Movie Review Glass Onion A Knives Out Mystery

Glass Onion A Knives Out Mystery (2022) 

Directed by Rian Johnson 

Written by Rian Johnson 

Starring Daniel Craig, Janelle Monae, Edward Norton, Kate Hudson 

Release Date November 23rd, 2022 

Netflix Release Date December 23rd, 2022 

Years ago, movies were home to terrific detective characters. For whatever reason, the character of the independent investigator fell out of favor. Perhaps its because independent detectives have rarely been relevant in real life since the days of Humphrey Bogart, or the rise of television gave detectives a more generous home, movie detectives had been in decline for years until 2019 when filmmaker Rian Johnson reminded us how much fun the detective genre can be with his ingenious mystery, Knives Out. 

With the release of Glass Onion A Knives Out Mystery, we have proof positive that the detective genre is back with a vengeance. This mystery finds the world's greatest detective Benoit Blanc languishing in the boredom of the pandemic before having his intellect revived with a new case that gets him back into the world. Delivering another career best performance, Daniel Craig gives Benoit Blanc a life and charm that echoes through the history of detectives on film, a brand new colorful icon for this beloved sub-genre. 

A group of 'friends' have received an invitation to the private island of a billionaire named Miles (Edward Norton). All of the guests are Miles' long time friends but they are also people whose livelihoods and financial well being are linked to the benevolence of Miles and his bank roll. In this group is a regularly cancelled former model, Birdie Jay (Kate Hudson), a superstar Twitch Streamer turned Mens Rights Advocate, Duke (Dave Bautista), his model girlfriend Whiskey (Madelyn Cline), a liberal Gubernatorial candidate, Claire (Kathryn Hahn), and a boundary pushing scientest, Lionel (Leslie Odom Jr.) who may have completely solved our environmental crisis or may be about to blow up the planet. 

Interestingly, and quite unexpectedly, another guest for this murder mystery party is Miles' former business partner and best friend, Cassandra (Janelle Monae). This is quite surprising as Cassandra had just sued Miles after ending their business partnership. Miles stole her idea and used his vast army of lawyers to destroy Cassandra while convincing their mutual friends, the other guests at this party, to lie for him in court. So that's awkward. 

Even more interestingly, who invited Benoit Blanc? Benoit received the same strange puzzle box invitation that everyone else did and yet, Miles did not know that the world's greatest detective had been invited to his murder mystery themed weekend. This adds to the layers upon layers of mystery and intrigue that writer-director Rian Johnson has built into this exquisite mystery. But this is no mere mystery, Glass Onion A Knives Out Mystery is also hilariously funny. This group of brilliant actors get laughs effortlessly and organically, never too broad or unrealistically. 

Click here for my full length review at Geeks.Media. 

Movie Review The Son

The Son (2022) 

Directed by Florian Zeller 

Written by Florian Zeller, Christopher Hampton 

Starring Hugh Jackman, Laura Dern, Vanessa Kirby 

Release Date November 25th, 2022 

Published November 29th, 2022

The Son stars Hugh Jackman as business dad, Peter Miller. Peter is a business dad who does business things like staring pensively out of a window, wearing nice suits, and ignoring his family. Peter's business dad persona is shaken when his ex-wife, played by Laura Dern, turns up at his door one evening. The ex-wife, Kate, informs Business Dad Peter that their teenage son, Nicholas (Zen McGrath), whom Peter has dutifully ignored per the rules of being a Business Dad, has been skipping school and she can no longer keep track of him. 

Kate tells Business Dad that Nicholas wants to live with him and after consulting with his new wife, the brilliant, and completely wasted here, Vanessa Kirby, he agrees. Now he can truly be a Business Dad and ignore his son directly. No surprise then that Nicholas immediately begins skipping school again. New wife catches him hanging out in a park instead of going to school. Business Dad tries talking to his son and crying but it doesn't work, and Nicholas becomes ever more despondent until he attempts to kill himself because Business Dad is always business-ing.

