Movie Reviews
F1 THE MOVIE Review
Dominant Worldview and Other Worldview Content/Elements:
Strong but not fully developed Christian, moral worldview where the main race car driving hero kneels to pray silently before races, there are references to a racing “miracle” during the big race and references to pulling a “Hail Mary,” and movie promotes friendship, teamwork, a strong mother-son relationship, the importance of fathers (both the veteran hero and his rival teammate learn both their fathers died when they were young and the veteran still has a photo of him with his father as a young boy), doing the right thing is extolled at least twice, sacrifice wins the day and solves the major plot problem, and veteran racing hero pursues the feeling of ecstasy and peace that sometimes comes when driving a race car (the movie depicts it almost in a spiritual sense as if it brings the character closer to God, though, of course, the hero’s pursuit would be better if it were focused on Jesus), but there are some pagan, hedonistic and selfish motivations in the characters, though the movie has a very strong pro-capitalist or pro-business viewpoint (the veteran hero is trying to help his friend save his Formula 1 racing company, and teamwork and hard work are mentioned and depicted as very important to accomplishing that goal, such values are, of course, American values that also have a biblical tradition), plus two major female characters in the race car company have a feminist goal of being just as respected as the men in that male-dominated field, and there’s an apparent image of a Muslim mosque when the movie shifts to the final Formula 1 race of the annual season, which occurs in Abu Dhabi;
Foul Language:
About 43 obscenities (including one “f” word), one strong profanity (which perhaps can be considered somewhat borderline), where someone exclaims “Sweet Baby Jesus,” three GD profanities, four light profanities, and one of a racing team’s advisor/coach jokingly uses an obscene gesture against another team’s advisor/coach later in a race after the second guy had mouthed an “f” word at him earlier;
Violence:
Violence includes a few intense car crashes, including one where a car bursts into flames, and another driver pulls the driver out of his fiery car (the injured driver just burned his right hand, so he must sit out of the F1 racing circuit for three races to recover), past footage of a Formula 1 race shows a driver lying unconscious in the road, ,any intense car racing scenes, some lesser examples of crashes and spinouts and tires hitting tires during races, and team rivals have shoving match in one scene;
Sex:
No depicted lewd sex, but fornication is implied when an unmarried couple kisses passionately and then wake up in bed next to one another (the man has a nightmare about a major racing crash and sits up and gets out of bed while the woman is still sleeping in the bed), and race car driver’s manager wants them to find a girl when they visit a disco bar;
Nudity:
Upper male nudity as driver work out or walk around in a two or three scenes, and young driver goes to a disco with his manager and there are girls in some slightly skimpy clothes or dresses;
Alcohol Use:
Some brief alcohol use, especially in a disco scene;
Smoking and/or Drug Use and Abuse:
Someone smokes a cigarette but no illicit drugs; and,
Miscellaneous Immorality:
Strong miscellaneous immorality overall such as corrupt businessman forges some papers against the racing car company in the movie so he can buy the company at a lower price after the big race, but his plans are foiled, and the hero is a nomad who’s had one marriage annulled and two divorces over period of 30 years (the story is that the crash that ended his Formula 1 racing career left him adrift and brought out his worst qualities until he found some peace as a nomad going from race to race while living in a van), it’s said that the hero once had a gambling problem, and he still likes to place an occasional informal bet, and when the hero’s friend gives him a chance to race the second half of the Formula 1 circuit again the hero is not above breaking the rules occasionally (though he at first does it on the racetrack to make the other drivers respect him and his teammate).
F1 THE MOVIE stars Brad Pitt as a veteran race car driver who clashes with a young racing phenom when an old friend of Pitt’s character, played by Javier Badem, asks his friend to help train the younger man in Formula 1 racing, 30 years after the veteran driver had a huge wreck that ended his own promising career in that pinnacle of international racing. F1 THE MOVIE has some of the best, most exciting racing scenes ever filmed, tells a compelling redemptive story with engaging characters where teamwork and sacrifice win the day, and includes some positive Christian references, but it has lots of light to medium foul language, plus five strong obscenities and profanities, an implied bedroom scene and some other, more concerns.
