Movie Reviews
Movie Reviews: New Releases for Aug. 12
![Movie Reviews: New Releases for Aug. 12 Movie Reviews: New Releases for Aug. 12](https://media1.fdncms.com/saltlake/imager/u/slideshow/18730115/fall_still.jpg)
13: The Musical **
It is going to all the time be baffling when a movie adaptation of a supply materials—ebook, play, and so forth.—chooses to desert the very idea that made it unique, and value adapting within the first place. This model of the 2008 Broadway present tells the story of Evan Goldman (Eli Golden), a Jewish adolescent who’s pressured to maneuver together with his mother from New York to Indiana, simply as he’s getting ready for his bar mitzvah. On stage, the solid consisted solely of younger folks, specializing in Evan’s adjustment to his new, very Jew-sparse setting, together with a friendship with a nerdy classmate (Gabriella Uhl) and attempting to get on the nice facet of his center college’s hottest child (JD McCrary). For this model, nonetheless, Brown provides a a lot bigger function to Evan’s mother (Debra Messing) and her pissed off writing profession whereas having to maneuver again in along with her personal mom (Rhea Perlman). That alternative means eradicating big chunks of narrative structure that complicates Evan’s decisions, and removes nearly the entire extra private, low-key songs by Jason Robert Brown to permit an emphasis on the massive manufacturing numbers by (that are energetically choreographed by Jamal Sims, and infrequently efficiently earwormy). The central story—of a boy studying what it actually means to behave like an grownup—feels rushed and skinny, all as a result of nobody may work out the right way to inform it with out adults. Obtainable Aug. 12 by way of Netflix. (PG)
Our bodies Our bodies Our bodies **1/2
On the one hand, it is a fairly daring transfer to construct a serial-killer thriller round the concept there isn’t any apparent viewers surrogate, and each character is unlikeable; alternatively, … yeah, that factor I simply mentioned. It is the story of a bunch of mates who collect on the distant household mansion of rich David (Pete Davidson) for a “hurricane celebration,” the place they start enjoying a murder-mystery sort sport—which, naturally, will get unexpectedly actual. Suspicions fly between the attendees—recently-in-recovery Sophie (Amandla Stenberg); Sophie’s new girlfriend Bee (Borat Subsequent Moviefilm‘s Maria Bakalova); drama queen Emma (Chase Sui Wonders); podcaster Alice (Rachel Sennott)—in a method that retains the 10 Little Indians-style darkened home thriller transferring alongside, with the corpses turning up at sudden intervals. And whereas the decision of the thriller is intelligent at folding in the way in which these folks actually all appear to barely tolerate each other, director Halina Reijn and screenwriter Sarah DeLappe appear far much less involved with delivering a conventionally satisfying slasher film than with choosing at how simply the connections between the characters dissolve below strain, principally as a result of they’re all liars and narcissists. The performances are strong, contemplating the unpleasantness of the characters they’re enjoying; Sennott is especially participating. However contemplating how essentially the most dependable viewers for thrillers is 20-somethings, congratulations I suppose to a film with the nerve to say to 20-somethings, “Man, you all suck.” Obtainable Aug. 12 in theaters. (R)
Day Shift ***
It could be little greater than a method action-horror joint, however what the hell, I’ll take it when somebody not less than manages to execute the method. Within the San Fernando Valley, Bud Jablonski (Jamie Foxx) is a cash-strapped, rule-breaking freelance vampire hunter who must get again in good with the vampire hunter’s union with a purpose to increase the funds that can preserve his ex-wife (Meagan Good) and daughter (Zion Broadnax) from transferring out of city. He’s assigned sadsack desk jockey Seth (Dave Franco) as his watchdog, simply as Bud runs afoul of a robust vampire named Audrey (Karla Souza) with massive plans for controlling Southern California. With the chance for loads of world-building round vampire-hunter paperwork and vampire turf wars, the script feels a bit skinny, particularly in relation to exploiting the notion that Audrey’s new “sunscreen” permits vampires to be out throughout daylight. Nonetheless, it’s principally high-energy leisure, directed by veteran stunt coordinator JJ Perry with a watch in the direction of artistic motion choreography that’s straightforward to observe. And Franco is a great deal of enjoyable because the rookie who is aware of the vampire rule ebook however not the fact of being “within the area.” Nobody will win originality prizes for somewhat “mismatched buddy comedy” plus “separated household” plus “blood-soaked carnage,” and the villain proves to be type of a dud. Alongside the way in which, there’s simply sufficient pep in its step to make it value a spin. Obtainable Aug. 12 by way of Netflix. (R)
