The Shrouds

David Cronenberg is definitely not for everyone but I really like him as a director so I was excited, and nervous, to introduce my nephew to him by seeing The Shrouds at the Broadway last night.  Businessman Karsh (Vincent Cassel) is so grief-stricken over the death of his wife Rebecca (Diane Kruger) from a virulent form of cancer that he creates a company called GraveTech which uses specially designed shrouds with 3D cameras to allow loved ones to watch the decomposition of the deceased's corpse through a live feed but this keeps him from moving on.  When several graves are vandalized, including Rebecca's, the live feed is hacked and Karsh is drawn into several conspiracy theories.  One involves Rebecca's oncologist, Dr. Jerry Eckler (Steve Switzman), who Karsh suspects was experimenting on his patients after discovering unusual protrusions on Rebecca's bones and on the bones of those in the other defaced graves.  Another involves a suspected plot by the Chinese government, who are investors in GraveTech, to use the live feed for surveillance.  Yet another involves his former brother-in-law Maury (Guy Pearce), who wrote the code for GraveTech's security, because of his growing paranoia over Karsh's relationship with Rebecca's sister, Terry (Diane Kruger).  I had prepared my nephew for Cronenberg's use of body horror in his movies but, while this does show the devastating effects of cancer when Karsh has a series of dreams about Rebecca's worsening condition before her death, I think it is pretty mild.  However, both of us found it incredibly thought-provoking with commentary on several topics.  My nephew was intrigued by the use of technology, particularly Karsh's reliance on the AI assistant modeled on Rebecca, but I was struck by the theme of obsession and its dangers.  Karsh is preoccupied by Rebecca's body which is why he eventually begins a relationship with Terry because her body is so similar to Rebecca's and why he is tormented by jealousy because Dr. Eckler was more intimately involved with her body at the end of her life than he was.  Both Karsh and Maury go to extreme lengths to maintain possession of Rebecca and Terry, respectively, because they cannot let them go.  I know that some will be frustrated by the ambiguity of the ending (there are no definitive answers about the conspiracy surrounding the vandalism of the graves) but, to me, the resolution comes from Karsh letting go of his obsession for Rebecca in order to move on (although I interpret the final scene to mean that he has become obsessed with someone new).  I loved Cassel's detached and almost stilted delivery because, in my opinion, it shows that Karsh's desire to be with his wife has kept him from truly living.  I think this is brilliant (I haven't been able to stop thinking about it) but it is not something I would recommend to everyone.

On Swift Horses

I didn't really know much about On Swift Horses but I was really excited about the stellar cast so I decided to see a matinee at the Broadway yesterday.  It looks beautiful and has a powerful message but I found it strangely underwhelming.  After a troubled childhood, Lee Walker (Will Poulter) has a plan for his life which includes going out West to California, buying a house, and starting a family but his wife Muriel (Daisy Edgar-Jones) and his brother Julius (Jacob Elordi) feel constrained by the conventions of the 1950s.  Muriel begins betting on horse races but she hides her winnings from her husband.  Julius takes a job as security in a Las Vegas casino even though he still acts as a card sharp.  However, the biggest gamble that Muriel and Julius take is to begin clandestine relationships with Sandra (Sasha Calle) and Henry (Diego Calva), respectively.  Will they risk it all for love?  I am really torn on this because the visuals are absolutely gorgeous and I enjoyed the performances because they are filled with so much wistful longing shown with lots of closeups on the beautiful faces of Edgar-Jones and Elordi.  I also think the gambling metaphor works very well for the risk taking and secrecy involved in pursuing a forbidden love and the journey to break free from conformity is one I always appreciate.  There is just something that kept me from loving this.  The pacing is incredibly slow but I didn't feel a connection to any of the characters because they are not very well developed.  I also found the ending to be really ambiguous for all of the characters and I wanted something more after the endless build-up.  I suspect that the novel by Shannon Pufahl, upon which this is based, is much better and I recommend waiting for streaming to watch it.