The movie begins with veteran race car driver, Sonny Hayes, meeting his old friend, Ruben Cervantes, who now owns a Formula 1 racing team. Thirty years ago, Sonny was a Formula 1 rookie phenom. However, he was a little reckless and suffered a major crash that wrecked his career. So, now Sonny is a racing nomad who lives in a van and goes from race to race.
Ruben offers Sonny $5,000 to be the second driver on Ruben’s Formula 1 team. Ruben also wants Sonny to help train the main driver, a young black racing phenom named Joshua Pearce, who’s still a little green or inexperienced. Riben also gives Sonny a first class plane ticket to the next grand prix race near the village of Silverstone in England. Ruben’s Apex Grand Prix team hasn’t won a race all season, and the board of directors is about to sell the company if the team can’t turn things around. Sonny seems reluctant, however, to take Ruben up on his offer.
The time for the preliminaries at Silverstone is about to start. Ruben thinks Sonny has decided not to come. However, a big smile appears on his face when Sonny suddenly arrives, grinning sheepishly, and informs Ruben he went to the wrong entrance.
Things don’t go well at first, though. Joshua rubs Sonny the wrong way when Joshua gets angry at a female on the pit crew who makes a mistake. Also, during the Silverstone race, Sonny won’t let Joshua pass him when Sonny manages to running ahead of Joshua. Sonny thinks Joshua is being a bit rude and acting entitled to passing Sonny. It also irks Joshua when Sonny ruins the race for them by deliberately bumping tires with the other drivers, and both his and Sonny’s car spin out of the race. The rest of the team isn’t too happy about it either. However, Sonny informs them that one of the reasons they’re not doing so well so far is because the other drivers don’t respect them. Thus, there’s a reason for Sonny’s apparently reckless behavior.
Things get even worse when Sonny advises the team to let Joshua keep waiting to change tires toward the end of another race so that, when he does change tires, Joshua will have fresher tires than the other drivers. At that point in the race, it’s started to rain. Using the team’s com system, Sonny advises Joshua to run fast on a straightaway but slow down on an upcoming curve. Joshua doesn’t listen and doesn’t slow down, and crashes. His car catches fire, and Sonny has to get out and run to Joshua’s car to pull him out of the burning car.
Happily, Joshua only burns his right hand slightly, but it means he’ll have to sit out the next three races on the circuit. However, Joshua’s loving mother, who travels with Joshua wherever he goes, isn’t happy. Joshua didn’t tell her that he ignored Sonny’s warnings about the curve. So, she’s extremely upset and reads Sonny the riot act. Sonny doesn’t tell her what really happened, though.
Naturally, without the fireworks between Sonny and Joshua, the team starts to do better when it gets a temporary replacement. So, when Joshua finally returns to the team, the question becomes, Can Sonny and Joshua bury the hatchet and finally become a team that can win?
Other twists occur, of course, to add more jeopardy to the story and its conflicts. Also, the movie finally reveals why Sonny never tried to return to the Formula 1 circuit and why he can’t quit racing.
F1 THE MOVIE has some of the most riveting racing scenes ever made. It tells a compelling redemptive story with engaging characters where teamwork and sacrifice win the day. The movie also promotes friendship, a strong mother-son relationship and the importance of fathers. It also has positive Christian references. For example, Bard Pitt’s racing hero, Sonny, prays silently before each race. The movie also has references to a “miracle” happening during one race and references to throwing a Hail Mary pass in football, an idiom that the racing team uses during one of its strategy sessions. In addition, the movie reveals that Brad Pitt’s character keeps racing, despite his age, because he’s pursuing the moment of ecstasy and peace that sometimes comes when a racing driver has become one with his machine on the track during a race. The movie depicts that moment in a spiritual sense, as if the driver is becoming closer to God. Of course, in reality, the hero’s pursuit would be better if it were focused overtly on Jesus.