Emily the Legal ***
See characteristic evaluate. Obtainable Aug. 12 in theaters. (R)
Fall ***
I’m not saying you will need to have a sphincter-tightening worry of heights with a purpose to get essentially the most out of his survival thriller, but it surely definitely helps. A 12 months after the demise of her husband throughout a rock-climbing tour, Becky (Grace Caroline Currey) remains to be deeply grieving, however reluctantly agrees to hitch her adrenaline-junkie pal Hunter (Virginia Gardner) on an journey climbing a 2,000-foot deserted TV tower. No sooner are they on the high, nonetheless, then crumbling infrastructure strands them up there. The script (co-written by Jonathan Frank and director Scott Mann) tries onerous to make the emotional set-up matter, together with a complication that’s painfully evident fairly early on. Luckily, none of that notably issues when Mann directs the heck out of the film as soon as our protagonists arrive on the tower, emphasizing groaning assist cables and loosening bolts to construct the stress. He finds an awesome steadiness between the fast crises—like recovering misplaced provisions, attempting to ship a misery message with out cell service or warding off vultures—and second-unit pictures that body their location alone in the midst of the sky. Whereas the central performances are strong sufficient at conveying each terror and crucial resourcefulness, the true star right here is the placement. Your mileage—and armrest-gripping—could range. Obtainable Aug. 12 in theaters. (PG-13)
A Love Tune **1/2
See characteristic evaluate. Obtainable Aug. 12 in theater. (PG)
Mack & Rita **
The “body-swap” comedy is a well-worn film premise, however one constant barometer for whether or not one will work is the power of the central efficiency to convey a conflict between internal persona and outward look. I wouldn’t have anticipated that Diane Keaton within the central function can be an obstacle to that success. Initially, we meet Mack (Elizabeth Lail), an “old-soul” struggling author who impulsively needs in a pop-up therapeutic tent for the seeming easier lifetime of a retiree. She emerges within the physique of her 70-something self (Keaton), calling herself Mack’s “Aunt Rita,” and torn between attempting to return to regular and having fun with the distinctive benefits she discovers. The script by Madeline Walter and Paul Welsh doesn’t do a very good job of establishing its comedic set items for incongruous laughs; it’s a careless mistake to indicate Rita flailing by way of a pilates class with out ever establishing the baseline for younger Mack’s competence on the identical duties. That factors to a bigger downside of probably not establishing clear stakes for Mack/Rita’s alternative—examine Large’s juxtaposition of Josh’s pleasing grownup experiences together with his mother’s anguish—in order that there’s an emotional hook. And whereas Keaton stays a treasure, this efficiency all the time simply looks like Keaton enjoying Keaton in all her modern fabulousness, reasonably than a younger girl attempting to determine the right way to be an previous girl. Regardless of a number of light-hearted laughs, it’s by no means clear what Mack & Rita desires to say about youth, about previous age, or about the right way to seize the distinction between the 2. Obtainable Aug. 12 in theaters. (PG-13)
Secret Headquarters **
Excessive-concept comedies have been utilizing a basis of “what actually issues” parent-child relationships for greater than a era, so it’s type of annoying when one can’t even get the fundamental construction proper. On this variation, on a regular basis man Jack (Owen Wilson) discovers alien energy supply that transforms him into the world-protecting superhero The Guard. A decade later, The Guard’s duties have led to an estrangement from his son Charlie (Walker Scobell)—till Charlie and his middle-school mates uncover The Guard’s lair beneath Jack’s home. The first exterior battle entails an arms seller (Michael Peña) and a soldier with a grudge (Jesse Williams) attempting to interrupt in and steal The Guard’s energy supply, turning a lot of the second act into one thing akin to House Alone with super-powers. However whereas Scobell continues to have a pure allure—primarily enjoying the identical character he did in The Adam Mission—all the inside battle needs to be rather a lot much less related as soon as Charlie realizes his dad isn’t simply bailing on him as a result of he’s a typical workaholic, however as a result of he’s, you understand, saving the world. All that continues to be is whether or not the style stuff is satisfying, and it’s … high quality, whereas lacking out on a whole lot of the potential gee-whiz enchantment of younger teenagers experimenting with alien tech. The decision winds up actually rushed and complicated, so wrapped in being interesting to children that it places its thumb on the dimensions to make Jack the largest downside, reasonably than Charlie not studying somewhat perspective. Obtainable Aug. 12 by way of Paramount+. (PG)