The Legend of Ochi

The trailer for The Legend of Ochi was absolutely beautiful so I decided to see a matinee at the Broadway yesterday afternoon.  I mostly loved this throwback to the adventure movies of my youth.  Yuri (Helena Zengel) is a young farm girl living on Carpathia, an isolated island in the Black Sea.  The inhabitants share the island with mysterious creatures, known as ochi, that are feared and hunted.  Yuri's father Maxim (Willem Dafoe) is especially zealous in his desire to hunt them down and trains a group of boys, including an orphan he has adopted named Petro (Finn Wolfhard), who he takes out on patrol every night.  Yuri rejects much of what her father says so, when she finds a baby ochi in one of his traps, she releases it and smuggles it home.  Yuri interacts with the baby and, when she realizes that it is a gentle creature, she decides to try and find its family.  On the journey, she encounters her mother Dasha (Emily Watson), who left the family because of Maxim's brutality, and discovers that she has studied the ochi extensively.  Her father hates them and her mother respects them but it is Yuri who truly understands the ochi and it is her bond that will ultimately bring about acceptance.  The theme of fearing what is different is not new but it is so gorgeously rendered that I was absolutely enchanted by Yuri’s quest.  I loved all of the stunning visuals of the island and the puppets are amazing (the baby ochi is adorable).  The relationship that develops between Yuri and the creature is so moving because there are many parallels between them and I think the lack of dialogue is really effective (she communicates with the ochi in their language) although some might find the pace sluggish as a result.  I really enjoyed the Eastern European influences because they make the story feel like a fairy tale (Maxim hunts the ochi wearing medieval armor) but the music is sometimes overpowering.  Zengel is luminous and Dafoe is as unhinged as ever but I especially liked Watson's performance (Wolfhard has very little to do and his character's motivations are very ambiguous).  However, I found the scene in a grocery store to be incredibly jarring.  I think it is included as commentary about the encroachment of the modern world into traditional life on the island but this theme is underdeveloped and the scene feels like it belongs in a completely different movie.  I found this dark fantasy to be very magical most of the time and would recommend it but I seem to like it more than most.

The Ugly Stepsister

I had planned on seeing The Ugly Stepsister at Sundance this year and I was even in line for the screening but I decided that I was too tired to enjoy it and went home instead (festival fatigue is real).  When I saw that it was playing at the Broadway, I went to a matinee yesterday and I really liked this twisted take on Cinderella.  Rebekka (Ane Dahl Torp) marries Otto (Ralph Carlsson) because she thinks he is wealthy but is dismayed to learn that he was penniless after he dies.  She now must take care of her daughters Elvira (Lea Myren) and Alma (Flo Fagerli), as well as her new stepdaughter Agnes (Thea Sofie Loch Naess), on her own.  She believes that the only solution is for one of her daughters to marry well and, since Alma is too young, she pins her hopes on Elvira even though she thinks that she is unattractive.  Elvira fantasizes about marrying Prince Julian (Isac Calmroth) so, when it is announced that he is throwing a ball, she submits to her mother's primitive and painful attempts to make her beautiful even though her personality deteriorates as her physical appearance improves.  The prince seems to fall in love with her at the ball but he ignores her when an enchanted version of Agnes suddenly appears.  When Elvira realizes that it is Agnes who has stolen her prince, she moves to attack her but Agnes escapes leaving behind her shoe.  The prince declares that he will only marry the girl whose foot fits inside the shoe so a desperate Elvira maims herself (this occurs in the original fairy tale by the Brothers Grimm).  What I found interesting is that every character is extremely unsympathetic (even Agnes because she is really in love with the stable boy but is willing to marry the prince to escape her stepmother) except for Alma, who cares nothing for beauty and does most of the work around the estate, and it is she who ultimately rescues Elvira.  The commentary on the lengths to which women will go to be beautiful reminded me of The Substance but this takes the body horror to a whole new level!  It is sometimes really gross and there was a scene involving a tape worm that actually made me gag (there were lots of audible reactions from the crowd to several other scenes).  The production design, costumes, and score are all what you would expect from a traditional fairy tale so this subversive take is a lot of fun!  I dug it but I would only recommend it to those with strong stomachs!

The Wedding Banquet

There was a lot of buzz for The Wedding Banquet at Sundance this year and I had the opportunity to see it but, because it already had a release date (I saw a trailer for it at the Broadway before Sundance even started), I decided to see something else (the film I saw instead was Rebuilding with Josh O'Connor and I ended up loving it so it was a good decision).  It is now playing at the Broadway so I saw it last night with my nephew and I have to admit that I was a little disappointed because it is very different from what I was expecting.  Lee (Lily Gladstone) and Angela (Kelly Marie Tran) are a lesbian couple hoping to have a child through IVF but two attempts have failed and they are not sure if they can afford a third.  Chris (Bowen Yang), Angela's aimless best friend from college, lives in their garage with his boyfriend Min (Han Gi-chan), the scion of a wealthy family in Korea who is about to lose his student visa.  Min proposes to Chris but he refuses because he knows that Min's family will disown him and cut him off financially if they find out he is gay.  Min is disappointed but then decides to ask Angela to marry him instead and, in return for helping him get a green card, he will pay for the next round of IVF.  Angela agrees but complications ensue when she tells her mother May (Joan Chen), who has made supporting LGBTQ+ causes her whole personality after initially rejecting Angela, and when Min's grandmother Ja-Young (Youn Yuh-jung) decides to come for the wedding.  This is a remake of the 1993 movie of the same name by Ang Lee and, since I have not seen the original, my expectations were based on the trailer alone and it led me to expect a comedy which I did not get.  While there are a few funny moments (which all appear in the trailer), this is more dramatic with themes of acceptance and reconciliation as flawed people learn the importance of found family.  All of the characters have interesting arcs but the resolutions for some of them feel very rushed, especially Angela's fear about being a mother and Lee's anger about an infidelity.  However, I loved how Ja-Young gradually comes to understand her grandson and Youn Yuh-jung gives a lovely performance (that brought a tear to my eye).  Chen steals every scene she is in and Tran impressed me with the depth of her emotional performance but Gladstone is underused and Yang doesn't really sell the dramatic moments (he is a much better comedic actor).  I didn't hate this but I definitely didn't enjoy it as much as I thought I would.

