Movie Reviews

Movie review: ‘Past Lives’ is a gorgeous meditation on love, chance — and the choices we make

Published

1 year ago

June 1, 2023

Movie review: ‘Past Lives’ is a gorgeous meditation on love, chance — and the choices we make

Two minutes away, the Uber app promises at one point in “Past Lives.” And if you’re like me, you may find yourself — perhaps for the first time in your Uber-riding life — hoping that promise is a bald-faced lie.

Because you’ll want more minutes, many more, for the couple presumably about to be separated by that Uber, even though they’re simply staring at each other on the street, saying absolutely nothing.

This is but one small moment of playwright Celine Song’s gorgeous, achingly wistful feature debut. But it highlights her striking confidence as a filmmaker. Time and again, Song, who both writes and directs here, makes the unflashy, understated choice — and in so doing, darned near breaks our hearts, with a tale that feels universal yet rich in detail, urgent yet unrushed. And if, also like me, you suddenly feel tears forming, they may surprise you, precisely because nobody’s been trying to force them.

We begin with a trio chatting in a New York bar — a woman flanked by two men. We’re too far away to hear what they’re saying or understand how they’re connected, and we hear distant voices speculating: “Maybe they’re tourists, and he’s the tour guide?”

Flashback 24 years to Seoul, where Nora (then called Na Young) and close friend Hae Sung, both 12, are walking home from school. Nora, her hair in long braids, is crying because she lost first place on a school assignment to Hae Sung. (She’s an ambitious sort.) The friendship — too early for romance — is about to be sadly interrupted, because Nora’s family is moving to Canada.

Twelve years pass. Nora ( Greta Lee, terrific in a smart, restrained performance that echoes her director’s style) has now moved to New York as an aspiring playwright (yes, much of this story is autobiographical.) On a lark one day, she tries to look up figures from her past. Searching for Hae Sung, she learns he was recently looking for her, too.

They schedule a video chat — at first halting, but soon they’re chatting day and night. Hae Sung (Teo Yoo) is still living at home, common for young Koreans, and studying at university. He has plans to go to China. Nora is moving ahead with her own dreams (her goal has shifted from a Nobel to a Pulitzer.)

This image released by A24 shows Greta Lee, left, and Teo Yoo in a scene from “Past Lives.” Credit: AP/Jon Pack

When the distance becomes too painful, Nora calls for a break. Not long after, she attends a writing residency and meets Arthur (John Magaro), a fellow writer. And 12 years pass again. The two live in Brooklyn and have been married seven years.

Suddenly, Nora hears from Hae Sung. He’s coming from Seoul and wants to see her. Their meeting in a city park is nothing like the rom-com encounter it could be in another film. Song knows that in real life, there’s often an inability to react quickly or cleverly or even at all, for awhile. The director lets awkward silences stand.

Over the next few days the couple gets to know each other. Not surprisingly, Arthur feels somewhat threatened. Late at night he quietly tells Nora that she dreams in Korean, a language and world he does not know. He wonders if he’s “the guy you leave in the story when your ex comes to take you away.”

And suddenly we’re back at that restaurant bar scene, and now we understand. The three characters try to navigate the unusual circumstances. They discuss what-ifs, and zoom in on a Korean concept of fate, explained by Nora earlier as the connection between two people that has been influenced or determined by connections in past lives — hence the film’s title.

This image released by A24 shows Greta Lee in a... — This image released by A24 shows Greta Lee in a scene from “Past Lives.” Credit: AP/Jon Pack

Without giving away the ending, it’s worth noting that Song has drawn much from her own life — down to that bar scene, and a similar visit from a long-ago connection from Korea.

She raises a number of lessons here, but one seems to be that choices, which seem so limitless in our youth, have consequences, even (or most especially) when we’re not noticing. No one choice seems irreversible, perhaps, but eventually they coalesce into a life path.

But the playwright also tells us that versions of one life can co-exist. Nora notes at one point that even if her older New York version is different, the younger Korean version is still real, and still exists on some other plane.

“This is my life, I’m living it with you,” she tells Arthur early on, trying to reassure him (and perhaps herself.) But one of the beauties of this film is how it allows for such an expansive, generous view of what one life can actually be.

“Past Lives,” an A24 release, has been rated PG-13 by the Motion Picture Association of America “for some strong language. “ Running time: 106 minutes. Three and a half stars out of four.

MPAA definition of PG-13: Parents strongly cautioned. Some material may be inappropriate for children under 13.