F1 THE MOVIE also has a strong pro-capitalist or pro-business viewpoint. Brad Pitt’s character is trying to help his friend, Ruben, keep his racing company. The movie clearly shows that hard work and teamwork are crucial to making that happen.
Sadly, however, the movie also has lots of light to medium foul language, plus five strong obscenities and profanities. There’s also an implied bedroom scene between Brad Pitt’s character and the team’s female technical director, played by Kerry Condon. So, MOVIEGUDIE® advises extreme caution for F1 THE MOVIE. The movie would get a bigger audience if it eliminated more than half, or most, of the foul language.
Movie Reviews
Peaky Blinders: The Immortal Man review – Tommy Shelby returns for muddy, bloody big-screen showdown
After six TV series from 2013 to 2022, which caused a worrying surge in flat cap-wearing among well-to-do men in country pubs, Peaky Blinders is now getting a hefty standalone feature film, a muscular picture swamped in mud and blood. This is the movie version of Steven Knight’s global small-screen hit, based on the real-life gangs that swaggered through Birmingham from Victorian times until well into the 20th century. Cillian Murphy returns with his uniquely unsettling, almost sightless stare as Tommy Shelby, family chieftain of a Romani-traveller gang, a man who has converted his trauma in the trenches of the first world war into a ruthless determination to survive and rule.
As we join the story some years after the curtain last came down, it is 1940, Britain’s darkest hour and Tommy is the crime-lion in winter. He now lives in a huge, remote mansion, far from the Birmingham crime scene he did so much to create, alone except for his henchman Johnny Dogs, played by Packy Lee. Evidently wearied and sickened by it all, Tommy is haunted by his ghosts and demons: memories of his late brother, Arthur, and dead daughter, Ruby, and working on what will be his definitive autobiography. (Sadly, we don’t get any scenes of Tommy having lunch with a drawling London publisher or agent.)
But a charismatic and beautiful woman, played by Rebecca Ferguson, brings Tommy news of what we already know: his malign idiot son Erasmus Shelby, played by Barry Keoghan, is now running the Peaky Blinders, a new gen-Z-style group of flatcappers raiding government armouries for guns that should really belong to the military. And if that wasn’t disloyal and unpatriotic enough, Erasmus has accepted a secret offer from a sinister Nazi fifth-columnist called Beckett, played by Tim Roth, to help distribute counterfeit currency which will destroy the economy and make Blighty easier to invade. Doesn’t Erasmus know what Adolf Hitler is going to do to his own Romani people? (To be fair to Erasmus, a lot of the poshest and most well-connected people in the land didn’t either.)
Clearly, Tommy is going to have to come down there and sort this mess out. And we get a very ripe scene in which soft-spoken Tommy turns up in the pub full of raucous idiots who cheek him. “Who the faaaaaack is ‘Tommy Shelby’?” sneers one lairy squaddie, who gets horribly schooled on that very subject.
In this movie, Tommy Shelby is against the Nazis, and he can’t get to be more of a good guy than that. (Tommy has evidently put behind him memories of Winston Churchill from the first two series, when Churchill was dead set on clamping down on the Peaky Blinders.) The war and the Nazis are a big theme for a big-screen treatment and screenwriter Knight and director Tom Harper put it across with some gusto as a kind of homefront war film, helped by their effortlessly watchable lead. Maybe you have to be fully invested in the TV show to really like it, although this canonisation of Tommy is a sentimental treatment of what we actually know of crime gangs in the second world war. Nevertheless, it is a resoundingly confident drama.