Note:  I really hate when the marketing for a movie is misleading.

Sacramento

Yesterday I went to a matinee of Sacramento at the Broadway (there are so many movies that I want to see playing at the Broadway right now so I have to fit them in when I can) and I found it very charming.  The free-spirited Rickey (Michael Angarano) meets a woman named Tallie (Maya Erskine) before learning of his father's death.  One year later, after he is kicked out of his grief support group, he arrives unannounced at the home of his estranged friend Glenn (Michael Cera).  The uptight Glenn is about to become a father and is filled with anxiety to the chagrin of his exasperated wife Rosie (Kristen Stewart).  Rickey notices how stressed Glenn is acting and spontaneously suggests a road trip from Los Angeles to Sacramento and, when Glenn refuses to go, he tells him that the purpose of the trip is to scatter his father's ashes even though he has another motive for wanting to go there.  Glenn suspects that Rickey is lying but agrees to go because he is worried about him.  As they argue over who is having a bigger breakdown, Glenn helps Rickey face up to his responsibilities and Rickey helps Glenn calm down.  This is both funny and heartwarming and plays to the strengths of Angarano and Cera as actors.  I laughed out loud when Rickey and Glenn end up at a boxing gym, for reasons, and end up going at each other in the ring and when they wrestle each other to the ground in the middle of a parking lot because they are just like twelve year old boys.  I also laughed at the lengths to which Rickey goes to keep Glenn on the trip with him, especially arranging for his car to be towed.  There is also an incredibly poignant scene where Rickey helps Glenn through a panic attack and reassures him they will both be okay.  Stewart and Erskine don't have a lot of screen time but they really ground the story.  I enjoyed this buddy comedy (I think it is a more lighthearted version of A Real Pain) and I recommend it to fans of the actors.

Warfare

The second movie in the double feature at the Broadway with my nephew last night was Warfare.  It was quite a shift in tone from our first movie because it is incredibly intense!  In 2006 the Navy SEAL platoon Alpha One is sent on a surveillance mission looking for insurgents in the aftermath of the Second Battle of Ramadi.  They commandeer the house of a local family and begin to monitor the market located across the street after it shows an elevated level of activity.  In the ensuing firefight with the insurgents, several members of the platoon are injured and require evacuation but this proves to be incredibly dangerous until Alpha Two eventually reaches their position.  It focuses on Erik (Will Poulter), the Officer in Charge, Ray (D'Pharaoh Woon-A-Tai), the communications officer, Elliott (Cosmo Jarvis), the lead sniper injured in the firefight, Sam (Joseph Quinn), the LPO injured by an IED, Tommy (Kit Connor), a relatively inexperienced gunner, and Jake (Charles Melton), the Assistant Officer in Charge.  Ray Mendoza, the communications officer in the actual Alpha One platoon, is the co-writer and co-director and he wanted the movie to serve as a memory of the events for the injured Elliott Miller and, as such, it is one of the most accurate portrayals of war that I have ever seen.  It is incredibly immersive, especially a scene where the soldiers use smoke to mask their movements and the scenes depicting the explosion of an IED, because the visual effects and sound design put the audience in the middle of the action which is shown in real-time.  The scenes showing a plane strafing the street as a "show of force" are especially visceral.  This is definitely an experience rather than a narrative (although there is more of a story arc than I was expecting) and I was particularly struck by the moments of tedium as the soldiers wait for something to happen juxtaposed with the total chaos and terror of battle.  It is very powerful but, in my opinion, it is quite neutral in its message about war in that it is merely an objective look at what actually happens and the audience is meant to take away their own interpretation.  I highly recommend it but it may be difficult for some to watch.

