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Anora | Reelviews Movie Reviews

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Anora | Reelviews Movie Reviews

Going into Anora, I wasn’t sure what to expect but it
certainly wasn’t a screwball comedy. Yet, following an explosively erotic, wild
twist on the Pretty Woman cliché, writer/director Sean Baker guides his
movie into an extended period of warped comedy. By the third act, he returns to
a drama-based foundation, focusing on concluding with a modicum of closure but Anora
stands out as an airy experience full of surprises (big and small), all
anchored by Mikey Madison’s tremendous performance.

Madison is a revelation as the title character, stripper
Anora “Ani” Mikheeva, who lives in Brooklyn and works in an upscale club in Manhattan.
Madison has mastered the accent and attitude of someone eking out an existence
in Ani’s circumstances. The character is bold and brassy, taking shit from no
one (including her fellow dancers) and seizing any opportunity that comes her
way. Madison is fearless, seemingly comfortable with the nudity required for (numerous)
scenes in the film’s first 45 minutes (she reportedly felt so at ease with
Baker and her co-star, Mark Eydelshteyn, that she turned down the offer of an
intimacy coordinator) and showing an admirable capacity for physical comedy
during the film’s midsection. But her most remarkable moment comes during the
final scene.

Early in Anora, Baker, who has a gift for a you-are-there
filmmaking, takes the viewer behind-the-scenes at the strip club where Anora
works, providing glimpses of how the dancers view their work. The conversations
aren’t fundamentally different from what one might hear from servers in
restaurants or performers in a stage show. This is a job. They know how to do
it and how to skirt the rules to get the best tips. Anora is willing to do a
little extra on the side (off club grounds) to make some additional cash but
she’s not cheap and doesn’t perceive herself as a prostitute. In fact, she
bristles at being called a “whore” or “hooker,” evidence to the contrary.

Her fortunes, which are illustrated briefly with a shot of
her flat, take a turn for the better when the club owner introduces her to
Vanya (Eydelshteyn), the spoiled scion of a Russian oligarch who’s looking for
a good time with a woman who can speak Russian (one of Anora’s talents). Smitten
and unsatisfied with what she offers in a VIP room, Vanya asks for a meeting at
his mansion and the two are soon negotiating a deal where she will be his
exclusive, live-in “girlfriend” for a week (she gets $15K for the job). While
on a trip to Vegas, Vanya impulsively proposes and the two return to New York
as a wedded couple. This news alarms Vanya’s Armenian handler, Toros (Karren
Karagulian), who is ordered by Vanya’s irate parents to “take care of” the
situation. When his bumbling henchmen, Garnick (Vache Tovmasyan) and Igor (Yura
Borisov), arrive at the mansion, Vanya is initially stubborn and belligerent but
then runs away, leaving Anora to deal with the Three Stooges.

Vanya’s flight signals a shift in tone from the playful
romantic interaction between the newlywed couple to the comedic interactions
between Anora and her three captors. It’s a twist on O. Henry’s “Ransom of Red
Chief,” where the victim is more than the kidnappers can handle. Although this
segment probably goes on a little too long (the movie as a whole feels like it
could benefit from some trimming, mostly during the third act), it vacillates
between darkly amusing and laugh-out-loud funny. The thugs aren’t particularly menacing
and Anora never seems to be in danger. By the time Anora reaches its
final 40 minutes, the Baker shifts into a more grounded exploration of the emotional
toll of the experience on Ani.

In 2017, when Baker had his international breakthrough with The Florida Project, I remember being surprised at how engaging such a small, seemingly
simple production could be. I wrote the following: “The Florida Project feels genuine from start to finish and Baker
doesn’t wander onto a Hollywood-inspired detour despite many opportunities.” Some
of those same qualities are evident in Anora. By using handheld cameras
(but not in a way that threaten to bring on nausea) and favoring longer takes,
Baker opts for a gritty, intimate perspective to present a narrative that could
best be described as a twisted fairy tale. He navigates tonal switches and
story beats that could doom another production but which end up elevating this
one.

Anora has proven to be liked by both critics and
everyday movie-goers, at least those that give it a chance. (I saw it on its
local opening night and there were only a dozen attendees.) After winning the
Golden Palm at Cannes, it went on to capture the Audience Award at Toronto and
currently holds a 91 rating (Universal Acclaim) at Metacritic. But marketing
the film has proven tricky for distributor NEON. The movie’s essential
qualities don’t translate well to a two-minute trailer and the confusing platform
release strategy has left some viewers uncertain when it might open at a
theater near them. Here’s hoping the movie finds its audience because it’s one
of the freshest and most audacious films available in this year’s sparse
cinematic landscape.