Summering **1/2
There’s no sense ignoring the plain level of comparability: A coming-of-age story about 4 pre-teen mates on an journey involving the invention of a lifeless physique reads rather a lot like Stand By Me. Co-writer/director James Ponsoldt modifications issues up greater than merely making the protagonists ladies reasonably than boys on this shot-in-Utah drama, however not all the time in the precise methods. On the ultimate weekend earlier than they’re all set to start center college, greatest mates Daisy (Lia Barnett), Dina (Madalen Mills), Lola (Sanai Victoria) and Mari (Eden Grace Redfield) uncover the aforementioned corpse in one among their favourite enjoying locations, and got down to discover out the story behind his life and demise. Ponsoldt initially supplies a whimsical sense of the childhood free-spiritednes these ladies worry they’ll be forsaking, and a sweetly low-key second once they break into their elementary college and appear so at house in a classroom. It merely feels just like the characters aren’t given sufficient of a vivid sense of distinctive persona past a single trait—Mari’s the goody-goody, Dina’s the mental, and so forth.—except for Daisy’s struggles with being deserted by her father, and the few scenes involving the ladies’ moms feels awkwardly included. There are clever observations right here concerning the difficulties concerned in turning into a part of the messy grownup world, however the result’s nearly too episodic to essentially nail the “I by no means had mates like those I had once I was 12” feelings. Obtainable Aug. 12 in theaters. (PG-13)
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Movie Reviews
‘Martha’ Review: R.J. Cutler Tries to Get Martha Stewart to Let Down Her Guard in Mixed-Bag Netflix Doc
![‘Martha’ Review: R.J. Cutler Tries to Get Martha Stewart to Let Down Her Guard in Mixed-Bag Netflix Doc ‘Martha’ Review: R.J. Cutler Tries to Get Martha Stewart to Let Down Her Guard in Mixed-Bag Netflix Doc](https://www.hollywoodreporter.com/wp-content/uploads/2024/08/Martha_00044009_01191620.jpg?w=1440&h=810&crop=1)
From teenage model to upper-crust caterer to domestic doyenne to media-spanning billionaire to scapegoated convict to octogenarian thirst trap enthusiast and Snoop Dogg chum, Martha Stewart has had a life that defies belief, or at least congruity.
It’s an unlikely journey that has been carried out largely in the public eye, which gives R.J. Cutler a particular challenge with his new Netflix documentary, Martha. Maybe there are young viewers who don’t know what Martha Stewart‘s life was before she hosted dinner parties with Snoop. Perhaps there are older audiences who thought that after spending time at the prison misleadingly known as Camp Cupcake, Martha Stewart slunk off into embarrassed obscurity.
Martha
The Bottom Line Makes for an entertaining but evasive star subject.
Venue: Telluride Film Festival
Distributor: Netflix
Director: R.J. Cutler
1 hour 55 minutes
Those are probably the 115-minute documentary’s target audiences — people impressed enough to be interested in Martha Stewart, but not curious enough to have traced her course actively. It’s a very, very straightforward and linear documentary in which the actual revelations are limited more by your awareness than anything else.
In lieu of revelations, though, what keeps Martha engaging is watching Cutler thrust and parry with his subject. The prolific documentarian has done films on the likes of Anna Wintour and Dick Cheney, so he knows from prickly stars, and in Martha Stewart he has a heroine with enough power and well-earned don’t-give-a-f**k that she’ll only say exactly what she wants to say in the context that she wants to say it. Icy when she wants to be, selectively candid when it suits her purposes, Stewart makes Martha into almost a collaboration: half the story she wants to tell and half the degree to which Cutler buys that story. And the latter, much more than the completely bland biographical trappings and rote formal approach, is entertaining.