The Ballad of Wallis Island

I really enjoyed The Ballad of Wallis Island at Sundance this year (it was one of the few comedies at the festival that actually worked for me) so I was secretly happy when my nephew expressed an interest in it because that meant I had an excuse to see it again!  It was the first in a double feature at the Broadway last night and he liked it as much as I did (I liked it even more upon a second viewing).  The awkward and eccentric Charles (Tim Key) retired to a remote island after winning the lottery not once but twice.  On the five year anniversary of the death of his wife Marie, he uses some of his winnings to bring Herb McGwyer (Tom Basden), one half of their favorite folk duo McGwyer Mortimer, to the island to perform a concert.  Charles is a very enthusiastic fan and Herb soon finds the whole arrangement to be strange, especially when he learns that Charles will be the only one in the audience, but he stays because he needs the money to finance a solo album.  Complications ensue when Nell Mortimer (Carey Mulligan), the other half of the folk duo, arrives on the island with her husband Michael (Akemnji Ndifornyen).  There are unresolved tensions between Herb and Nell stemming from their messy break-up both personally and professionally but, as they rehearse, Herb begins to romanticize their time as a duo because he is unhappy with the direction of his solo career.  Charles also romanticizes their music because it reminds him of his late wife and this is keeping him from pursuing a relationship with Amanda (Sian Clifford), the owner of a shop on the island.  Both Herb and Charles must learn to let go of the past in order to move forward into the future.  The story is incredibly charming and I love how music (my nephew and I both loved all of the songs) is used as a way to evoke memories because I am instantly transported back to a certain time and place whenever I hear some songs.  The humor is really dry (you have to listen very carefully to all of Charles's one-liners because they are absolutely hilarious) and it was a lot of fun to hear the large crowd laughing out loud with me because I was sometimes the only one laughing during the Sundance screening.  This is a movie with a lot of heart and I definitely recommend it!

A Nice Indian Boy

The second movie in my double feature at the Broadway last night was A Nice Indian Boy.  I am not a huge fan of romantic comedies but I decided to see this because the trailer made me laugh out loud!  Megha and Archit Gavaskar (Zarna Garg and Harish Pateal, respectively) are overjoyed when their daughter Arundhathi (Sunita Mani) marries the nice Indian boy (Sachin Sahel) that they and his parents arrange for her.  They only wish that their son Naveen (Karan Soni), who they begrudgingly acknowledge is gay, will be next.  Eventually the mild-mannered and awkward Naveen meets the outgoing and dramatic Jay Kurundkar (Jonathan Goff), a former foster kid who is white but was adopted by an Indian couple.  They bond over the Bollywood musical Dilwale Dulhania Le Jayenge (the source of much amusement throughout the movie), fall in love, and get engaged (twice).  Complications ensue when Naveen introduces Jay to his parents and when Arundhathi announces that she wants to divorce her husband.  What I loved most about this heartwarming story is that Megha and Archit, who had a traditional arranged marriage, realize that they actually love each other after all of these years (in some hilarious scenes) and that, once Arundhathi and Naveen finally communicate how they feel, they are a lot more accepting than their children assumed they would be (in some really moving scenes).  The central romance is a lot of fun, especially their meet-cute in a Hindu temple and when Naveen reenacts the song from Dilwale Dulhania Le Jayenge that Jay embarrassed him with when he sang it to him on the street.  All of the performances are great (Soni and Groff have believable chemistry) but I especially enjoyed Garg when the overwrought Megha plans the elaborate wedding (with printed invitations).  This is incredibly charming and I had a lot of fun watching it so fans of romantic comedies will love it.

The Friend

Last night I went to the Broadway for a double feature and I started with The Friend because I have a soft spot for dogs.  It is a slow-moving but poignant exploration of how an unlikely friendship helps a woman come to terms with her grief (bring tissues).  Walter (Bill Murray) is a successful author and professor with a messy personal life which includes three troubled marriages, countless affairs with students, and an estranged daughter.  The only constants in his life are Iris (Naomi Watts), a friend and former student who is also an author, and Apollo (Bing), a 150-pound Great Dane.  Iris is devastated when Walter commits suicide but she is surprised and annoyed when she learns that he has chosen her to care for Apollo.  This completely disrupts her life because her rent-controlled apartment has a strict no-dogs policy and, since Apollo is also mourning the loss of Walter, he dislikes being alone which keeps her from working on her current novel.  She eventually forms a bond with Apollo so, in a last ditch attempt to avoid being evicted, she meets with a therapist to certify that she needs him as an emotional support animal only to discover that she actually does.  Anyone who has ever had a dog will definitely relate to how much comfort they can provide and I cried several times, particularly when Iris wishes that Apollo could live as long as her.  Even though Watts and Murray are outstanding, especially in an emotional scene where Iris imagines confronting Walter about abandoning Apollo (who is a stand-in for her), I absolutely loved Bing's performance because he is so expressive.  I enjoyed this touching movie and highly recommend it (but please heed my suggestion about the tissues).

