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Movies Review

REVIEW – Captain America: Brave New World

Well, bless Marvel, even with diminished attendance and reviewers increasingly booing their efforts, they just keep on working to build their little narratives, piece by piece, film by film. The latest installment of the soap opera of the Marvel Cinematic Universe, directed by Julius Onah (whose most notable flick ’til now was the third CLOVERFIELD movie, the one that was on Netflix), picks up several ongoing threads from prior projects, including a few long-thought to be dropped, and seeks to provide some resolutions while moving other pieces forward towards the next big finale on the roadmap.

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Movies Review

REVIEW – Companion

Our story opens five minutes into the future, where young-ish Josh (Jack Quaid) and his beautiful girlfriend Iris (Sophie Thatcher) are driving up to a very secluded “cabin” in the woods — more like a rich guy’s personal resort — for a weekend with his friends, one of whom is dating the cabin’s vaguely sinister Russian owner Sergey (Rupert Friend, hamming it up with the accent). After a fun but occasionally awkward night of drinking and dancing with his pals, Josh and Iris HAD planned on going out to the lake together the next morning, but he says he’s got a hangover and sends her on ahead. Well, when she gets there Sergey first subtly and then FORCEFULLY tries to have his way with her. Iris defends herself, and … well, that lights the fuse that blows up the whole weekend.

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Movies Review

REVIEW – The Brutalist

Always a bit amazed when the three-hour-plus Oscar-bait turns up at the local cinema, especially one with a (brief) overture and a fifteen-minute intermission. Brady Corbet’s multiple award-nominated period drama stars Adrien Brody as architect — gee, I wonder what style of buildings he designs — and Holocaust survivor László Tóth, who is trying to make a new life for himself in late ’40s America. The bulk of the narrative concerns him getting pulled into the orbit of a wealthy benefactor played by Guy Pearce, who wants László to design a massive multi-purpose public building in his late mother’s name; László is also trying to secure passage to America for his wife (Felicity Jones) and niece (Raffey Cassidy). It feels like THE BRUTALIST is engineered to win a game of Oscar-bait Bingo: on top of the protagonist and his wife being Holocaust survivors, there’s also a drug addiction narrative, multiple sex scenes, a frank conversation about antisemitism that also felt like it could be applied to anti-immigrant feeling altogether, and an underlying theme about the power and peril of an artist holding to their truest vision. Certainly not regretting seeing it, the performances are all outstanding — it’s nice to see Guy Pearce in movies again, I think especially as a rich dickhead; he’s very convincing with both the polite and charming front and the “telling it like it is” douchebaggery — and it’s beautifully shot and cleverly constructed with either genuine or convincing recreations of mid-century shorts talking up what a great place Pennsylvania is, but eventually I really did feel the runtime. At some point ’round the middle of the back half I wondered, “if the building doesn’t get finished, how much more of this guy’s misery are we going to have to sit through?” Worth seeing, I’d say, but do get up and walk around during the intermission and maybe have some cheerier entertainment on deck for once it’s over.

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Movies Review

REVIEW – The Substance

What a wild ride of a thing. Coralie Fargeat’s pitch-black horror-comedy has in it, appropriately, the DNA of a half-dozen things you might’ve seen before — off the top of my head, there’s the “seemingly arbitrary rules that will inevitably be broken, and woe betide those who do so” of GREMLINS and the central bargain for youth and beauty very much reminds me of Robert Zemeckis’s DEATH BECOMES HER — and hell, I’ve never even seen the flick, but the ending has me going, “CARRIE, right?” But this whole stew of riffs and ideas is in service of one central thesis: ladies, holding yourself to patriarchal standards of youth and beauty is a losing game. The only winners are the leering perverts who prop this whole system up, who, no matter what you do, WILL invariably start looking the other way in search of fresh meat. This is what happens to actress and TV fitness star Elisabeth Sparkle (Demi Moore, who spends probably two thirds of the movie in a state of visceral rage and/or horror, and has been getting some well-deserved kudos for it), cast out of her long-running TV program by the World’s Grossest TV Executive (Dennis Quaid, hamming it up magnificently as someone you’d REALLY like to see suffer some consequences at the end). The sight of her own face coming down off a billboard (not even for the show, it’s a TOOTHPASTE AD) so distracts her that she gets in a car accident, and while she’s getting a clean bill of health, a suspiciously handsome nurse (I literally said to myself before anything happened, “hold on, that man is TOO HANDSOME”) slips a USB drive in her pocket. On it is a video advertisement for the titular Substance. Once she breaks down and buys in, the deal is this: Elisabeth injects herself with this green stuff and a second person cooked up by her own DNA, uh, *emerges* (in a weird, gross way — there’s lots of things in this movie that can be described as “weird” and “gross”): younger, prettier, “more perfect,” but still tethered to the original “her” in multiple ways. Like, it seems clear this is very similar to (weirdly) how the last Doctor Who regeneration worked — both remember everything up to the point this process happened, but then they’re going about their own lives.

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Movies Review

REVIEW – Transformers One

Oh, like I *wasn’t* going to see this — and given how the trailers didn’t really impress me, and the early buzz left me skeptical (yes, even the strong praise from fellow Transformers fans), I was pleasantly surprised. The first domestically-released animated TRANSFORMERS movie since the original 1986 film, Josh Cooley’s TRANSFORMERS ONE winds the clock all the way back to the days before the Autobot-Decepticon war, where young Orion Pax (Chris Hemsworth) and D-16 (Brian Tyree Henry) are non-transforming miner-bots extracting Energon from the depths of Cybertron. Pax is an eager dreamer, and D-16 the “oh boy, what are we getting ourselves into THIS time” best bud who always gets dragged along for the ride. A series of hare-brained plans going wrong, right, and then wrong again get the pair, along with a slightly loopy little yellow bot named B-127 (Keegan Michael Key) and their former mining crew chief Elita-1 (Scarlett Johansson), stranded on the dangerous surface of Cybertron, in search of the lost Matrix of Leadership that will restore their world — scarred by a long war with the alien Quintessons — to its former glory. The quest leads them, however, to uncomfortable truths: about the war, about current Cybertronian leadership in the person of Sentinel Prime (Jon Hamm), and about what has been stolen from their entire generation. The two friends’ very different ways of processing and reacting to these truths will reshape the planet’s future — and turn Pax into the legendary inspiring beacon of hope Optimus Prime, and D-16 into the cruel, malevolent Emperor of Destruction Megatron.