Cutler has pushed the spotlight exclusively onto Stewart. Although he’s conducted many new interviews for the documentary, with friends and co-workers and family and even a few adversaries, only Stewart gets the on-screen talking head treatment. Everybody else gets to give their feedback in audio-only conversations that have to take their place behind footage of Martha through the years, as well as the current access Stewart gave production to what seems to have been mostly her lavish Turkey Hill farmhouse.
Those “access” scenes, in which Stewart goes about her business without acknowledging the camera, illustrate her general approach to the documentary, which I could sum up as “I’m prepared to give you my time, but mostly as it’s convenient to me.”
At 83 and still busier than almost any human on the globe, Stewart needs this documentary less than the documentary needs her, and she absolutely knows it. Cutler tries to draw her out and includes himself pushing Stewart on certain points, like the difference between her husband’s affair, which still angers her, and her own contemporaneous infidelity. Whenever possible, Stewart tries to absent herself from being an active part of the stickier conversations by handing off correspondences and her diary from prison, letting Cutler do what he wants with those semi-revealing documents.
“Take it out of the letters,” she instructs him after the dead-ended chat about the end of her marriage, adding that she simply doesn’t revel in self-pity.
And Cutler tries, getting a voiceover actor to read those letters and diary entries and filling in visual gaps with unremarkable still illustrations.
Just as Stewart makes Cutler fill in certain gaps, the director makes viewers read between the lines frequently. In the back-and-forth about their affairs, he mentions speaking with Andy, her ex, but Andy is never heard in the documentary. Take it as you will. And take it as you will that she blames prducer Mark Burnett for not understanding her brand in her post-prison daytime show — which may or may not explain Burnett’s absence, as well as the decision to treat The Martha Stewart Show as a fleeting disaster (it actually ran 1,162 episodes over seven seasons) and to pretend that The Apprentice: Martha Stewart never existed. The gaps and exclusions are particularly visible in the post-prison part of her life, which can be summed up as, “Everything was bad and then she roasted Justin Bieber and everything was good.”
Occasionally, Stewart gives the impression that she’s let her protective veneer slip, like when she says of the New York Post reporter covering her trial: “She’s dead now, thank goodness. Nobody has to put up with that crap that she was writing.” But that’s not letting anything slip. It’s pure and calculated and utterly cutthroat. More frequently when Stewart wants to show contempt, she rolls her eyes or stares in Cutler’s direction waiting for him to move on. That’s evisceration enough.
Stewart isn’t a producer on Martha, and I’m sure there are things here she probably would have preferred not to bother with again at all. But at the same time, you can sense that either she’s steering the theme of the documentary or she’s giving Cutler what he needs for his own clear theme. Throughout the first half, her desire for perfection is mentioned over and over again and, by the end, she pauses and summarizes her life’s course with, “I think imperfection is something that you can deal with.”
Seeing her interact with Cutler and with her staff, there’s no indication that she has set aside her exacting standards. Instead, she’s found a calculatedly imperfect version of herself that people like, and she’s perfected that. It is, as she might put it, a good thing.
Movie Reviews
Reagan Is Almost Fun-Bad But It’s Mostly Just Bad-Bad
![Reagan Is Almost Fun-Bad But It’s Mostly Just Bad-Bad Reagan Is Almost Fun-Bad But It’s Mostly Just Bad-Bad](https://pyxis.nymag.com/v1/imgs/191/afd/c29a986144336e39edf1ea310d979113fd-reagan-review.1x.rsocial.w1200.jpg)
Dennis Quaid in Reagan.
Photo: Showbiz Direct/Everett Collection
Reagan is pure hagiography, but it’s not even one of those convincing hagiographies that pummel you into submission with compelling scenes that reinforce their subject’s greatness. Sean McNamara’s film has slick surfaces, but it’s so shallow and one-note that it actually does Ronald Reagan a disservice. The picture attempts to take in the full arc of the President’s life, following him from childhood right through to his 1994 announcement at the age of 83 that he’d been diagnosed with Alzheimer’s Disease. But you’d never guess that this man was at all complex, complicated, conflicted — in other words, human. He might as well be one of those animatronic robots at Disney World, mouthing lines from his famous speeches.