Bob Trevino Likes It

My nephew and I went to the Broadway last night for Bob Trevino Likes It and it is one of the most heartwarming movies I've seen in a long time!  Lily Trevino (Barbie Ferreira) had a traumatic childhood with an absent mother and her father Bob (French Stewart) continues to be narcissistic and manipulative.  She is desperate for a relationship with him, so after he cuts off contact with her, she tries to reach out to him by searching for him on Facebook.  She finds a profile without a picture for a Bob Trevino and sends him a friend request.  Even though he doesn't know her, this Bob Trevino (John Leguizamo) accepts it, starts liking her posts, and begins communicating with her.  They eventually meet and, because Bob had a tragedy in his past that has left him feeling just as alone as Lily, their interactions help both of them heal.  The story about a young woman who is so isolated and starved for affection that she seeks a connection anywhere she can find it is incredibly moving and there were several scenes that reduced me to tears, particularly one that takes place at an animal shelter.  The message about the importance of found families to fill the void left by dysfunctional or absent biological families is also really powerful and I found it very hopeful.  Ferreira gives a raw and emotional performance and it is easy to root for her character as she finally learns how to put herself first in her dealings with her abusive father.  She has wonderful chemistry with Leguizamo, who gives one of the best performances of his career, and I absolutely loved his character because he is so kind, gentle, and caring (everyone needs someone like Bob in their lives).  The cathartic ending is earned rather than manipulative, in my opinion, and it left me a blubbering mess (several people walking out of the theater were also wiping their eyes).  I cannot recommend this enough!

The Penguin Lessons

The trailer for The Penguin Lessons looked really heartwarming so I decided to see it at the Broadway last night.  It is a charming, but superficial, character study about a man whose life is unexpectedly transformed by a penguin.  Tom Michell (Steve Coogan) is an Englishman who takes a teaching position at an exclusive school in Argentina during a military coup in 1976.  He is misanthropic and cynical, disengaged from the tumultuous political situation around him, and largely ineffective in the classroom.  While on holiday in Uruguay, he rescues a Magellanic penguin from an oil slick on the beach in order to impress a woman.  However, once the encounter with this woman is over, he tries to return the penguin to the ocean but it follows him back to his hotel and he eventually smuggles it home.  He attempts to hide the penguin, who he names Juan Salvatore, from the persnickety headmaster (Jonathan Pryce) but soon others at the school show an interest and this leads to friendships with another teacher (Bjorn Gustafsson), the school housekeeper Maria (Vivian El Jaber), and her granddaughter Sofia (Alfonsina Carrocio).  He brings Juan Salvatore to class and his unruly students are captivated and see Michell in a new light.  He also uses Juan Salvatore to strike up a conversation with a military leader to advocate for the release of Sofia after she is arrested.  This is at its best when it focuses on Michell learning how to reengage with the world with the help of his penguin friend.  It is less successful when it attempts to blandly explore the politics of the region through his privileged eyes (there is even a scene where he confesses that he could have intervened when Sofia was arrested but didn't and her distraught grandmother hugs him to make him feel better).  Coogan is great in the role with his signature deadpan delivery (I laughed out loud multiple times) and, of course, the penguin is absolutely adorable.  This is an entertaining and (mostly) feel-good comedy but you can probably wait until it streams to watch it.

Death of a Unicorn

Last night my nephew and I went to the Broadway for Death of a Unicorn, a movie we were both looking forward to, and we had a blast watching it.  Lawyer Elliot Kitner (Paul Rudd) and his estranged daughter Ridley (Jenna Ortega) travel through a wildlife preserve to spend the weekend at the home of Odell Leopold (Richard E. Grant), a wealthy pharmaceutical executive who is dying of cancer, his wife Belinda (Tea Leoni), and his son Shepherd (Will Poulter).  Elliot wants the visit to go well because Odell is a potential client but Ridley is not very enthusiastic and is further traumatized when he hits and kills a unicorn. They eventually confess what they have done to the Leopolds and, because contact with the unicorn has cured Ridley's acne and Elliot's allergies, Odell believes it will cure his cancer and has his scientists experiment on it.  Ridley begins researching the mythology surrounding unicorns and warns against this but, when the dust from the unicorn's horn cures Odell, he, his family, and even Elliot want to sell it to the highest bidders which angers the other unicorns in the area.  This is obviously a satire criticizing the evils of big pharma and corporate greed but, while it is really funny (Poulter and Anthony Carrigan, who plays the silent and put-upon butler Griff, steal the show with their hilarious performances), I especially enjoyed the interactions of Rudd and Ortega as a father and daughter who discover what is really important in life.  The unicorn sequences in the third act are absolutely wild (I was rooting for the unicorns as they hunt all of these despicable people) even if the visual effects are sometimes a bit sloppy.  This has a lot of really bonkers tonal shifts but they all somehow work and it is so much fun.  I recommend seeing it with a large late night crowd.

