Movie Reviews
‘Kinds of Kindness’ review: Darkly comedic anthology explores humanity
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Throughout his filmography, Yorgos Lanthimos is interested in themes of love and obsession, often explored with characters, who seem to be living on the edge of normal society, as evident in 2009’s Dogtooth, which centered on a husband and wife who keep their children ignorant of the world outside their property well into adulthood. 2024 is already quite the year for the Greek director as his previous outing Poor Things has been a critical and commercial success that has won four awards at this year’s Oscars, and now his latest feature Kinds of Kindness is finally released.
Amidst the Frankenstein-like science and “furious jumping”, Poor Things is more of a crowd-pleaser through its story of self-discovery within the harsh reality of the otherwise outlandish world. Reunited with his long-time collaborator/co-writer Efthimis Filippou, Kinds of Kindness – set in modern-day New Orleans – is closer to Lanthimos’ earlier work like The Lobster and The Killing of a Sacred Deer, where people are plunged into situations that effectively shake up their lives and lose any touch of humanity in order to get out of it.
Since Lanthimos’ films often challenge you, though not without some dark humor creeping into the mix, Kinds of Kindness is essentially three films for the price of one, with the same seven actors – Emma Stone, Jesse Plemons, Willem Dafoe, Margaret Qualley, Hong Chau, Joe Alwyn and Mamoudou Athie – appearing in each one in a different role.
The first of which, titled “The Death of R.M.F”, is about Robert Fletcher (Plemons) who follows every order that is given to him by his controlling boss, Raymond (Dafoe), until he refuses to do an act which causes his life to fall apart. Similar to Lanthimos’ 2019 short film Nimic, it is a darkly funny study of a man who regrets this one decision and how it spirals out of control, with an extraordinary turn from Plemons, who tries to maintain his composure and yet it looks he’s about to break.
Considering the disturbing outcome of the first narrative, it feels tamed compared to the second story, “R.M.F. is Flying”. Left emotionally devastated after the disappearance of his wife Liz (Emma Stone), a marine biologist, police officer Daniel (Plemons) receives a call saying she has been rescued. As she returns home, her strange and seemingly reversed behavior leads to Daniel suspecting her of being an imposter. As well as being more disturbing and ambiguous than the other two narratives, “R.M.F. is Flying” cements a central theme which is somewhat meta to the film’s multiple casting of the same actors, playing characters who are wrestling with their own identity. Playing a married couple that is becoming more about obsessive delusions, leading to horrific abuse, Stone and Plemons are amazing in roles where you can’t tell whose side you should be on, if any.
As great as Emma Stone is in the first two narratives, it is in “R.M.F. Eats a Sandwich” where she really gets to shine, and yes, this is where she performs her improvised dance that has been used in the film’s promotion. In this third and final instalment, Emily and Andrew (Stone and Plemons) are two cult members who are looking for a woman with the ability to bring back the dead. Considering this is the closest to a Coen Brothers film, where it almost feels like an enjoyable crime caper, what could easily be a cautionary tale about not joining a sex cult led by Dafoe’s Omi, the story makes a dark implication into why Emily would choose the life of a cultist, as seen in a scene where she revisits her old life as a mother and a wife.
Considering the hopeful nature and visual experimentation of Poor Things, whether consciously or not, it feels Lanthimos wants to return a world where there is no positive outcome of anybody, whilst cinematographer Robbie Ryan, shooting on 35mm Kodak film, presents a stunning, if mundane look of the many settings of New Orleans. Amongst the loose connective tissue between these three tales, including the brilliant cast and similar locations, the only sense of hope that Kinds of Kindness is the dreams that some of the characters have and no matter how nonsensical they are, it is better than the harshness that the real world can throw at them. One dream involving dogs delivers the biggest laugh-out-loud film of the entire film.
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Movie Reviews
‘Tiny Lights’ Review: Empathetic Czech Drama Sees the World Through a Child’s Eyes
![‘Tiny Lights’ Review: Empathetic Czech Drama Sees the World Through a Child’s Eyes](https://www.hollywoodreporter.com/wp-content/uploads/2024/06/1-Main-Still-1-Tiny-Lights-H-2024.jpg?w=1296&h=730&crop=1)
If you’re lucky enough to remember memories from your early childhood, you’ll know they tend to be fragmentary, skewed from an outlook incapable of fully grasping the adult world. Czech filmmaker Beata Parkanova captures that feeling beautifully in her film receiving its world premiere at the Karlovy Vary International Film Festival. Related entirely through the viewpoint of a six-year-old girl, Tiny Lights emerges as a small gem.
It helps that the little girl, Amalka, is played by adorable child actress Mia Banko, possessing wide, saucer eyes that are endlessly expressive and long red hair of which Heidi would be jealous. In the opening scene, Amalka hears voices emanating from a closed-door room and, naturally curious, attempts to listen. She hears her grandmother angrily say to her mother, “Happiness? Save it for the fairy tales,” but she has no idea of what it means.
Tiny Lights
The Bottom Line Skillfully observed.
Venue: Karlovy Vary International Film Festival
Cast: Mia Banko, Elizaveta Maximova, Marek Geisberg, Veronika Zilkova, Martin Finger
Director-screenwriter: Beata Barkanova
1 hour 16 minutes
So she goes to play with her very submissive cat, apparently named Mr. Cat. But she tests Mr. Cat’s patience by putting him inside a wooden chest, from which her grandfather (Martin Finger) soon rescues him. She returns to the room, and when she opens the door, the adults grow silent. “I’m bored,” Amalka says petulantly, and her grandmother (Veronika Zilkova) tries to assuage her by promising that she’ll take her to the lake that afternoon.