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Movie Reviews

Despicable Me 4 movie review: Still fun the fourth time around

Published

2 hours ago

July 5, 2024

Press Room

Despicable Me 4 movie review: Still fun the fourth time around

Despicable Me 4 English (Theatres)

2024

Director:Chris Renaud, Patrick Delage

Cast:Steve Carell, Kristen Wiig, Pierre Coffin

Following a few insightful but intense releases in the animation sphere, Despicable Me 4 comes as a welcome change. Despite my initial sequel scepticism — arguably well-founded, considering this was the fourth instalment of scenes from the lives of Gru, his girls and the minions — I was very pleasantly surprised. The expected drop in quality that often comes as a series progresses never arrived with this one.

The fourth film features a storyline that maintains the key elements of chaotic good that characterises the series. Yet, as a few new characters and challenges are introduced, the resultant town and family dynamics are amusing. As expected, the minions continue to find themselves in ridiculous, funny and adorable pickles. In terms of the cute quotient, the movie definitely rises to the challenge, with the sweet, curious young girls and the introduction of a few furry friends.

The winning factor was the pace — the plot developed smoothly and quickly, in a way that really made one-and-a-half hours fly by. In typical Despicable Me fashion, the balance between physical comedy and character quirks work for both, young children and older audiences.

Steve Carell makes a reappearance as his classic Gru self, seeming to only get more comfortable in his wacky and endearing characterisation. Lesser screen time and predictable lines did not enable other voice actors to shine as much as the leads.

The soundtrack is cool and fresh, typical of what Pharrell Williams has done throughout the series. It has you grooving along as you hear it, and also sticks around as you hum it while leaving the theatre.

In all, the film promises easy laughs and a fun viewing experience. Particularly if you’re a fan of the mischievous minions or good ol’ Gru, this is a must-watch for the weekend.

Published 05 July 2024, 20:44 IST

Movie Reviews

‘Despicable Me 4’ movie review: Surf this tide of multi-hued super-villainy including the blue-and-yellow kind

Published

7 hours ago

July 5, 2024

Press Room

‘Despicable Me 4’ movie review: Surf this tide of multi-hued super-villainy including the blue-and-yellow kind

A still from ‘Despicable Me 4’

The sixth entry in the Despicable Me franchise and a sequel to 2017’s Despicable Me 3, Despicable Me 4 sees Felonious Gru (Steve Carell) heading to his school Lycée Pas Bon for a reunion. But he is also undercover for the Anti-Villain League (AVL) to capture Maxine Le Mal (Will Ferrell).

Maxine and Gru have a long-standing rivalry from their school days especially after Gru sang Culture Club’s ‘Karma Chameleon’ dressed as Boy George at the talent show. Maxine, who was planning to sing the same song, also dressed as Boy George, could not do so as everyone would think he was copying Gru (shudder).

Despicable Me 4

Director: Chris Renaud

Voice cast: Steve Carell, Kristen Wiig, Pierre Coffin, Joey King, Miranda Cosgrove, Sofía Vergara, Steve Coogan, Chris Renaud, Madison Polan, Dana Gaier, Chloe Fineman, Stephen Colbert, Will Ferrell

Story line: Gru and his family are relocated to a safe house after some of his activities at the AVL. There, however, is no rest for the wicked as he is hounded by an old school rival and a new fan

Run time: 94 minutes

Maxine has developed many villainous properties including a machine to turn people into enhanced bugs. Gru arrests Maxine who promptly escapes the AVL’s maximum security prison with help from his femme fatale girlfriend Valentina (Sofía Vergara) and swears vengeance on Gru and his family.

The former director of AVL Silas Ramsbottom (Steve Coogan) comes out of retirement to get Gru and his family, which includes his wife,Lucy (Kristen Wiig) adopted daughters Margo (Miranda Cosgrove), Edith (Dana Gaier), and Agnes (Madison Polan) and son Gru Jr, (Tara Strong) to a safe house in the upscale Mayflower neighbourhood.

A still from ‘Despicable Me 4’

Though the Grus, with the cover name of Cunningham, try to blend in, they do stick out. Gru’s attempt at making friends with his neighbour the super-rich Perry Prescott (Stephen Colbert) fall flat while Lucy’s efforts at the hair salon end up in an epic fail with burning a customer, Melora’s (Laraine Newman) hair. Perry’s wife Patsy (Chloe Fineman) invites the Cunninghams to a game of tennis, which Lucy knows is no sign of being accepted.