No Other Land

Last night I went to see the Academy Award winning documentary No Other Land at the Broadway and, no matter where you stand on the conflict between Israel and Palestine, you cannot help but feel devastated and heartbroken after seeing firsthand the fate of people who have been displaced from land owned by their families for generations and who now have no place to go.  In 1980 the Israeli government declares that Masafer Yatta, a collection of 20 rural villages on the southern edge of the West Bank, will now be used for military training.  After a protracted legal battle fighting against expulsion, the Israeli high court rules against the villagers and the army begins demolishing homes with bulldozers.  Basel Adra, inspired by the activism of his parents against the Israeli occupation of the West Bank, decides to to start documenting the destruction in 2019 with the hope that people might be moved by what they see and do something to help.  He gains the attention of an Israeli journalist named Yuval Abraham, who disagrees with what the Israeli government is doing in the West Bank, and together they shoot footage with Hamdan Hallal, a Palestinian filmmaker, and Rachel Szor, an Israeli cinematographer and editor.  The images they capture are visceral and very difficult to watch.  I was in tears when a mother begs the soldiers to stop the bulldozers from tearing down her house because her two daughters are still inside and they tell her that they don't care, when the soldiers shoot a man because he won't give them his generator, when the mother of this man tearfully wishes that he would die because she doesn't have a house in which to care for him now that he is paralyzed, and when a family goes looking for any of their chickens that might still be alive after the soldiers bulldoze their chicken coop but the scene that affected me the most is when a group of crying children watch their school bulldozed to the ground.  I was really struck by the attitude of the Israeli soldiers, which ranges from callous indifference to outright cruelty, towards the villagers in the name of following the law.  However, I was also struck by the growing friendship between Basel and Yuval, contemporaries who have very different lives simply because they were born 30 miles apart, in scenes where they discuss the ongoing conflict because it gives some hope that Israelis and Palestinians might eventually be able to work together for peace despite the events of October 2023 depicted in the epilogue.  This is one of the most powerful and important documentaries I've seen and I am grateful that I had the opportunity to see it (it still does not have a distribution deal in the U.S. so independent theaters like the Broadway are screening it on their own).

Mickey 17

Last night my nephew and I saw Mickey 17 with a large crowd at the Broadway and it is the most fun I have had at a movie this year!  Mickey Barnes (Robert Pattinson) and his friend Timo (Steven Yeun) are on the run from a loan shark and decide that their only option is to join a crew leaving Earth to colonize the planet Niflheim under the leadership of a failed politician named Kenneth Marshall (Mark Ruffalo) and his scheming wife Ylfa (Toni Collette).  Timo signs up as a pilot but, because he has no skills, Mickey signs up as an "expendable" which means that he is given lethal assignments and is reprinted with his memories intact every time he dies.  On the voyage to Niflheim, Mickey begins a relationship with a security guard named Nasha Barridge (Naomi Ackie) and is reprinted seventeen times.  Once on Niflheim, Mickey 17 is assigned to capture one of the native lifeforms, insect-like creatures dubbed "creepers."  When he falls into a crevasse and is swarmed by the creepers, he is presumed dead and is reprinted again but the creepers rescue him resulting in two iterations which is forbidden.  Mickey 17 and Mickey 18 fight each other for control but they ultimately join with Nasha to save the creepers, and the planet, from Marshall's tyranny.  This is a hilarious satire with commentary on the evils of authoritarianism, religion (one of the funniest scenes is when Marshall's religious advisor, played by Daniel Henshall, leads a group in song), and colonialism as well as the ethics of cloning, the fear of death, and the futility of guilt.  Admittedly, there is a lot going on and the narrative does become a bit unwieldy with lots of subplots and unnecessary characters but the theme that resonates the most is the economic disparity found in a post-capitalist society (which is popular with director Bong Joon Ho).  Pattinson gives an absolutely bonkers performance (with two more silly voices in his repertoire and an impressive physicality) that is both highly sympathetic and fun to watch.  Ruffalo and Collette are completely over the top but I suspect that people will either love or hate what Ruffalo does with the character.  The production design and visual effects are distinctive and add to the overall dystopian tone and I loved the ponderous score.  This will not be for everyone but the dark humor really worked for me and I had a blast watching it with a crowd who laughed out loud every time I did.

