Movie Reviews
Movie reviews: ‘Emily the Criminal’ is a compelling mix of movie elements that fit together like puzzle pieces
EMILY THE CRIMINAL: 4 STARS
“Emily the Legal,” a brand new crime drama, now enjoying in theatres, and starring Aubrey Plaza, makes use of ripped-from-the-headlines subjects—pupil debt, the horrible job market and the gig financial system—to gas a narrative on a seek for liberation.
Plaza performs Emily, a younger lady whose prison document — though minor — and brief mood, makes it troublesome for her to advance up the job ladder. Caught in a dead-end restaurant job, she barely scrapes by, not to mention put a dent in her $70,000 pupil debt.
Determined, she takes a job working with the slick-talking, black-market thief Youcef (Theo Rossi). The rip-off is easy. She’ll be a “dummy shopper,” somebody who buys merchandise with stolen and cast bank cards. A fast $200 payoff later, her cool and calm demeanor impresses Youcef who affords her a much bigger, although extra harmful job for the subsequent day.
Seduced by the cash, she goes into enterprise, personally and professionally, with Youcef. She begins incomes good cash, and, as their relationship blossoms, finds love. However when she will get sloppy, scamming the identical retailer greater than as soon as in per week, she learns the simple cash can disappear as rapidly because it appeared. Until she does one thing about it.
“Emily the Legal” is a hard-boiled take a look at the intersection of desperation and alternative.
Director John Patton Ford and Plaza craft a portrait of Emily, a millennial combating for her piece of the American Dream, regardless that it stays simply out of her attain. She is a fancy character, edgy but sympathetic, messy however targeted. Plaza provides voice to Emily’s frustration of being without end punished for a mistake, however by no means panders to the viewers in an try and be likable. She has misplaced religion within the well mannered society that hasn’t afforded her alternative, so she steps outdoors it, and doesn’t look again. We might not make the identical selections as she, however her motivations, beneath the load of a future stuffed with pupil debt and crappy jobs, come off as comprehensible. That could be a credit score to Plaza’s efficiency that reveals each Emily’s vulnerability and her steeliness.
Due to Plaza, “Emily the Legal” is an enchanting character research, however the crime features of the story are simply as compelling. Like its essential character, the film is a mixture of components. Social commentary, crime drama, a touch of romance and character work, whose sum match collectively like puzzle items.
FALL: 3 STARS
If the title “Vertigo” wasn’t already taken by a basic film, it may very properly have been the title of the brand new fear-of-heights thriller “Fall,” now enjoying in theatres. Principally set on a tiny platform excessive above the Earth, it’s a dizzying expertise.
“Fall” begins with thrill seekers Becky (Grace Fulton) and husband Dan (Mason Gooding) clinging to the facet of a mountain. When tragedy strikes, Becky is left alone and traumatized. Off the mountain she lives in concern, and her father (Jeffrey Dean Morgan) is satisfied she is medicating herself with alcohol.
Her adrenaline junkie good friend Hunter (Virginia Gardner) thinks Becky must get again up on the horse, put concern apart and pay tribute to Dan by climbing an deserted 2,000-foot radio tower in the course of nowhere. They’ll scale the construction, unfold his ashes and convey closure to Becky’s struggling.
The professional climbers scale the tower with the help of a rickety outdated ladder, which falls aside as they rise. On the prime, they perch on a small platform, however their elation is fleeting. With the ladder in items, getting all the way down to floor degree goes to check not solely their abilities as mountaineers, however the bond of their friendship.
The pleasure of “Fall,” I suppose, is voyeuristic. We are able to watch Becky and Hunter try to determine their method again to security, whereas not really being nibbled on by vultures ourselves. It’s a reduction. We’re glad we’re not them, and that provides us the fun, the dopamine rush we would like, as we stay protected in an earthbound theatre.
Like “Open Water,” “47 Meters Down” or “27 Hours,” and different endurance dramas that place an individual or individuals in untenable conditions of their very own making, “Fall” is a cautionary story. The outdated saying could also be that, “the most important danger is taking no danger in any respect,” however that, I feel, applies extra to the inventory market than it does to climbing 2,000-foot poles in the course of nowhere. Becky and Hunter take pointless dangers to make themselves really feel alive and, whoops, find yourself endangering their very own lives.