Dennis Quaid, a very good actor who can usually work hints of sadness into his manic machismo, is hamstrung here by the need to impersonate. He gets the voice down well (and he certainly says “Well” a lot) and he tries to do what he can with Reagan’s occasional political or career setbacks, but gone is that unpredictable glint in the actor’s eye. This Reagan doesn’t seem to have much of an interior life. Everything he thinks or feels, he says — which is maybe an admirable trait in a politician, but makes for boring art.
The film’s arc is wide and its focus is narrow. Reagan is mainly about its subject’s lifelong opposition to Communism, carrying him through his battles against labor organizers as president of the Screen Actors Guild and eventually to higher public office. The movie is narrated by a retired Soviet intelligence official (Jon Voight) in the present day, answering a younger counterpart’s questions about how the Russian empire was destroyed. He calls Reagan “the Crusader” and the moniker is meant to be both combative and respectful: He admires Reagan’s single-minded dedication to fighting the Soviets. They, after all, were single-minded in their dedication to fighting the U.S., and the agent has a ton of folders and films proving that the KGB had been watching Reagan for a long, long time.
By the way, you did read that correctly. Jon Voight plays a KGB officer in this picture, complete with a super-thick Russian accent. There’s a lot of dress-up going on — it’s like Basquiat for Republicans, even though the cast is certainly not all Republicans — and there’s some campy fun to be had here. Much has been made of Creed’s Scott Stapp doing a very flamboyant Frank Sinatra, though I regret to announce that he’s only onscreen for a few seconds. Robert Davi gets more screentime as Leonid Brezhnev, as does Kevin Dillon as Jack Warner. Xander Berkeley puts in fine work as George Schultz, and a game Mena Suvari shows up as an intriguingly pissy Jane Wyman, Reagan’s first wife. As Margaret Thatcher, Lesley-Anne Down gets to utter an orgasmic “Well done, cowboy!” when she sees Reagan’s “Mr. Gorbachev, tear down this wall” speech on TV. And my ’80s-kid brain is still processing C. Thomas Howell being cast as Caspar Weinberger.
To be fair, a lot of historians give Reagan credit for helping bring about both the Gorbachev revolution and the eventual downfall of the U.S.S.R. and its satellites, so the film’s focus is not in and of itself a misguided one. There are stories to be told within that scope — interesting ones, controversial ones, the kind that could get audiences talking and arguing, and even ones that could help breathe life into the moribund state of conservative filmmaking. But without any lifelike characters, it’s hard to find oneself caring, and thus, Reagan’s dedication to such narrow themes proves limiting. We get little mention of his family life (aside from his non-stop devotion to Nancy, played by Penelope Ann Miller, and vice versa). Other issues of the day are breezed through with a couple of quick montages. All of this could have given some texture to the story and lent dimensionality to such an enormously consequential figure. But then again, if the only character flaw you could find in Ronald Reagan was that he was too honest, then maybe you weren’t very serious about depicting him as a human being to begin with.
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Movie Reviews
‘Don’t Let’s Go to the Dogs Tonight’ Review: An Extraordinary Adaptation Takes a Child’s-Eye View of an African Civil War
![‘Don’t Let’s Go to the Dogs Tonight’ Review: An Extraordinary Adaptation Takes a Child’s-Eye View of an African Civil War ‘Don’t Let’s Go to the Dogs Tonight’ Review: An Extraordinary Adaptation Takes a Child’s-Eye View of an African Civil War](https://www.hollywoodreporter.com/wp-content/uploads/2024/08/Don-t-Let-s-Go-to-the-Dogs-Tonight_Still_01-H-2024.jpg?w=1296&h=730&crop=1)
Alexandra Fuller‘s bestselling 2001 memoir of growing up in Africa is so cinematic, full of personal drama and political upheaval against a vivid landscape, that it’s a wonder it hasn’t been turned into a film before. But it was worth waiting for Embeth Davidtz’s eloquent adaptation, which depicts a child’s-eye view of the civil war that created the country of Zimbabwe, formerly Rhodesia — a change the girl’s white colonial parents fiercely resisted.