The Monkey

The second movie in my double feature at the Broadway last night was The Monkey.  I was really looking forward to this and, even though a lot of liberties are taken with the original short story by Stephen King, I enjoyed it.  Petey Shelburn (Adam Scott) attempts to get rid of a toy monkey before abandoning his twin sons Bill and Hal (Christian Convery) but they eventually find it in a closet of his belongings.  They wind a key, which makes the monkey play its drum, and their babysitter Annie (Danica Dreyer) is decapitated in a freakish accident soon after.  Hal attributes Annie's death to the monkey and, after Bill bullies him in a cruel incident at school, he turns the key hoping that Bill will be its next victim but it is his mother Lois (Tatiana Maslany) who dies.  They are taken in by their aunt Ida (Sarah Levy) and uncle Chip (Osgood Perkins) who live in a small town in Mane but, when Chip becomes the next victim, Bill and Hal throw the monkey in a well.  Decades later, the brothers (now played by Theo James) are estranged and Hal is horrified when he realizes that the monkey has mysteriously reappeared after Ida dies in another unusual accident.  Terrified for his young son Petey (Colin O'Brien), from whom is is also estranged, Hal returns to Maine in order to find the monkey but he finds more carnage and an even bigger threat.  This is absolutely bonkers with some really wild and gruesome scenes (my favorites are when someone is electrocuted in a swimming pool and when someone's head is smashed by a swinging bowling ball) but I think this absurdist tone works because it emphasizes the irrational fear of death that keeps both Hal and Bill from living.  James gives a great performance, as both the sympathetic Hal and the villainous Bill, because it is his reaction to the almost comical deaths that creates the tension.  I also enjoyed several hilarious cameos, particularly Nicco Del Rio as a clueless priest and Elijah Wood as young Petey's stepfather.  Finally, the design of the monkey is really unnerving and I found the eyes to be especially malevolent.  A lot of horror movies that I've seen in the past year begin with an intriguing premise and then unravel as they go on, including Longlegs which was also directed by Osgood Perkins, but I actually loved the ending of The Monkey because it reiterates the theme that death is inevitable and you have to find a way to live anyway.  I highly recommend this to fans of horror.

Riff Raff

Last night I went to a double feature at the Broadway and I started with Riff Raff because I thought it would be a lot of fun with such a great cast.  It wasn't.  A retired hitman named Vincent (Ed Harris) is celebrating the holidays at his vacation home in Maine with his second family, wife Sandy (Gabrielle Union) and stepson DJ (Miles J. Harvey), who know nothing about his former occupation.  However, his carefully crafted new life is disrupted when his son Rocco (Lewis Pullman) unexpectedly arrives in the middle of the night with his pregnant girlfriend Marina (Emanuela Postacchini) and his inebriated mother, Vincent's ex-wife, Ruth (Jennifer Coolidge).  Through endless flashbacks, we learn that Rocco is being pursued by Vincent's former partner Lefty (Bill Murray) and Lefty's new associate Lonnie (Pete Davidson) for reasons.  This eventually leads to a violent confrontation in which Vincent must reconcile his past with his present.  The convoluted story unfolds at such a glacial pace that, by the time everything is revealed, I didn't really care any more because I was so bored.  The ensemble cast is stacked but the performances are surprisingly bland because they all just seem to be going through the motions portraying characters they've played before.  Finally, this doesn't work as a crime drama because the scenes of violence happen so haphazardly or as a comedy because it is not funny (the only time I laughed was during a brief scene with Vincent's overly helpful neighbors).  This had so much potential but it is ultimately very disappointing and I recommend giving this a miss.