It’s exhausting to conjure up a substantial amount of sympathy for his or her ridiculous scenario, notably since neither are notably well-rounded characters, however nonetheless “Fall” is a visceral expertise. It’s a mix-and-match of hopelessness, frustration and resilience, captured, regardless of some dodgy CGI, with some spectacular high-flying images by director Scott Mann and cinematographer MacGregor.
“Fall” is a straightforward movie with a easy premise. It lags within the center and overstays its welcome by 15 or 20 minutes, however as a narrative of survival in opposition to insurmountable odds, it delivers the vertigo inducing items.
RESURRECTION: 3 STARS
The long-term results of abuse and management are detailed to vivid and violent impact in “Resurrection,” a brand new psychological thriller starring Rebecca Corridor and now enjoying in theatres.
Corridor is biotech government Margaret, a assured mentor and chief at work; a loving single mom to daughter Abbie (Grace Kaufman) at residence. Her off hours are occupied by feverish bodily coaching and a fling with married co-worker Peter (Michael Esper).
Into her rigorously constructed and compartmentalized life comes David (Tim Roth), an unwelcome customer from the previous. At first, his presence exists solely within the periphery. He attends a convention, nearly unnoticed, sitting a number of rows in entrance of Margaret. Later, she sees him at a division retailer, and confronts him as he reads a newspaper in a park.
Seems, David desires to rekindle their relationship, an abusive scenario Margaret ended 22 years in the past by fleeing, altering her title and rebooting her life. However, 20 years later, the scars of their time collectively stay. Margaret is immediately flooded with reminiscences of his bodily punishments, which he paradoxically calls “kindnesses,” and the disappearance of their son Benjamin.
Fearing for Abbie’s security, in addition to her personal, Margaret slowly unravels as David makes an attempt to reassert his management over her.
“Resurrection” is a troublesome film to explain with out freely giving salient plot factors. It’s the story of the lengths an individual will go in defence of their family members and sanity. The extra outlandish features of the story—no spoilers right here!—solely dig their hooks in due to the ability of the performances.
Margaret’s flip from self-confidence to dazed-and-confused is expertly dealt with. From self-discipline to desperation, Corridor’s change is full. Her transformation is simplest in its subtlest moments, when her shifts in thoughts set are telegraphed by the twitch of an eye fixed or a faint change in posture. A seven-minute monologue that reveals the character of Margaret and David’s historical past is performed out in a single lengthy, unedited close-up and is a grasp class in how you can current exposition that hits all the suitable emotional notes.
Roth has much less to do, however brings an air of menace to each body of movie he seems in.
“Resurrection” culminates with a horrifying scene that throws every thing that got here earlier than into query. It confronts the viewers with a gory scene that asks, how a lot of what we’ve simply seen is actual, and the way a lot is fantasy? It’s an unforgettable scene within the fashion of Ari Aster or David Cronenberg, however overpowers the movie’s attention-grabbing take a look at feminine trauma, gaslighting and repression.
AINBO: SPIRIT OF THE AMAZON: 2 ½ STARS
“Ainbo: Spirit of the Amazon,” a brand new animated movie from Peru for teenagers and now enjoying in theatres, has so much going for it. There’s a really kid-friendly run time of simply over 80 minutes, some cool creatures and an Indigenous perspective. It’s a disgrace that a lot of that goodwill is undone by generic animation and storytelling.
The Amazonian village of Candamo is residence to courageous teen Ainbo (Lola Raie) and her greatest good friend, the soon-to-be-crowned Princess Zumi (Naomi Serrano). The city, and its elders, like Atok (Rene Mujica), have grave considerations about the way forward for the house. It’s a lush, lovely world, however it’s endangered by exploitive builders and a failing ecosystem.
When two spirit animals, an armadillo named Dillo (Dino Andrade) and a tapir known as Vaca (Joe Hernandez) go to Ainbo, they inform her the evil jungle spirits the Yacaruna and their curse, might be defeated with a particular root discovered solely within the rainforest. The data units her off on a quest to avoid wasting the one residence she’s ever identified. Her mates might have given up on the standard methods, however her perception within the Yacaruna retains her transferring ahead.