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Anora (United States, 2024)





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Movie Reviews

Review: Denzel Washington steals the spotlight in Gladiator II

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Review: Denzel Washington steals the spotlight in Gladiator II
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This image released by Paramount Pictures shows Paul Mescal in a scene from “Gladiator II.”Aidan Monaghan/The Associated Press

Gladiator II

Directed by Ridley Scott

Written by David Scarpa

Starring Paul Mescal, Pedro Pascal, Joseph Quinn, Fred Hechinger, Lior Raz, Derek Jacobi, with Connie Nielsen and Denzel Washington

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Classification 14A; 148 minutes

Opens in theatres November 22

Hail Denzel Washington. He understood the assignment, as they say.

Washington, decked out in flowing gold lined robes and oversized jewels, brings his swagger and more to Ridley Scott’s gleefully inaccurate ancient Rome in Gladiator II, a creaky and bloated sequel that mostly falls flat whenever it strays from the Training Day star’s orbit.

Like Oliver Reed in the original, Washington is playing a calculated slave trader with a shady past. As Macrinus, he scans for talent among ravaged bodies, those who can hack each other to bits in the Colosseum but also be his “instrument.” The man’s hiding ulterior motives. Washington has a field day teasing them out.

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He dances between lounging and lurching forward, his every posture, movement and gesture filled with intention. While so many of his peers in the cast feel like pawns reciting monologues, and often bellowing them out amidst the movie’s noise as if that would add impact, Washington negotiates with each line, like he’s searching for the music and the surprising notes of meaning in each word. He’s putting on a show. And the audience is going to love him for it.

Showmanship is of course a core tenet to the original Gladiator. Scott’s swords-and-sandals Spartacus-lite throwback, which won best picture at the 2001 Oscars, was all about playing up the theatricality in violence and even politics. Those thrilling battle sequences in the arena, with Russell Crowe’s Maximus leading diamond formations against chariots and swinging swords around with a grandiosity, looked incredible. The movie built its whole narrative around what can be achieved not just by feeding an audience’s bloodlust, but indulging it with artistry, while resoundingly asking, “Are you not entertained?”

This time around, Scott throws a lot more in the arena. CGI rhinos, apes, sharks and warships take up space in his digitally re-rendered Colosseum, but he’s at a loss with what to do with them. It’s just a bunch of pixels at war with each other, with human stakes left to bleed out.

Finding an anchor in Gladiator II’s stakes is also kind of hard since the movie undoes so much of what we were invested in as far as Maximus’s achievements in the first film, which ended with him killing Joaquin Phoenix’s prophetically Trump-like Caesar and handing control of Rome to the senate so the people can rule.

And yet here we are, finding Rome under the control of two new emperors, twins played by Joseph Quinn and Fred Hechinger, who basically split Phoenix’s incredible performance in two. How they came into power despite Maximus’s best efforts is barely addressed. It’s especially baffling because the two come off as a pair of clownish puppets. One of them holds conversations with a monkey.

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Never mind the way Scott flouts historical accuracy – like a newspaper appearing in 200 A.D. before the invention of the printing press. Gladiator II’s betrayal of the original movie’s satisfying conclusion is even more egregious. The sequel even contradicts Maximus’s final words, which I’ll leave you to revisit.

At this point I should warn you, if you want to see Gladiator II completely unspoiled, don’t continue reading. Though if you’ve seen recent trailers, or even googled who Normal People star Paul Mescal is playing, you already know what I’m about to write.

The actor, so tender and affecting in smaller films like Charlotte Wells’s sublime Aftersun and Andrew Haigh’s All Of Us Strangers, is in his beefcake-era playing a grown up Lucius, the young child of Connie Nielsen’s Lucilla. His life was in peril in the earlier movie because he was heir to his murderous uncle Commodus’s throne.

In Gladiator II, we meet Lucius in Numidia, a warrior battling the Roman empire, living under an assumed identity after he had been squirreled away in hiding from his family and lineage. His return to Rome, as a vengeful gladiator seeking retribution for his dead wife, rejigs the plot from the first movie, with the Maximus role now shared between Mescal’s Lucius and Pedro Pascal’s war-weary general Marcus.

Mescal and Pascal are both fine; though they often seem too overwhelmed by the tired plot machinations to really make an impression beyond how fine they both look in Roman garb. Mescal is especially distracting, his blue eyes piercing through all the dirt mingling with sweat on his face. And yes, it’s easy to be distracted by these details in a movie that never finds its footing as a spectacle or any conviction in the emotions its storytelling is supposed to conjure; except of course, when Denzel is in the room.