The Seed of the Sacred Fig

The second movie in my double feature at the Broadway last night was The Seed of the Sacred Fig and it is an incredibly compelling and powerful indictment of the authoritarian regime in Iran.  Iman (Missagh Zareh) is promoted as an investigating judge in the Revolutionary Court of Tehran but, because he must regularly sign death warrants, the position is dangerous because people often attempt to seek retribution.  He is advised to keep his job secret from his family, which includes his wife Najmeh (Soheila Golestani) and teenage daughters Rezvan (Mahsa Rostami) and Sana (Setareh Maleki), and he is issued a gun for protection.  However, Najmeh insists that he tell his daughters about his job but they are becoming critical of the regime after the death of a young woman in police custody sparks widespread protests.  Rezvan eventually confronts her father when her friend Sadaf (Niousha Akhshi) is beaten and arrested at a protest.  Iman is under tremendous pressure at work because he is now expected to sign hundreds of death warrants due to the protests so, when his gun mysteriously disappears, he blames his daughters and subjects them to an intense interrogation.  When his personal information appears on social media, Iman's paranoia intensifies and he takes his family to hide at his childhood home which leads to an epic confrontation.  This has a really long runtime but I was absolutely riveted as the domestic drama mirrors the one that is playing out on the streets of Tehran.  The tension escalates very slowly as the two girls come to realize that the information on the news is not supported by what they are seeing on social media (actual footage from the protests that erupted in Tehran in 2022 is used and it is horrifying to watch) and that their father is complicit in what is happening.  Then the tension becomes almost unbearable in the third act with a truly frightening interrogation scene and an extended chase sequence that had me holding my breath.  The performances are understated but very effective (and incredibly brave) and I was especially impressed by Golestani because you can feel how torn Najmeh is between supporting her husband and protecting her daughters.  I was blown away by this movie, and the lengths to which director Mohammad Rasoulof went in order to bring it to the screen, and I highly recommend it.

I'm Still Here

When the Academy Award nominations were announced a few weeks ago, the only Best Picture nominee that I hadn't seen yet was I'm Still Here (click on the titles for my commentaries on Anora, The Brutalist, A Complete Unknown, Conclave, Dune: Part Two, Emilia Perez, Nickel Boys, The Substance, and Wicked) so I decided to see it as part of a double feature at the Broadway last night.  It is incredibly moving with a powerful performance from Fernanda Torres.  In 1970, Rubens Paiva (Selton Mello), a former congressman ousted by a military dictatorship in Brazil, is living in Rio de Janeiro near the beach with his wife Eunice (Torres) and his five children, Marcelo (Guilherme Silveira), Vera (Valentina Herszage), Eliana (Luiza Kosovski), Nalu (Barbara Luz), and Maria (Cora Mora), while working as an architect.  His happy and boisterous house is always filled with family and friends but, unbeknownst to Eunice, Rubens is active in the underground resistance to the regime.  Rubens is eventually arrested in a military raid and is "disappeared" but, when Eunice inquires about his whereabouts, she and her daughter Eliana are brought in for questioning and she is tortured for several days before being released.  Without a definitive answer about the fate of her husband, Eunice (who cannot even access her bank account without her husband's signature) must hold her family together while searching for answers which do not come for decades.  This is a straightforward story about resilience in the face of unimaginable terror but what makes it so devastating is the slow and measured introduction to this loving family and their idyllic life together before everything changes with a knock on the door.  You feel the weight of what has happened to them because you know how happy they were before their husband and father was taken from them.  There are so many scenes of quiet heroism as Eunice makes difficult decisions but I found it absolutely heartbreaking when she tells the children that they have to move away from their house in Rio.  Torres gives an incredibly nuanced performance in which you see every emotion Eunice is feeling on her face (the scene in the ice cream shop as she observes happy families all around her just about did me in) and she is definitely deserving of the Best Actress nomination.  I would highly recommend seeking this out.

Note:  Now that I have seen all of the Best Picture nominees, I want Dune: Part Two to win but, with the exception of Emilia Perez, I wouldn't mind if any of them did.

All We Imagine as Light

The second movie in my double feature at the Broadway yesterday was All We Imagine as Light.  I have been eager to see it ever since it won the Grand Jury Prize at Cannes this year and it did not disappoint because I loved it.  Prabha (Kani Kusruti) and Anu (Divya Prabha) are nurses who live together in Mumbai.  Prabha is very reserved and conscientious so, even though she is lonely because her husband abandoned her to work in Germany immediately after their arranged marriage and has not contacted her for over a year, she refuses the advances of a doctor (Azees Nedumangad) at the hospital.  Anu is more uninhibited and is having a secret affair with a Muslim named Shiaz (Hridhu Haroon) even though she worries that her parents and Prabha will disapprove.  Parvaty (Chhaya Kadam) is a cook at the hospital who is being forced out of her apartment by greedy property developers who want to demolish it to build a skyscraper.  When she decides to move back to her village on the coast, Prabha and Anu travel with her to help her get settled and both of them find release.  As much as I loved the theme of female empowerment, I was very intrigued by the examination of loneliness and how people often feel alone while living in a large city full of people.  This is portrayed with gorgeous shots of Mumbai at night with voice over narration from anonymous inhabitants about life in the city along with many shots featuring the women traveling alone in a crowd on public transportation.  The shift from the darkness of the city to the dazzling light of the village is striking (the cinematography in both locations is beautiful) and the scenes of revelation for both of the women are incredibly compelling (I was blown away by the magical realism in one and moved by the sensuality in the other).  The performances are subtle and the pacing is slow but it is still very powerful and I cannot recommend it enough!