Where director Florian Zeller made a genuinely thoughtful and insightful film about mental health and aging in The Father, he has crafted a dramatically inert and lacking in insight film in The Son. Hugh Jackman does his best cry acting since The Fountain and the result is a movie that even Laura Dern and Vanessa Kirby cannot lift to a level of being watchable. The problems are evident in a story that has nowhere to go. Business Dad is bad and wrong and should not be a Business Dad is the level of insight we get in The Son. 

It's all dad's fault that his son has severe mental health problems. It's his fault for working too much, for breaking the norms of society by, shock of shock, leaving his wife for a younger woman. He's wrong for being too rich and successful and for traveling too much. That's the surface level critiques that The Son appears to be lobbing at this Hugh Jackman character and his response is to cry or to sulk in his big corner office, staring wistfully out of high rise windows. 

Truly, I am trying to understand the purpose of The Son other than pure misery porn. The film crafts a character in Nicholas who has no way forward, he's a boulder rolling down hill toward tragedy. That's not a bad place to start with a character but the movie gives him no nuance, there is no insight into who Nicholas is or what drives him. The journey from introducing this unpleasant teenage child to the inevitable tragedy seemingly coming at the end is a series of miserable scenes that do explain why the kid is a trainwreck in progress but there is simply nothing else happening here. 

Attempts to give the movie something beyond Business Dad bad, sad teenager wants to die, involves introducing a character played by Anthony Hopkins. Hopkins plays Business Dad's own Business Dad, a true prick, a hateful, bitter man, who also happens to see right through Jackman's Business Dad. When Hopkins' character mocks Jackman's character for seeming to blame him for his failure as a father, it's cruel and lacking in empathy and self regard, and it is the single most honest moment in an otherwise  phony movie. 

Hopkins is unquestionably supposed to be a villain here and yet, he makes the character seem cruel but with a purpose. He's the first character who does something other than sulk, cry, or run to another room to avoid the drama. I don't want to say that Hopkins' openly cruel, arrogant, and bitter character is refreshing, but I am struggling to describe it as anything other than that when compared to everything else in this mind-numbing melodrama. 

How does a movie have the brilliant Vanessa Kirby and relegate her to leaving the room when the drama kicks in. Her character exists to be called away to check on a baby. That is until she gets shuffled offscreen permanently with the excuse that she needs to protect her baby from all the drama. This is not how you use your Vanessa Kirby. Kirby is a brilliant actress, having her constantly leaving the room to check on an unseen baby is a weird choice for how to use her. 

Click here for my full length review at Geeks.Media. 

Movie Review She Said

She Said (2022) 

Directed by Maria Schrader 

Written by Rebecca Lenkiewicz 

Starring Carey Mulligan, Zoe Kazan, Patricia Clarkson 

Release Date November 18th, 2022 

Published November 23rd, 2022 

She Said takes cues from All the Presidents Men and Spotlight and turns a spotlight on the abuses that led to the #MeToo social media movement. The film stars Carey Mulligan and Zoe Kazan as New York Times journalists Jodi Kanter and Megan Twohey who spent several months crossing the country, conducting interviews and uncovering information about Hollywood producer Harvey Weinstein, a criminal, rapist, creep who is currently in jail for the crimes he committed. 

It's important to say that Weinstein is a convicted criminal as there are people who attempt to minimize what he did and brush away criticism of powerful men by hand waving sexual harassment as being a product of the time it was committed. It's a bizarre bit of mental gymnastics but there are numerous media figures who are willing to stand up for the Harvey Weinstein's of the world and excuse their behavior because these powerful men didn't know what they were doing was a crime. I

In the years before the Women's Rights movement and the increased representation of women in the workplace and in the halls of power, it was commonplace for powerful men to abuse women, to make demands of women sexually, and to go even further than that in forcing themselves onto unwilling women. By the logic of Harvey defenders, men of a certain age should be forgiven for their behavior because that's just how they grew up. Pro tip, if you think this way, you're part of the problem, you're wrong and please stay away from women. 

Part of the strength of She Said is how the movie demonstrates what these reporters were up against. They were battling not one villain, though Weinstein is undoubtedly a villain who occupies a large space in this story. No, they were battling an entire mindset. They were up against a culture that, at the time, treated terms like Casting Couch as a punchline. Women have been degraded for years by people who thought it was funny that a woman had been 'riding the casting couch' to get where they are. 