After naughtily picking flowers that we later learn came from a neighbor’s garden, Amalka has soup for lunch, unaware of the tensions surrounding her. Her grandparents live up to their promise by taking her to the lake, where her grandfather teaches her how to dive. They hike in the woods and pick blueberries, but Amalka throws a tantrum when told they have to leave.
And so the film goes, with Amalka trying to amuse herself as the adults seem to be engaged in tense confrontations, especially when her mother (Elizaveta Maximova) shows up with a strange French man and announces that she’s going with him to Prague. Amalka, of course, doesn’t comprehend what’s happening except when it relates to her, as when her father (Marek Geisberg) gently upbraids her for picking the flowers and tells her that she’ll have to apologize to the neighbor. As the day ends, she goes to bed, unaware of the fissure in her parents’ relationship, and her father wearily reads her a bedtime story that she’s heard a thousand times before but clearly still finds fascinating.
Even with its brief running time, Tiny Lights demands a certain degree of patience with its intense focus on banal childhood preoccupations. The filmmaker also indulges in stylistic flourishes — principally quick inserted shots that look like they were captured on 8mm and feature a series of close-up views of objects and facial features — that are more distracting than illuminating. The strained attempts at artiness just feel self-conscious.
But for most of the film’s running time, Parkanova maintains tight control over her material, making us fully identify with little Amalka and her preoccupations. The film presents things from her viewpoint, even physically; DP Tomas Juricek often places the camera low down, aligning with her diminutive size. The story takes place over the course of a single day, and its poignancy derives from the fact that we, if not Amalka, are fully aware that her life is going to change, possibly forever.
Or maybe she does realize it, as evidenced by the haunting, lingering final shot, in which we see the silhouette of her body as she peers through the large windows of her bedroom, as if trying to see the world beyond her limited perspective.
Movie Reviews
Movie review: 'Despicable Me 4' is exactly what you'd expect
![Movie review: 'Despicable Me 4' is exactly what you'd expect](https://attractionsmagazine.com/wp-content/uploads/2024/07/Mega-Minion-04-Despicable-Me-4-courtesy-of-Universal-copy.jpeg)
Charm sets the film apart
“Despicable Me 4” isn’t amazing by any means and probably won’t be in conversation for Best Animated Film at the Oscars, but, like “Rise of Gru,” what sets it apart from any other run-of-the-mill animated film is the charm of the franchise. The reason people continue to rush to the theaters to see these films is their consistency. No matter if it’s a spinoff or a direct sequel, you know walking into a “Despicable Me” film what you’re going to get, and that’s perfectly fine because you’ll still have a good time.
The new additions of Maxime Le Mal (Will Ferrell) and Poppie (Joey King) are fine. They don’t get much setup and are just thrown at you as new characters, which is fine but very forgettable. The standouts, of course, are the Minions, as well as the addition of Gru Jr. The combination of the two was probably the best part of the whole film. I could’ve watched a 90-minute film of just that.
![Mega Minion, "Despicable Me 4"](https://attractionsmagazine.com/wp-content/uploads/2024/07/Mega-Minion-04-Despicable-Me-4-courtesy-of-Universal.jpeg)
![Mega Minion, "Despicable Me 4"](https://attractionsmagazine.com/wp-content/uploads/2024/07/Mega-Minion-05-Despicable-Me-4-courtesy-of-Universal.jpeg)
![Mega Minion, "Despicable Me 4"](https://attractionsmagazine.com/wp-content/uploads/2024/07/Mega-Minion-05-Despicable-Me-4-courtesy-of-Universal.jpeg)
![Mega Minion, "Despicable Me 4"](https://attractionsmagazine.com/wp-content/uploads/2024/07/Mega-Minion-03-Despicable-Me-4-courtesy-of-Universal.jpeg)
![Mega Minion, "Despicable Me 4"](https://attractionsmagazine.com/wp-content/uploads/2024/07/Mega-Minion-03-Despicable-Me-4-courtesy-of-Universal.jpeg)
![Mega Minion, "Despicable Me 4"](https://attractionsmagazine.com/wp-content/uploads/2024/07/Mega-Minion-02-Despicable-Me-4-courtesy-of-Universal.jpeg)
![Mega Minion, "Despicable Me 4"](https://attractionsmagazine.com/wp-content/uploads/2024/07/Mega-Minion-02-Despicable-Me-4-courtesy-of-Universal.jpeg)
![Mega Minion, "Despicable Me 4"](https://attractionsmagazine.com/wp-content/uploads/2024/07/Mega-Minion-01-Despicable-Me-4-courtesy-of-Universal.jpeg)
![Mega Minion, "Despicable Me 4"](https://attractionsmagazine.com/wp-content/uploads/2024/07/Mega-Minion-01-Despicable-Me-4-courtesy-of-Universal.jpeg)
Movie Reviews
Boneyard (2024) – Review | Crime Thriller | Heaven of Horror
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The True Story Behind Boneyard
Boneyard is inspired by (and fairly closely based on) the true crime case of West Mesa in Albuquerque, New Mexico, just like in the movie. The film is also dedicated to the victims of that unsolved case.
While the West Mesa case remains unsolved, we do know that the remains discovered in 2009 belonged to girls and women. Also, we know that they disappeared between 2001 and 2005.
The 11 victims in the true case are:
Jamie Barela, age 15
Monica Candelaria, age 22
Victoria Chavez, age 26
Virginia Cloven, age 24
Syllannia Edwards, age 15
Cinnamon Elks, age 32
Doreen Marquez, age 24
Julie Nieto, age 24
Veronica Romero, age 28
Evelyn Salazar, age 27
Michelle Valdez, age 22
At one point, the unknown serial killer is called the “Bone Collector” which threw me off. However, this was one of the names used for the suspected serial killer. The complete name used for him was “West Mesa Bone Collector“.
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