Chances are you’ll get a slight sense of déjà vu whereas watching “Ainbo: Spirit of the Amazon.” The spirited animated film owes a debt to “The Lion King” with an homage to “FernGully: The Final Rainforest” thrown in for good measure.
Motion full of a plucky feminine lead, the adventures are generally too frenetic and the messages that drive the motion are perplexing—what’s the greatest risk to the village: man, fantasy or a worsening ecosystem?—however whereas it could be acquainted thematically, the film’s good-natured really feel makes it really feel much less like a knock-off or direct-to-DVD flick.
Movie Reviews
Sookshmadarshini Review: A Cleverly Written Thrill
BOTTOM LINE
A Cleverly Written Thrill
RATING
3/5
CENSOR
U/A, 2h 22m
What Is the Film About?
Ammachi (granny) goes missing from Basil Joseph’s home, and his neighbor Nazriya Nazim starts suspecting him for several reasons. Basil Joseph claims that Ammachi’s disappearance is due to her Alzheimer’s disease, but Nazriya remains unconvinced. Is there more to her suspicion? What serious turn does the story take, and what is the real reason behind Ammachi’s mysterious disappearance? These questions form the core plot of Sookshmadarshini.
Performances
Basil Joseph and Nazriya Nazim compete with each other in running the show with their seamless performances, delivering exactly what a thriller drama needs.
Both carry the film on their shoulders through the cat-and-mouse, tit-for-tat narrative. Though Sookshmadarshini is a thriller, it stands out in their filmography due to the superb balance and finesse they bring to their performances.
The styling and performances perfectly complement the story, as expected from a quality Malayalam film.
Analysis
Sookshmadarshini is directed by MC Jithin, who previously directed Nonsense, a film that also grabbed the attention of Telugu OTT viewers.
In Sookshmadarshini, director MC handles a simple plot with a suspenseful hook but needs to tightly guard the secret and maintain the viewer’s attention until the very last scene.
While the first half feels simple and slow, and the director seems to be trying too hard not to reveal even the slightest hint, the mix of humor and suspense keeps the narrative engaging.
By the time we reach the interval, the story pulls us in, yet the success lies in the fact that nothing is really revealed.
At the same time, it feels like the buildup in the first half raises high expectations for the second half, which must deliver big; otherwise, it risks becoming frustrating.
The second half introduces more intrigue through a sister character, and the suspense around the ‘secret’ driving all the drama becomes even tighter.
Although most of the story takes place in a neighborhood between two houses, the quality technical work -be it the camera or the background score -elevates the suspense as the director pushes the story forward.
It might not a perfect thriller but offers enough to keep you hooked, especially in the second half.
Some exaggeration or logical misses in Nazriya’s character might be noticeable, but they don’t affect the viewer’s engagement, which is the best part.
Also, the director successfully breaks away from the regular beats of a typical comedic thriller, adding a sense of freshness.
Overall, Sookshmadarshini is a cleverly written, smart mix of comedy and suspense, with the director maintaining the secret until the climax through an engaging narrative. The film also offers superb, fresh BGM and visuals that perfectly match the theme, making it a satisfying watch.
Performances by Others Actors
Sookshmadarshini is a film that relies on its supporting cast as well, and their selection is flawless.
Actors like Manohari Joy who plays Ammachi (granny), Kottayam Ramesh, Deepak Parambol, and Sidharth Bharathan, along with the female cast -Akhila Bhargavan, Pooja Mohanraj, and Merin Philip -may not be familiar to Telugu audiences, but their performances clearly demonstrate how perfectly they fit their roles. Each one proves to be an asset to the film.
Music and Other Departments?
First and foremost, the background score by Christo Xavier is terrific, we must say. It is one of the best BGMs of the year. It’s neither too loud nor too soft; instead, it sounds fresh and, most importantly, perfectly matches the situations, elevating them to a whole new level. He has justified every single penny of his remuneration.
Camera work by Sharan Velayudhan is perfect. The film moves between two houses for the most part, but the camera angles and visual quality never feel boring or low-budget. He has done full justice to what the film requires.