The behavior of Harvey Weinstein, aside from when it rose to the level of actual criminal behavior, was treated as normal. Asking a woman for a massage, asking women to remove their clothes, asking women to watch him take a shower, these actions were normalized and convincing the world that these behaviors were more than just wrong, they were worthy of punishment, was a massive boulder that these reporters were pushing up a steep hill. 

Then there were those who eagerly blamed the victims of people like Harvey Weinstein. She Said benefits from the use of names we recognize such as Rose McGowan, a victim of Harvey Weinstein who was degraded for speaking out when her assault actually happened. Here is a question for you, what made you think Rose McGowan wasn't telling the truth when she spoke about Harvey Weinstein assaulting her? What about her made her any less credible than any other person alleging an abuse of power? 

If you are planning a rebuttal to my question in the comments then ask yourself this, why do you know any of what you think you know about Rose McGowan? Why are you so invested in the idea that she may not be telling the truth? Why does it matter to you? You aren't Harvey Weinstein, you aren't his defense attorney. If you're wanting to turn this around and make this about me, ask yourself why you are so eager to argue about something with someone who also has no vested interest in what happened? Before you write your rebuttal, truly examine your life and perhaps consider moving on. 

Click here for my full length review at Geeks.Media. 

Movie Review Vicky Christina Barcelona

Vicky Christina Barcelona 

Directed by Woody Allen 

Written by Woody Allen 

Starring Scarlett Johannson, Rebecca Hall, Javier Bardem, Patricia Clarkson, Penelope Cruz 

Release Date August 15th, 2008 

Published November 23rd, 2022

Let's address the Woody Allen in the room. Vicki Christina Barcelona was written and directed by a man who has credibly been accused of abuse. It's inescapable that Allen's abuses and his poor response to very public allegations, colors his work. As a critic reviewing a Woody Allen movie in 2022 I have to make a determination. I must decide if I am viewing the art or the artist and how much the artist is reflected in the work. Woody Allen is particularly complicated in this way as his films have all tended to be very personal, reflective of his life experiences and relationships with women. 

Does his status as an accused, very likely real, abuser mean that his art must be shunned? Can we still view the work of Woody Allen and admire it even as we condemn him as a human being? I'd like to believe so but I am not of the authority to make that decision for everyone. I have to accept that if I choose to write about the work of Woody Allen and I find elements that I appreciate, I must accept that someone will take that as some kind of tacit endorsement of Allen. I don't endorse anything about Woody Allen the man but I understand where you are coming from dear reader. 

Why have I decided to engage with the work of Woody Allen now? Because I think Rebecca Hall is incredible in Vicki Cristina Barcelona and it was her breakthrough performance. She became a mainstay among those who love great acting after this performance. And since my podcast is going to be talking about Rebecca Hall's most recent, incredible performance, Vicki Cristina Barcelona was, for me, an unavoidable corollary. 

Rebecca Hall stars in Vicky Cristina Barcelona as Vicky, a grad student who accompanies her best friend, Cristina (Scarlett Johansson) on a trip to Spain. It's a getaway for the summer but it is also a working getaway for Vicky. Vicky is working on a masters in Catalan Culture and Spain is home to a portion of that culture which has a worldwide spread. Vicky hopes to explore the art and history while Cristina, an actress, is searching for an identity and looking to have fun. 

Vicky can be fun but she's also engaged to be married to Doug (Chris Messina), a steady, stable, investment banker back in New York. The engagement and her academic pursuits limits Vicky's idea of fun. Restless Cristina, on the other hand, has nothing holding her back. Thus, when a sexy Spanish artist named Juan Antonio (Javier Bardem) approaches them out of the blue and invites them on an overnight plane trip to a small Spanish tourist town, Cristina says yes immediately and Vicky begrudgingly tags along. 

To his credit, I guess, Juan Antonio is remarkably straight forward about his intentions. He is asking both Cristina and Vicky on this trip to show them a good time, enjoy great food, and to have sex. The sex can be one on one or all together, he's not picky. Cristina is charmed by Juan Antonio's bluntness while Vicky at least feigns being put off by the artists come on. Where the movie goes from here is a rather unique journey as each of these three people is forced to confront their conception of themselves, their identity, and their desire. 