Movie Reviews
Movie Review: Here comes “THE BRIDE!”, audacious and wild – Rue Morgue

That’s both a promise and a challenge she delivers, since what follows may rub some viewers the wrong way. Yet Gyllenhaal’s full-throttle commitment to her vision is compelling in and of itself, and she has marshalled an absolutely smashing-looking and -sounding production. The story proper begins in 1936 Chicago, which, like everything and everyplace else in the movie, has been luminously shot by cinematographer Lawrence Sher and sumptuously conjured by production designer Karen Murphy. Her involvement is appropriate given that her previous credits include Bradley Cooper’s A STAR IS BORN and Baz Luhrmann’s ELVIS, since among other things, THE BRIDE! is a nostalgic musical. Its Frankenstein (Christian Bale), who has taken the name of his maker, is obsessed with big-screen tuners, and imagines himself in elaborate song-and-dance numbers. (Considering the reception to JOKER: FOLIE À DEUX, one must applaud the daring of Warner Bros. for greenlighting another expensive film in which a tormented protagonist has that kind of fantasy life.)
THE BRIDE! may be revisionist on many levels, but its characterization of its “monster” holds true to past screen incarnations from Karloff’s to Elordi’s: His scarred appearance masks a lonely soul who desires companionship. Frankenstein has arrived in Chicago to seek out Dr. Cornelia Euphronious (Annette Bening), correctly believing she has the scientific know-how to create an appropriate mate for him. Rather than piece one together, Dr. Euphronious resurrects the corpse of Ida (Jessie Buckley), whose consorting with underworld types led to her brutal death. Previously chafing against the man’s world she inhabited in life, she becomes even more defiant and unruly as a revenant, apparently possessed by the spirit of Shelley herself, declaiming in free-associative sentences and quoting rebellious literature.
Buckley, currently an Oscar favorite for her very different literary-inspired role in HAMNET, tears into the role of the Bride (who now goes by the name Penny) with invigorating abandon that bursts off the screen. Unsure of her identity yet overflowing with self-confident bravado, she’s the opposite of the sensitive “Frank,” but they’re united by the world that stands against them. That becomes literal when a violent incident sends them on the lam, road-tripping to New York City and beyond, on a trail inspired by the films of Ronnie Reed (Jake Gyllenhaal), Frank’s favorite song-and-dance-man star.
With THE BRIDE!, Gyllenhaal has made a film that’s at once her very own and a feverish homage to all sorts of cinema past and present. It’s a horror story, a lovers-on-the-run movie, a crime thriller, a musical and more, and historical fealty be damned if it makes for a good scene (as when Penny and Frank sneak into a 3D movie over a decade before such features became popular). In-references are everywhere: It might just be a coincidence that the couple’s travels take them past Fredonia, NY (cf. “Freedonia” in the Marx Brothers’ DUCK SOUP), but it’s certainly no accident that the former Ida is targeted by a crime boss named Lupino, referencing the actress and pioneering filmmaker whose works included noirs and women’s-issues stories. Penny’s exploits lead legions of admiring women to adopt her look and anarchic attitude, echoing the first JOKER (while a headline calls them “Twisted Sisters”), and the use of one Irving Berlin song in a Frankensteinian context immediately recalls a classic comedic take on the property.
Whether the audience should be put in mind of a spoof at a key point in a film with different goals is another matter. At times like these, Gyllenhaal’s pastiche ambitions overtake emotional investment in the story. As strong as the two lead performances are (Bale is quite moving, conveying a great deal of soul from behind his extensive prosthetics), it’s easier to feel for them in individual scenes than during the entire course of the just-over-two-hour running time. The diversions can be entertaining, to be sure, but they also result in an uncertainty of tone. The dissonance continues straight through to the end, where the filmmaker’s choice of closing-credits song once again suggests we’re not supposed to take all this too seriously.
There’s nonetheless much to admire and enjoy about THE BRIDE!, and this kind of risk-taking by a major studio is always to be encouraged (especially considering that we’ll see how long that lasts at Warner Bros. once Paramount takes it over). Beyond the terrific work by the aforementioned actors, there’s fine support from Peter Sarsgaard and Penelope Cruz as detectives on Penny and Frank’s heels, with Sandy Powell’s lavish costumes and Hildur Guðnadóttir’s rich, varied score vital to fashioning this fully imagined world. Kudos also to makeup and prosthetics designer Nadia Stacey and to Chris Gallaher and Scott Stoddard, who did those honors on Frank, for their visceral, evocative work. Uneven as it may be, THE BRIDE! is also as alive! as any film you’ll likely see this year.