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In the interest of consistency across all critics’ reviews, The Globe has eliminated its star-rating system in film and theatre to align with coverage of music, books, visual arts and dance. Instead, works of excellence will be noted with a critic’s pick designation across all coverage. (Television reviews, typically based on an incomplete season, are exempt.)

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‘Singham Again’ Review: Bigger Doesn’t Mean Better in Rohit Shetty’s Overstuffed Indian Action Sequel

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‘Singham Again’ Review: Bigger Doesn’t Mean Better in Rohit Shetty’s Overstuffed Indian Action Sequel

Scale is everything in Singham Again. The Hindi-language action film has eight stars, six screenwriters and three additional scribes who worked on dialogue, including director Rohit Shetty. The hardware on display is similarly expansive — there are battleships, helicopters, dozens of cars that get blown up and smashed. And weapons both large and small — missiles, guns, machetes.

At one point, Tiger Shroff brandishes the Urumi, an Indian sword with a whip-like blade which originated in modern-day Kerala. There is so much to fit in every frame that wide shots are the default mode, with Ravi Basrur’s score filling and underlining every beat. The ambition seems to be sensory overload.

Singham Again

The Bottom Line

Forgets to deliver a cinematic high.

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Release date: Friday, Nov. 1
Cast: Ajay Devgn, Akshay Kumar, Ranveer Singh, Tiger Shroff, Kareena Kapoor Khan, Deepika Padukone, Arjun Kapoor, Jackie Shroff, Ravi Kishan, Shweta Tewari, Dayanand Shetty
Director: Rohit Shetty
Screenwriters: Yunus Sajawal, Kshitij Patwardhan, Sandeep Saket, Anusha Nandakumar, Abhijeet Khuman, Rohit Shetty

2 hours 24 minutes

Then there’s the story. Shetty’s Cop Universe, of which Singham Again is the fifth installment, is built on the idea of the police officer as superhero. His men — Singham (Ajay Devgn), Simmba (Ranveer Singh) and Sooryavanshi (Akshay Kumar) — are upright sons of the soil. (An additional female officer, Deepika Padukone’s Shakti Shetty, makes her entry in this film.) All of these characters are unblemished; while Simmba started as corrupt, he is now an honest officer and sworn ally of Singham.

These are steely, courageous law enforcement authorities who operate as their own judiciary. Encounter killings in these movies are not just routine, but celebrated.

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In Singham Again, the cops are bestowed celestial status — the seeds for which were sown in 2011 with the first Singham, when Singham emerged from the temple tank as a deity. The latest film takes it further. The plot is inspired by the Ramayana, with a theatrical production of the Hindu epic being used as a framing device. What plays out on stage is echoed in real life.

Singham is a personification of Lord Ram, and his wife Avni (Kareena Kapoor Khan) of Sita. Simmba represents Lord Hanuman, ACP Satya (Shroff) is Lakshman, Sooryavanshi embodies Garuda, and so on. While Jackie Shroff is back as Omar Hafeez, the terrorist chief, the main agent of mischief this time is Arjun Kapoor’s Danger Lanka — who, naturally, describes himself as a modern-day Raavan.

These parallels are underlined again and again, as the characters journey to locations where the events of the Ramayana are said to have taken place. Subtlety has never been Shetty’s forte.

Nor is he a proponent of nuance, depth or progressive politics. When you go into Singham Again, you’re signing up for shrill patriotism and lectures on tradition and culture as well as exploding vehicles and a cheerful lack of logic. In one scene, one character says to another, you’ve been shot. The other replies not to worry, nothing will happen to me — which is exactly right, because gods might bleed in this story but it means little.

I’d be willing to make peace with all of it, but what rankles is the lack of entertainment. This film spends so much effort juggling star appearances, action sequences and Ramayana parallels that it forgets to deliver a cinematic high — a requisite for a larger-than-life, designed-for-whistles feature like this. Singh is the most playful and inventive of this gargantuan star cast, and just as he did in 2021’s Sooryavanshi, he brings in some buoyancy as Simmba. But Padukone gets a smashing entry and little else, as does Tiger Shroff. Avni is a damsel in distress — a pretty prop, like Katrina Kaif in Sooryavanshi. It’s a far cry from Kareena Kapoor Khan’s recent searing turn as a cop in The Buckingham Murders

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Devgn, however, is back in his element as the man of granite. In my review of 2014’s Singham Returns, I described the character as Amitabh Bachchan’s Angry Young Man crossed with Clint Eastwood’s Dirty Harry, and Devgn works Singham’s supersized masculinity well. What Singham Again lacks, though, is a villain who can rival that. Arjun Kapoor works hard to summon menace, and he shows some spark, especially when he puts on a malevolent smile. But he is unable to evoke the same dread as Suriya’s Rolex in Vikram or Vijay Sethupathi’s Bhavani in Master.