As a writer, Woody Allen has a knack for painting his characters into corners and forcing them to confront their situation and determine a way out. Allen lets not one of these characters off the hook easily. All three will be forced to confront themselves in ways that feel true to each. The internal conflicts find physical expression in art, sex, and the everyday decisions these characters make regarding one day to the next, to the future. 

The construction of the plot is nearly flawless as Allen deploys his supporting character brilliantly to highlight the conflicts of our trio of leads. National treasure Patricia Clarkson may have a limited role but she works to provide a complication to Vicky's story that is perfectly timed. Chris Messina's character, Doug, may be merely functional in the plot but Messina infuses the character with life and he's used brilliantly as an example of Vicky's fork in the road. 

Click here for my full length review at Geeks.Media. 

Movie Review Bones and All

Bones and All (2022) 

Directed by Luca Guadagnino 

Written by David Kajganich 

Starring Taylor Russell, Timothee Chalamet, Mark Rylance, Michael Stuhlbarg 

Release Date November 18th, 2022 

Published November 28th, 2022 

Cannibalism, eating people. Bones and All follows a small subset of people who are cannibals but not by choice. Maren Yearly (Taylor Russell) was born a cannibal and, as we come to find out, she can't control this desire. Her father helped her manage it for a while and even kept her from realizing her true nature for a time. However, after she snacks on a friend from school, biting off her finger, Dad can't keep her hidden anymore and he's not sure that he should. After bundling her up and setting her up in a new home, he disappears. 

Left on her own, Maren has only a few dollars and a tape that her father made explaining the things that have happened that led to him leaving. He also pointed her in the direction of where her mother may be, somewhere in Minnesota. The film is set in the 1980s so no cellphones or internet, and this is a strong choice as a cellphone and internet access would undoubtedly undermine much of Bones and All. Maren's isolation and the few fellow cannibals she's able to meet in person would be less meaningful if she could join a supportive cannibal community on Facebook. 

The first cannibal that Maren meets is a true creep. Sully (Mark Rylance), upon meeting Maren, claims that he could smell her from more than a block away. The movie eventually explains that all cannibals are capable of smelling each other but it is an effectively creepy way to introduce Sully, who also talks about himself in the third person. Mark Rylance is an effective horror movie character. He suggests an art-house take on Texas Chainsaw Massacre 2's Chop Top. 

Maren does end up spending a night at a house that Sully has staked out. It happens to be the home of an elderly woman who is slowly dying on the floor of her upstairs bedroom while Sully is preparing game hens for dinner. He tells Maren that he feeds on people who he knows are dying, though that is an unsurprising lie. The two share a meal together, if you know what I mean, and then Maren runs off, frightened by Sully's creepy vibe. He's not gone though, unfortunately. 

At the next stop of her journey toward Minnesota and the mother she has never known, Maren meets Lee (Timothee Chalamet) after he disposes of a jerk at a store, and covers for her while she shoplifts. Maren uses her newfound sense of smell to determine that Lee is also a cannibal and since they are close in age, Maren feels comfortable getting to know him. This begins a tentative romance, though one troubled by their equal need to feed on human flesh. 

I am not sure I understand the point of Bones and All. The film has elements of a horror movie but it isn't scary. The film appears to be aimed as a teen romance but the romance is rather tepid. I can see the artfulness in the direction of Luca Guadagnino, he's a tremendous director. The production design, the evocation of the past without leaning too heavily on obvious signifiers, demonstrate his talent for time and place in his work. 

Click here for my full length review of Bones and All at Geeks.Media. 

The Fabelmans

The Fabelmans (2022) 

Directed by Steven Speilberg 

Written by Tony Kushner 

Starring Paul Dano, Michelle Williams, Seth Rogen

Release Date November 18th, 2022 

I am not here to call out any of my fellow film critics. Like what you like and make your review whatever you want it to be. That said, I have made the mistake of reviewing the movie I wanted to see versus the movie that is actually what I watched. I bring this up because I have seen a few fellow critics asking for the new Steven Speilberg movie, The Fabelmans to be a different movie. They want to see Speilberg tell a story about becoming a filmmaker in Hollywood in the late 60s and early 70s. The Fabelmans is, instead, about Speilberg's childhood, the very roots of his dreams of becoming a filmmaker. 

