cute and has some decent acting, and if you really like Affleck, then watch this film.
Otherwise watch a better movie, read a book or just eat a bowl of Berthillon ice cream. Actually just go for the Berthillon and forget this film for a truly satisfying experience.
Dual (2022)
Bold, Brave, and Unique. But falls a little short with the monotone performances
Dual is a satire, but also a science fiction film written and directed by Riley Stearns.
We caught this one at Deauville and had high expectations as mostly films at this festival are of a high standard having premiered at top-tier film festivals and have already secured premium distribution.
Stearns writing and direction is fresh, darkly comic and has a voice. He is an artist in full flight although his work may not appeal to the masses.
Sarah, played wonderfully by Karen Gillian is a depressed alcoholic who has nothing to live for including her dead relationship. When she finds out she is terminally sick, she chooses to clone herself so that her family and friends do not have to deal with here loss.
But when she goes into remission she has to deal with her clone who has won the affections of her family. I could say more but do not want to spoil anything or take any more away from this surprisingly dark yet comic satire.
Stearns has a unique style and appears to direct his actors to follow suit which makes for a novel film but also in this case, monotone performances.
I definitely recommend the film, but Stearns' first film "Faults" is one I recommend you watch first.
1-800-Hot-Nite (2022)
Poorly written and directed, but some of the acting is decent
1-800-HOTNITE is a bad movie, but at least it is an innocent badness, as the filmmakers, financiers and producers behind it that allowed this dud to move forward seem to be clueless about the basics of story telling, mis-en-scene, and movie making.
We were looking forward to this film as traditionally the films at Deauville are of a certain high standard having premiered at other top-tier festivals prior to their Deauville stop. But Deauville for some reason made an exception here by choosing a film that is poorly written and directed, only made somewhat tolerable by up and coming Dallas Young who plays Tommy.
In 1-800-HOT-NITE, Tommy loses his father to a drug raid and then embarks on a night of improbable adventure that leaves the viewer feeling bored and frustrated. The story goes nowhere so it is hard to pay attention throughout but I did my best to hang in there till the end.
Writer and Director Nick Richey makes a lot of errors. For starters my husband and I still can't tell if the film is set in the 80's , 90's or in modern times because the lead character makes calls from old American telephone booths and corded land lines, and interacts with police driving old police cars, but the entire film feels like it is set at a time when phone booths are obsolete and everyone has a cell phone.
The dialog is either boring or pointless. For example, the characters comment on each other's clothes with great emphasis even though there is absolutely nothing remarkable about their clothes. Perhaps the only line of dialog that is compelling in the film is it's title "1-800-HOT-NITE" as it sort of hooked us to check it out.
1-800-HOT-NITE has the appearance of an amateur film that was made with dialog improvisation on set after characters are placed in situations that are unnatural. Tommy decides to collect money for some paper route (hello 90's again! Or maybe even 70's!) late at night and in cash, something that would most likely lead to nothing, but in Richey's thoughtless script, this decision by Tommy triggers the most improbable responses from other characters who apparently are on Tommy's paper route that he somehow walks to door to door late into the night.
Are all these paper route characters all in one city block readily available to open their doors to Tommy to give him cash for a paper route after midnight? Or is Tommy able to teleport himself from one door to the next? I suppose any unbelievable occurrence is possible with a script that has no sense of time or place.
Emily the Criminal (2022)
Near perfect execution of a Crime Drama
John Patton Ford directs this near perfect Crime Drama that starts and finishes strong.
Aubrey Plaza stands out as a one of the best one line delivery actress to add to her already impressive acting skills. She displays how a minor criminal record can cut you out of job market as she struggles with student debt.
It's tough to praise this film without giving away too much of the plot but I highly recommend watching it and it is refreshing to see that new filmmakers are still out there doing good work.
Gina Gershon and Theo Rossi support the film with solid performances and Ford in his first feature shows that you can still be original and appeal to traditional story telling tactics.
Nope (2022)
Unique, Impressive But Ultimately Misses The Mark
It is rare that that "films" are shot on film anymore and offer a departure from the ever improving TV evolution but Peele's "Nope" does just that and is also a visual spectacle.
The story lacks integration and cohesiveness but I guess Peele can do what he wants now given the success of the vastly superior "Get Out".
Simply put, it is a cowboys vs aliens monster movie with characters who are both impressive and petty as they long to capture aliens on camera to be on the Oprah show.
There is a particular sequence with a trained Chimpanzee that is riveting and a general commentary on letting nature be nature and the separation of human from beast.
I can't say I was not bored but I also can't say it is not worth watching on a massive Cineworld Imax screen but what I can say is that I will probably never want to watch it again as I did with "Get Out".