Editing by Chaman Chakko could have been sharper. Though Sookshmadarshini is an engaging watch, it does feel like it could have been sharper.
Though the small VFX work handled by Black Maria Studio is slick, especially showing WhatsApp conversations as text on screen, it came out trendy and of good quality.
Production values by Happy Hours Entertainment and Ava Productions are quite adequate and immersive for the simple setup it requires, pulling it off with quality.
Highlights?
Superb BGM that enhances most scenes
Sustaining suspense until the end
Engaging writing and narrative
Performances by Nazriya and Basil Joseph
Drawbacks?
Logical flaws or occasional exaggeration
Feels forced at times to keep secrets until the end
A bit of a slow first half
Did I Enjoy It?
Yes, it’s an engaging mix of humor and thriller.
Will You Recommend It?
Yes, without hesitation.
Sookshma Darshini Movie Review by M9
Movie Reviews
Margaret Pomeranz: The 10 films you should watch, but probably haven’t
MP: Well, I don’t think we truly gelled for about five years because I was so nervous, and it took me time to be able to relax in front of camera.
Fitz: So you became an iconic duo, just like Roy and HG. In their case, they never socialised much off-camera so as to keep their on-air stuff fresh. Did you spend much time with David Stratton when the cameras weren’t rolling?
MP: We did, but never excessively, apart from when we went to things like the Cannes and Venice film festivals, when we would certainly see a great deal of one another. Back in Australia, we saw a bit of each other until he moved up to the Blue Mountains, which I was really shitty about, actually …
Fitz: And how do you judge the current state of the movie business globally and in Australia?
MP: Well, I think the Australian film industry is really healthy. It’s almost like it’s got the confidence in itself. Globally, on the one hand, I’m sick of those Marvel Comics being translated to the screen, but on the other hand, you can get really good ones, like the one that Taika Waititi directed, Thor: Ragnarok. That was terrific. So you can’t be narrow-minded about such films. Some are extremely good.
Fitz: And where are your professional energies going right now?
MP: Nowhere! I am trying to get out of stuff, not into stuff.
Fitz: Two more quick questions, then we can rip in. I read a blurry report that you might have had a cameo role in Priscilla, Queen of the Desert. Is that correct?
MP: Yes, but blink and you’ll miss me, right? I had known the director, Stephan Elliott, for some time, and he said, would I play a part in his film? And I said, “All right, as long as I’m not playing anybody’s mother”. Not long afterwards, I was in Venice at the film festival, and a fax arrived for me, saying he wanted me in Priscilla, indeed playing someone’s mother, but … “You’re playing Guy Pearce’s mother”. So I said, “Oh, all right!”
Fitz: Meantime, I loved your review on Charlie Pickering’s The Weekly on ABC of Married at First Sight where you said, “It’s a groundbreaking social experiment in which mentally fragile halfwits marry toxic fame tarts”. Is there anything you’d like to add to that? Or is that about it?
MP: [Laughs.] No, that’s about it.
Fitz: OK, let’s get to the nub of it. Can you please gimme the 10 films few of us have seen yet, but bloody well should?
MP: Well, my first one is the Australian film Beneath Clouds (2002). That was Ivan Sen’s debut feature about two Indigenous kids, played by Damian Pitt and Dannielle Hall, who accidentally join up as they head for various reasons to Sydney from country NSW. Sen had made a series of really fantastic shorts when he was at the film school, and once he was out he made this. It looks fabulous. It’s heartrendingly great, but very little seen. I’m always moved by the final image in a film, and in this one, it’s just heartbreakingly good. Have you seen it?
Fitz: No, never heard of it, but I will see it soon! Next?
MP: OK, going down the list, I loved Locke (2013) by Stephen Knight. Tom Hardy gives an outstanding performance in this film in which he is the only presence on screen. He plays a man driving to a construction site who takes 38 phone calls from various people as his life falls apart.
Fitz: Hang on, just one actor? So when the screen credits roll for actors, there’s one person?
MP: Yes, apart from voice actors.
Fitz: That sounds like that famous first film by Steven Spielberg, Duel, with the menacing truck being the key presence monstering the poor bloke in front. Go on, next?