The Prescott daughter Poppy (Joey King), however recognises Gru and blackmails him to joining her on a heist to steal the school mascot. Apart from the three minions (Pierre Coffin) who accompany the Gru family, the rest are at AVL headquarters and Silas puts five into a programme for the creation of super-powered Mega Minions. The programme is quickly shut down as the Mega Minions unleash all kinds of mayhem under the guise of helping.

The voice work is fun with most of the gang reprising their roles. Romesh Ranganathan as Gru’s quarter master Dr. Nefario and Chris Renaud as the tough-as-nails principal Übelschlecht have a blast as do Ferrell and Vergara. Some of the sequences are inventive, especially the one with the mega minion and the Swiss cheese.

Stuff keeps happening through Despicable Me 4’s 94 minutes and before you know it, the credits are rolling, which might be a good thing if you want to pounded into submission with a relentless procession of gags. Despicable Me 4 is fun while it lasts, but might not stand as a synonym for enduring.

Despicable Me 4 is currently running in theatres

Movie Reviews

Movie Review: MAXXXINE – Assignment X

Published

13 hours ago

July 5, 2024

Press Room

By ABBIE BERNSTEIN / Staff Writer

Posted: July 5th, 2024 / 01:29 AM

Rating: R
Stars: Mia Goth, Elizabeth Debicki, Michelle Monaghan, Bobby Cannavale, Uli Latukefu, Giancarlo Esposito, Chloe Farnworth, Halsey, Kevin Bacon, Lily Collins, Simon Prast
Writer: Ti West
Director: Ti West
Distributor: A24
Release Date: July 5, 2024

MAXXXINE, not counting its flashbacks and flash-forwards, is set in 1985. However, it feels more like a ‘70s indie, with its mix of very tough female protagonist, soft porn (meant to be hard porn where we don’t see all the details), detective story, and horror.

It’s a completely fun blend, and star Mia Goth commits two hundred and twenty percent to everything she’s doing.

Maxine Minx (Goth), nee Miller, is a star on the XXX movie circuit in Los Angeles. She adds to her income by doing stripper gigs and peep shows. But Maxine wants to break into mainstream films. No one who saw 2022’s X, the film that introduced Goth as Maxine, will doubt her determination.

Maxine has the talent to book a lead role in a horror movie sequel, directed by hard-nosed Elizabeth Bender (Elizabeth Debicki), who will brook no tardiness or excuses from her cast.

This puts Maxine in a difficult position when her porn colleagues and friends start getting murdered in horrible ways. Marks left on their bodies suggest cult killings. Meanwhile, L.A. is being terrorized by the Night Stalker.

Maxine doesn’t want to talk to the two detectives (Michelle Monaghan, Bobby Cannavale) on the case. She wants to talk even less with a private eye from Louisiana, John Labat (Kevin Bacon), who seems to know way too much about events that happened in 1979 Texas (covered in X).

MAXXXINE writer/director Ti West also helmed and scripted X and its follow-up prequel PEARL, set in 1918 and co-written by and starring Goth as its title character. In fact, in heavy makeup, Goth had dual roles in X, as Maxine and the aged version of Pearl.

West shows great love for recreating Hollywood and particularly Hollywood Boulevard in all of its freak-flag-flying ‘80s heyday, with its styles, songs and subcultures. He also is clearly in his element with the slasher sequences, which have a bit of ‘80s flavor but also fit just fine in their present-day context.

Goth lives up to expectations, which is to say that she is terrific. Debicki, Uli Latukefu as a loyal friend and Giancarlo Esposito as Maxine’s multifaceted agent also make strong impressions. Bacon is overdoing it a tad as the out-of-town slimeball, but since the character is the type who would lay it on thick, the performance suits the purpose.

MAXXXINE has a couple of moments where it is teetering on being funny or scary and doesn’t quite commit fast enough to be either. There aren’t enough of these to severely dent the overall mood, but they register.

While West and Company never overtly promised this, it’s a little surprising to find that MAXXXINE doesn’t provide more narrative throughline with X and PEARL. There is, of course, Goth at the center of all three, and there are tonal similarities in places.

However, there isn’t some “aha” moment or plot point that makes each essential for the others. X informs Maxine’s character to the extent that we know she’s not easily intimidated (to put it mildly). It’s not necessary to have seen X to understand this, though; Goth makes it wholly clear in MAXXXINE.

PEARL factors in even less to the current proceedings. It is in no way obliged to do so. it’s just that the idea that the three films form a trilogy in the conventional sense will have viewers anticipating a kind of emphasis that doesn’t surface.

MAXXXINE is certainly a kick for fans of the type of moviemaking it celebrates. Moreover, there’s no doubt Maxine herself would love it.

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