Davidtz, known as an actress (Schindler’s List, among many others), directs and wrote the screenplay for Don’t Let’s Go to the Dogs Tonight and stars as Fuller’s sad, alcoholic mother. Or, actually, co-stars, because the entire movie rests on the tiny shoulders and remarkably lifelike performance of Lexi Venter — just 7 when the picture, her first, was shot. It is a bold risk to put so much weight on a child’s work, but like so many of Davidtz’s choices here, it also turns out to be shrewd.
Don’t Let’s Go to the Dogs Tonight
The Bottom Line Near perfection.
Venue: Telluride Film Festival
Cast: Lexi Venter, Embeth Davidtz, Zikhona Bali, Fumani N Shilubana, Rob Van Vuuren, Anina Hope Reed
Director-screenwriter: Embeth Davidtz
1 hour 38 minutes
Another those smart calls is to focus intensely on one period of Fuller’s childhood. Don’t Let’s Go to the Dogs Tonight is set in 1980, just before and during the election that would bring the country’s Black majority to power. Bobo, as Fuller was called, is a raggedy kid with a perpetually dirty face and uncombed hair, who’s seen at times riding a motorbike or sneaking cigarettes. She runs around the family farm, whose run-down look and dusty ground tell of a hardscrabble existence. The film was shot in South Africa, and Willie Nel’s cinematography, with glaring bright light, suggests the scorching feel of the sun.
Much of the story is told in Bobo’s voiceover, in Venter’s completely natural delivery, and in another daring and effective choice, all of it is told from her point of view. Davidtz’s screenplay deftly lets us hear and see the racism that surrounds the child, and the ideas that she has innocently taken in from her parents. And we recognize the emotional cost of the war, even when Bobo doesn’t. She often mentions terrorists, saying she is afraid to go into the bathroom alone at night in case there’s one waiting for her “with a knife or a gun or a spear.” She keeps an eye out for them while riding into town in the family car with an armed convoy. “Africans turned into terrorists and that’s how the war started,” she explains, parroting what she has heard.
At one point, the convoy glides past an affluent white neighborhood. That glimpse helps Davidtz situate the Fullers, putting their assumptions of privilege into context. Bobo has absorbed those notions without quite losing her innocence. Referring to the family’s servants, her voiceover says that Sarah (Zikhona Bali) and Jacob (Fumani N. Shilubana) live on the farm, and that “Africans don’t have last names.” Bobo adores Sarah and the stories she tells from her own culture, but Bobo also feels that she can boss Sarah around.
Venter is astonishing throughout. In close-up, she looks wide-eyed and aghast when visiting her grandfather, who has apparently had a stroke. At another point, she says of her mother, “Mum says she’d trade all of us for a horse and her dogs.” When she says, after the briefest pause, “But I know that’s not true,” her tone is not one of defiant disbelief or childlike belief, as might have been expected. It’s more nuanced, with a hint of sadness that suggests a realization just beyond her young grasp. Davidtz surely had a lot to do with that, and her editor, Nicholas Contaras, has cut all Bobo’s scenes into a sharply perfect length. Nonetheless, Venter’s work here brings to mind Anna Paquin, who won an Oscar as a child for her thoroughly believable role as a girl also who sees more than she knows in The Piano.
The largely South African cast displays the same naturalism as Venter, creating a consistent tone. Rob Van Vuuren plays Bobo’s father, who is at times away fighting, and Anina Hope Reed is her older sister. Bali and Shilubana are especially impressive as Sarah and Jacob, their portrayals suggesting a resistance to white rule that the characters can’t always speak out loud.
Davidtz has a showier role as Nicola Fuller. (The movie doesn’t explain its title, which hails from the early 20th century writer A.P Herbert’s line, “Don’t let’s go the dogs tonight, for mother will be there.”) Once, Nicola shoots a snake in the kitchen and calmly wanders off, ordering Jacob to bring her tea. More often, Bobo watches her mother drift around the house or sit on the porch in an alcoholic fog. But when her voiceover tells us about the little sister who drowned, we fathom the grief behind Nicola’s depression. And wrong-headed though she is, we understand her fury and distress when the election results make her feel that she is about to lose the country she thinks of as home. Davidtz gives herself a scene at a neighborhood dance that goes on a bit too long, but it’s the rare sequence that does.
There is more of Fuller’s memoir that might be a source for other adaptations. It is hard to imagine any would be more beautifully realized than this.
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