We have to review the movie that The Fabelmans is and not the film we wish it were. I understand the motivation, I really do, because I didn't find The Fabelmans particularly satisfying. This coming-of-age story feels a bit flabby, broad and lacking in insight for my taste. It's not a Steven Speilberg biopic, it's a romanticized, fictional take on the unusual memories that shaped one of our greatest filmmakers. It has moments of grace and lovely intentions, but the feather lightness of the material never gains weight. 

The Fabelmans begins with young Sammy Fabelman seeing his first movie, the Best Picture winning The Greatest Show on Earth. The final moments of that film contain a remarkable train crash the staging of which is why the movie won Best Picture. It's a remarkable achievement that crosscuts miniatures and a real staging brilliantly considering the limitations of technology in 1956. It makes sense that Sammy would find this sequence pivotal, a flashpoint in his life that he never forgot. 

Having become obsessed with this sequence, Sammy takes the toy train set that his father. Burt (Paul Dano), painstakingly assembled for him as a series of Hanukah gifts and recreates the scene. Putting a car on the tracks and his train running at it, Sammy is lucky not to destroy his new expensive toys. While Burt is upset with his son, Sammy's mom, Mitzi (Michelle Williams), sees things differently. She knows that Sammy needs to understand how the train accident was done, the magic of the movie must be recreated. 

Thus, Mitzi gives Sammy his father's camera. She tells him to film it one time and then he won't have to destroy his toys to understand the movie. Sammy, doesn't quite listen to his mom's advice. Instead, he films the scene multiple times from different angles and then arranges the shots in a way that mirrors editing, though isn't quite cutting film. He's able to show it to his mom and she's blown away with his talent and encourages him to keep working with dad's camera. This is the genesis of Sam Fabelman, film director. 

Cut to teenage Sammy, now Sam (Gabrielle Labelle). Now a boy scout and seeking his photography badge, Sam uses his Boy Scout pals to be part of his first movie. Inspired by a showing of The Man Who Shot Liberty Valance, Sam is going to make a western. It's a huge hit with his friends, fellow boy scouts and his family, each of whom are blown away by Sam's talent and dedication. This leads to another movie, this time a war drama that earns tears from his mom and applause from everyone else. 

Find my full length review of The Fabelmans at Geeks.Media. 

Movie Review White Noise

White Noise (2022) 

Directed by Noah Baumbach 

Written by Noah Baumbach 

Starring Adam Driver, Greta Gerwig, Don Cheadle 

Release Date November 25th, 2022

Published November 18th, 2022 

Netflix 

I've never read Don Delillo's much heralded 1985 novel, White Noise. Others have told me it is quite brilliant. I'm told it has a visionary quality that makes it quite worthy of being adapted at any time. From what I know about White Noise, Noah Baumbach, director of intimate dramas about awkward families and spiky characters, would not be the most likely choice to direct this material. The story carries elements of science fiction, high minded satire ala Joseph Heller, and a borderline unfilmable obsession with death. Unfilmable in that most audiences won't find the theme one they want to watch play out in a movie. 

It's rather perfect that an iconoclast like Baumbach would choose something so seemingly impossible as his first big budget directorial effort. It's also kind of perfect that he's taken millions of dollars of Netflix money and made an indie movie on a blockbuster budget. White Noise is filled with showy, dramatic speeches, and wildly strange moments of action fitting of a director of esoteric human drama. White Noise is filled with numerous themes but none of which seems to stand out or find any satisfying resolution.

Adam Driver stars in White Noise as J.A.K or Jack Gladney, father of 5 children from 4 marriages to five different women. His new wife, Babette (Greta Gerwig), shares with Jack a despairing fear of death. What begins as a somewhat romantic, fatalistic conversation about how they can't live without each other and making the case that one should die before the other in order to save them from comparative states of horrific grief. 

Babette's fear of death manifests in her beginning to take an experimental drug that is supposed to relieve her of the fear of death. Instead, the drug just effects Babette's memory in general making her forgetful but still deeply in fear of death. For Jack, he expresses his fear of death through his work as a professor at the fictional College on the Hill, located somewhere in Ohio. Jack has earned fame in Academic circles for his intensive course, Hitler Studies, where he opines on the evils of the dictator and the culture that made him possible. 