MP: Number three is Fearless (1993), by Peter Weir, starring Jeff Bridges and Rosie Perez as survivors of a plane crash who each experience the impact of the aftermath. Have you seen that?
Fitz: No! Look, if it’s not Shawshank Redemption or the like, you may presume I haven’t seen it, but want to. I want you to educate me and mine on the finer things in films so we can say to our friends, “I can’t believe you haven’t seen those wonderful films, Beneath Clouds, Locke and Fearless! What kind of bogan ignoramus are you?”
MP: [Small groan.] Number four is District 9 (2009). This totally original, low-budget science fiction film from South African writer/director Neill Blomkamp has it all – a wild imagination, drama, pathos, compassion, with a few laughs thrown in, as a man organising the relocation of a camp of segregated aliens becomes one of them.
Fitz: You see, Margaret? Don’t despair, I’ve heard of it!
MP: So is that all right?
Fitz: Yes, please go on.
MP: I’ve chosen Nashville (1975). A gigantic tapestry of music, betrayal and politics set in the country music capital of the world and is the work of director Robert Altman. It has a multi-character cast and was the film that excited me most when I first saw it. It is still my favourite film of all time. I fell in love with Robert Altman when I saw it in Sydney, even though it was on screens for just a week, and it was gone. I dragged people to it, and then it disappeared.
Fitz: If you say it is your favourite of all time, that is some recommendation. Next, please?
MP: Gattaca (1997). This debut science fiction film from New Zealand born writer/director Andrew Niccol explores the ethics of genetic engineering. Niccol wrote The Truman Show, but when he went to Hollywood, they wouldn’t let him direct it and gave him Gattaca to direct instead. It stars Ethan Hawke and Uma Thurman and is riveting.
Fitz: Not that you care, but I broadly hate sci-fi. Still, I will give it a go.
MP: The Hill (1965) is a gruelling portrayal of men struggling to survive a military prison camp in North Africa during World War II, and it stars Sean Connery in one of his best performances. I don’t like prison movies much, but this one has stayed with me.
Fitz: I like Shawsha … actually, never mind. Does The Hill have a happy ending? You’ll despair to hear, Marge, my tastes are so plebeian: I genuinely like films where the hero and the heroine go through lots of struggles and get to kiss in the final frame – with the exception of Brokeback Mountain, where it was the two heroes.
MP: [Small pause.] I absolutely adored Brokeback Mountain. I saw that in Venice, and when everybody else was rushing off to the next screening, I just stayed sitting there alone, still absorbing it, it was so wonderful. But, moving on. I love tough films. And the one that I love most is The Lives of Others (2006), the debut film from German writer/director Florian Henckel von Donnersmarck about the impact that Stasi agents, East Germany’s secret police, have on a group of artists and intellectuals. A really powerful cinema experience.
Fitz: Next?
MP: Lust, Caution (2007). Ang Lee’s beautiful, emotionally powerful film is set in China during the Japanese occupation. It’s about a young student’s relationship with a high-ranking collaborator despite the fact that she’s part of a group that aims to assassinate him. And the next one after that is a soft one for you, Peter. I’ve chosen Chef (2014), written, directed by and starring Jon Favreau. It’s the story of a celebrity chef in an upmarket restaurant who loses his temper as he’s not prepared to conform. So he starts up a food truck with the help of his son and estranged wife. And you’ll be thrilled to hear, Peter, this one has a happy ending.
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Fitz: Excellent! And that’s our 10. So the last thing is this. We’ve talked about films that you know are great, that should be more widely celebrated. What about films where everybody loves them except you? I hate to say it, but the best example for me is the one you’re in: Priscilla, Queen of the Desert. Yes, all the actors are great, and Hugo’s a personal friend. But I just never understood the level of acclaim it received.
MP: [Laughing.] Of course it was the one I was in! But, yes, I don’t always like what everybody else likes. I don’t necessarily like what David Stratton likes. I actually talked to him this morning about the list I just gave you, and I think he approves of just about all the ones on my list, but not all. Generally, I think that within seconds of a film opening, you know whether you’re in good hands with a director or not, and it’s really weird that some films just scream: “I am no good!” from the very beginning.