While there are a few ambitious action set pieces, designed by Rohit and Mayyank Taandon, balancing the many actors proves too much a challenge, especially in the climax.

It’s telling that the best movies in the Cop Universe are remakes. Shetty’s first Singham was a reworking of the 2010 Tamil actioner Singam, starring Suriya. The second, Singham Returns, was loosely inspired by the 1993 Malayalam film Ekalavyan. Simmba was a reworking of the Telugu-language N. T. Rama Rao Jr.-starrer Temper. The two original entries — Sooryavanshi and Singham Again — are also the weakest.

It might be time for Shetty to seek inspiration in South Indian cinema again.

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Movie Review: 'Red One' tries to supersize the Christmas movie

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Movie Review: 'Red One' tries to supersize the Christmas movie

Ah, the Christmas movie. That old chestnut. That cozy perennial pastime where — let’s just pick one scene from “Red One” — Dwayne Johnson, playing Santa’s body guard, faces off with a witch-possessed mercenary (Nick Kroll) and ice-sword-wielding CGI snowmen on the sandy beaches of Aruba. Can’t you just taste the eggnog?

Such are the ugly-sweater clashes of “Red One,” a big-budget gambit to supersize the Christmas movie. Countless movies before have wrestled with who Santa is. Does he really exist? But “Red One” is the first one to answer doubters with a superhero-like St. Nick who runs his North Pole operation like the army, who bench presses and counts carbs and who, given that he’s played by J.K. Simmons, looks like he could teach one heck of a jazz class.

There is ample time during “Red One,” which opens in theaters Thursday, to ponder who, exactly, put a Marvel-ized Santa on their wish list. The movie, directed by the “Jumanji” reboot filmmaker Jake Kasdan and scripted by the veteran “Fast & Furious” screenwriter Chris Morgan, was conceived by producer Hiram Garcia as the start of a holiday franchise for Amazon MGM Studios — presumably to satisfy those who have pined for a Christmas movie but with, you, know, more military industrial complex.

“Red One,” which is brightened by its other A-list star, Chris Evans, is a little self-aware about its own inherent silliness. But not nearly enough. There is a better, funnier movie underneath all the CGI gloss. But overwhelmed by effects and overelaborate world building (there are trolls, ogres and a headless horsemen here, all loosely connected as mythical creatures), “Red One” feels like an unwanted high-priced Christmas present.

“I love the kids. It’s the grown-ups that are killing me.”

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So announces Callum Drift (Johnson), a long-serving security operative for Santa. He’s not an elf but a member of ELF, Enforcement Logistics and Fortification. (Don’t you just feel the holiday cheer welling up inside?) But after years, even centuries on the job, Callum’s faith in Christmas traditions is waning. For the first time, those on the naughty list outnumber the nice. On a mall visit two days before Christmas, he looks despondently at adults bickering over presents, if not outright stealing them.

Callum and other operatives with earpieces shuttle Santa (“Red One” in their secret service-styled lingo) in a fleet of Suburbans to his sleigh, which, while pulled by reindeer, moves more like a spaceship. Back at the North Pole — picture a sort of wintery Abu Dhabi — Santa is kidnapped. The culprits leave only spilt milk behind. The ensuing hunt, overseen by the chief of a special ops group protecting mystical beings (Lucy Liu), leads immediately to a hacker who helped an anonymous client geolocate Santa.

The for-hire hacker, Jack O’Malley (Evans) is a deadbeat dad to his son (Wesley Kimmel), and, we’re informed, a “level-four naughty-lister.” Evans might be most famous for his Captain America, but smarmy smart-aleck (like in “Knives Out”) is really his wheelhouse. And he gives “Red One” some comic energy as it transitions into a sort of buddy comedy with him and Johnson.

But “Red One” keeps overdoing it. As they race to rescue Santa before Christmas Eve, the hunt brings in the villainous Christmas Witch, Gryla (Kiernan Shipka) and Krampus (Kristofer Hivju), here defined as Santa’s brother. The sensation, with these characters and others, is of stuffing too much into an already gaudy stocking, and yet somehow forgetting to add any charm.

“Red One” comes off a little like the holiday version of “Cowboys and Aliens” — enough so to make you nostalgic for leaner tales about folkloric figures starring Johnson, like “The Tooth Fairy.” But if we’re to have every possible brand of Christmas movie, it seems a shame that when the phrase “The North Pole has been taken!” Gerard Butler is nowhere to be seen.

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“Red One,” an Amazon MGM Studios release, is rated PG-13 by the Motion Picture Association for action, some violence, and language. Running time: 133 minutes. One and a half stars out of four.

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