At one point, White Noise comes to a complete halt for a dueling speech between Driver's Jack and his best friend, Professor Murray Siskind (Don Cheadle). In an incredible verbal dance, Jack and Murray each pontificate about the area of their expertise. Jack, of course, knows all about Hitler while Murray's unique field of study is Elvis Presley. The pair find strange and fascinating parallels between Hitler and the King of Rock N'Roll in each having attachment issues related to their mothers, their absent fathers, and their incredible ability to draw and compel a crowd. 

Neither Driver and Cheadler nor Jack and Murray are competing here. Rather, the pair is improvising a intricate dance of intellects that dovetail off of one another, building on each others points, coming to the point of interrupting each other but never seeming to steal the attention away. At one moment, Jack recedes into the crowd of gathering professors and students, mesmerized by their tete a tete and then he re-emerges in a different part of the crowd, rising from a crouch to take hold of the scene, and Murray steps back in awe to enjoy his fellow Professor's presentation. 

It's the best scene in White Noise and it is so good that I want to recommend the movie solely based on the quality of Driver and Cheadle's magnificent duet. I want to recommend it but I am not sure that I can. You see, what remains of White Noise following this bravura effort is far too strange, obtuse, and esoteric that I am not sure who the audience for this is meant to be. White Noise has director Baumbach tapping various styles from other directors from Altman to Wes Anderson to Mike Nicholas and Stanley Kubrick. The homage throughout White Noise is fascinating but I am not sure it adds up to anything in the end. 

I'm told that Delillo's novel actually thrives on trainwrecking the narrative into some inescapable place and leaping to a new narrative thread. White Noise, in fact, depicts an actual trainwreck that serves the purpose of shifting the narrative from quirky academic satire to an equally quirky survival thriller. The family is forced to flee from their home after a train is hit by a semi-truck carry flammable chemicals. The train was carrying toxic waste and the result is what the book and film call an 'Airborne Toxic Event.' Jack ends up being exposed to the Toxic Event and assumes that it is going to kill him but that is only used to underline his ongoing obsession with death. 

The Airborne Toxic Event portion of White Noise includes a chase scene and chaotic, end of the world preaching and then just peters out into the family returning home and going on with their lives. It's weirdly clever and provides yet another narrative trainwreck into another story, though slightly less successful than the actual trainwreck scene. The final act then becomes a domestic drama as Jack investigates Babette's experimental drug. I doubt that I can spoil the movie but I am nevertheless going to end my description there. 

White Noise is a particularly unsatisfying experience. On one hand, I love some of the ambition that Baumbach demonstrates. The stuff with Driver and Don Cheadle and Hitler and Elvis is genuinely riveting. Driver's performance is weird, as is Cheadle and Greta Gerwig's performances but they are entertainingly weird, they match the weird tone of White Noise. The acting is really first rate in terms of how it marries with the wild ideas of White Noise. That said, I can see where a more mainstream audience than myself, might be put off by the theatrics, the showiness, and the un-ironic bigness of these performances. 

I also love the film credits which encompasses the final scene of the movie to the very end of the last credit on screen. It's essentially a music video reminiscent of the wildly anarchic and inventive style of a Spike Jonze video. The lengthy choreographed sequence marries dancers and non-dancers a like in a series of coordinated movements that mimic and mock the daily mannered pleasantries of grocery stores in our obsessive consumer culture. Actual dancers glide amid the coordinated movements of shoppers, smiling, everyday consumers, going about the business of selecting their varieties of brands and filling carts to overflow with item after item. 

Consumer culture is among the many broad targets of White Noise though what point is being made about consumer culture is far too broad to determine. That really is the defining quality of the movie White Noise, it's a scattershot blast of vague commentary on modern life, some of it quite interesting and entertaining and quite a lot of it presented without much insight, humor, or meaning. I could excuse that as being just like life where not everything has a deeper meaning but that feels like a cop out by both me as a writer and critic and by the movie which appears incapable of settling on any kind of point. 

Click here for my full length review at Geeks.Media.