Fitz: And the blockbuster that you detest?
MP: A really popular film that everyone else loved was the remake of The Texas Chainsaw Massacre. It’s only one of the two films I’ve ever walked out of.
Fitz: And what is the other, please?
MP: I will tell you, but it’s not for publication. [We go into the Cone of Silence.]
Fitz: Oh! Oh, I see … Thank you, indeed. I, and my readers, shall report back before Chrissie on what we think of your list. In the meantime, we are in your debt. At least we hope so.
Movie Reviews
Movie review: Wicked – Baltimore Magazine
There’s been a curious trend in the promotion of movie musicals lately. The trailers and commercials have obscured the fact that they are musicals. This was true of the Mean Girls trailer, which made the film seem like a highly redundant note-for-note remake of the Lindsay Lohan original. And it was also true of Timothée Chalamet’s Wonka, a particularly baffling choice since the original was itself a musical. Both those films did well at the box office but I would argue this was in spite of, not because of the sneaky marketing strategy.
Musicals are having a moment. It’s an extension of fan culture—that is to say, culture—with musical theater nerds loudly and proudly staking their claim among the other fandoms on social media. When I went to see The Outsiders on Broadway, there was a large group of teenage girls screaming for Ponyboy and cheering in anticipatory excitement before all the big numbers. When I caught a preview of The Great Gatsby, the screams were so loud you would think star Jeremy Jordan was Harry Styles.
Certainly among the most enduringly popular musicals is Wicked, the girl-power reimagining of The Wizard of Oz, which made co-stars Idina Menzel and Kristin Chenoweth stars—or at the very least, god tier among musical theater nerds.
Happily, Universal Pictures didn’t try to obscure the fact that Wicked is a musical, but that’s not to say the production was without controversy. Everyone agreed that Cynthia Erivo, who won the Tony for The Color Purple and was Oscar nominated for her turn as Harriet Tubman in Harriet, was perfect for the part of misunderstood witch Elphaba, but mega pop star Ariana Grande as Glinda? When there were deserving musical theater professionals out there in need of a big break? Additionally, the promotion was not above its own bait and switch. Never seen in the commercials and trailer is the fact that the nearly three hour film is merely part one. Part two is due next year.
Let’s get those “controversies” out of the way first. Ariana Grande is a marvelous Glinda—pampered, entitled, but secretly kind—like Alicia Silverstone in Clueless if she had pipes for days. Anyone who has seen Grande on Saturday Night Live already knew she was funny—and here, her stellar comic timing is aided by her adoring sidekicks played with gleeful “you can’t sit here” bitchiness by Bowen Yang and Bronwyn James. As for the film being a part one? I wouldn’t fret it. It ends perfectly. You feel satisfied with what you just saw, while eagerly anticipating the next installment.
So yeah, Wicked is good. Almost great, although I couldn’t quite warm up to all the CGI sets and backdrops. I understand that director Jon M. Chu worked hard to create a built environment, even going so far as to plant 9 million tulips to recreate Emerald City (reader: I thought they were fake). But, despite his best efforts, the film still has that slightly glossy, uncanny feeling of AI. Give me cheesy, hand-built sets any day.
Still there’s a lot to recommend here, as the film is filled with wit and cleverness and verve. Erivo, as expected, makes for a heartbreakingly vulnerable, yet fierce Elphaba, and her belting out of “Defying Gravity” feels like cinematic catharsis at its finest. There are also excellent supporting turns, including Jonathan Bailey as the dashing but romantically conflicted Fiyero; Michelle Yeoh as the glamorous professor of the dark arts, Madame Morrible; the voice of Peter Dinklage as the wise and kindly goat professor, Dr. Dillamond; and Jeff Goldblum as the Wizard. (I mean, of course, Jeff Goldblum is the Wizard of Oz. It’s casting as inevitable as it is perfect.) Also, look out for a few smartly placed cameos. (Can you say: Adele Dazeem?)
Directed and performed with flair and obvious affection for the source material, Wicked is a wickedly good time at the movies. And yes, I imagine it’s going to be popular, as I’m already thinking of shelling out 15 bucks to see it again.
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