Movie Reviews
Maxime Giroux – ‘In Cold Light’ movie review
(Credits: Far Out / Elevation Pictures)
Maxime Giroux – ‘In Cold Light’
The action is relentless in the complex thriller In Cold Light, a tense combination of crime and fugitive tale and family drama. It is the third feature and first English language film by Maxime Giroux, best known for a very different kind of film, the critically acclaimed 2014 drama Felix & Meira.
The tension and high energy of In Cold Light almost overwhelm the film, but are relieved, barely, by moments of character development and introspection that keep the audience pulling for the restrained and outwardly cold main character.
Speaking at the film’s Canadian premiere, director Giroux admitted he found creating an action film a challenge. Part of his approach was using very minimal dialogue, especially for the central character, letting the action speak for itself, and allowing silence to intensify suspense. Giroux has said he likes the lack of dialogue and speaks highly of the importance of silence in cinema; he prefers using “physical aspects of communication” in his films.
Young Ava Bly (Maika Monroe) is a competent and businesslike drug dealer, working in partnership with her brother Tom (Jesse Irving) and a small team. As the film begins, Ava has just been released from a brief prison sentence. She is hoping to return to her former position, but her brother’s associates consider her a risk due to her recent incarceration. While she works to re-establish herself, a shocking encounter with a corrupt police officer sends Ava’s life into chaos and forces her to go on the run.
Ava’s fugitive experience introduces a new character, to whom Ava turns for help: her father, Will Bly, played by Troy Kotsur, known for his excellent performance in CODA. Their first interaction is handled in a fascinating way, as Will is deaf and the two communicate through sign language. This, of course, provides another form of the silent interaction the director prefers; he explained that much of the father-daughter interaction was rewritten with the actor in mind. Their conflict is nicely expressed through a scene in which their initial conversation is intermittently cut off by a faulty light which goes out periodically, making communication through sign momentarily impossible, nicely expressing the rift between father and daughter.
As Ava continues to evade danger, her escape becomes complicated by new information, placing her in a painful dilemma. We gradually learn more about Ava, her background, and her character through occasional flashbacks and glimpses of her dreams. The plot becomes more complex and more poignant, and gains features of a mystery as well as an action tale, as she is pressed to choose from among equally unacceptable alternatives.
The climax of her efforts to protect both herself and those close to her comes to a head as she meets with the director of a rival drug gang. Veteran actress Helen Hunt is perfect in the minor but significant role of Claire, the rival drug lord, who plays odd mind games with Ava in an intriguing psychological fencing match. It’s an unusual scene, in which Ava’s personality is made clearer, and Claire’s understated dominance and casual speech do not quite conceal the threat she represents.
The frantic pace and emotional turmoil are enhanced by the camera work, which tends to focus tightly on Ava, and by a harsh, minimal musical score that sets the tone without distracting from the action. Giroux chose to shoot the film in Super 60; he describes digital as “too perfect” for the look he was going for, and since “Ava is rough,” the film portrays her better. The director describes the entire movie as “rough,” in fact, and deliberately chose a dark, washed-out look for much of the footage, occasionally using light and colour, in the form of fireworks, lightning, or a colourful carnival, to both relieve and emphasise the darkness.
The dynamic, intense story holds the attention in spite of the lengthy, sometimes repetitive chase scenes and subdued dialogue. Ava’s predicament, and the difficult decisions she is forced to make, are made surprisingly relatable, from the initial disaster that starts the action to the surprising flash-forward that concludes the film, on as high a note as the situation could allow. Fans of action movies will definitely enjoy this one.
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