Movie Reviews
PREY (2022)
![PREY (2022) PREY (2022)](https://www.movieguide.org/wp-content/uploads/2022/08/MV5BMDBlMDYxMDktOTUxMS00MjcxLWE2YjQtNjNhMjNmN2Y3ZDA1XkEyXkFqcGdeQXVyMTM1MTE1NDMx._V1_.jpg)
PREY is extremely properly filmed and edited. The motion is intense. The film’s important downside is the bloody violence within the third act, the place the Predator alien kills many Comanche Indians and plenty of French fur trappers. PREY additionally has 4 obscenities, two of that are in French. As well as, there’s a feminist subtext to Naru’s want to hunt with the younger males. Nonetheless, PREY stresses braveness, empathy and sacrifice above all. That mentioned, excessive warning is suggested due to the film’s bloody, intense violence.
Dominant Worldview and Different Worldview Content material/Parts:
Gentle ethical, redemptive worldview stresses braveness, empathy and sacrifice, marred by a feminist subtext
Foul Language:
Two obscenities in English, two obscenities in French
Violence:
Excessive, intense bloody violence the place a big alien predator guts a wolf and is proven from a distance holding aloft the wolf’s head and backbone, alien slashes a bear and holds it above his head to wash within the animal’s blood, alien cuts off the arm of an Indian courageous, alien chops the physique of one other courageous, a splash of blood happens when the alien catches as much as one other courageous he’s been chasing, alien decapitates a number of males, alien will get his arm chopped off, Indians use spears and axes to battle alien, and the lifeless physique of 1 Indian courageous has an arrow in his eye, plus numerous sturdy motion violence contains younger lady loses her stability and false from a tree limb, younger lady will get caught in a bathroom and has to drag herself from security, lady has to run from bear and swim right into a beaver dam, bear tries to seize her together with his snout whereas she cowers within the beaver dam, fur trappers shoot weapons at alien, alien fires his arrows on the individuals, alien makes use of a pointy two-bladed knife in preventing individuals and to pierce the pinnacle of a rattlesnake, canine’s tail will get caught in a lure, however its proprietor places some mud medication on it, lady’s ankle will get caught in a lure, and fur trapper knocks younger lady unconscious
Intercourse:
No intercourse
Nudity:
Higher male nudity as Comanche hunters go bare-chested
Alcohol Use:
Alcohol use by French fur trappers and a few of them appear to be a bit drunk one night time
Smoking and/or Drug Use and Abuse:
No smoking or medication; and,
Miscellaneous Immorality:
French fur trappers kidnap two Comanche Indians and use them as bait, and younger males mock a younger lady who needs to hunt with them.
PREY is a science fiction film on Hulu the place a bunch of Comanche Indian warriors on the American Plains in 1719, led by a hunter and his sister, battles an alien hunter outfitted with futuristic expertise. PREY is an extremely well-made, thrilling journey, however the preventing between the people and the alien on the finish is bloody and violent, so excessive warning is suggested.
A part of the Predator franchise, the film focuses on Naru and her brother, Taabe, members of a Comanche tribe residing on the American Plains in 1719. They communicate each Comanche and English. Naru needs to hitch the younger males on their hunts, however the males snigger at her searching expertise. Her brother, Taabe, is sympathetic, however he doubts she’s as much as the duty. So, Naru practices much more. Her canine, Sarii, is a continuing companion.
In the meantime, a spaceship drops off an alien Predator hunter within the close by foothills. The Predator engages his cloaking machine and stalks off down the mountainside.
That very same say, a mountain lion drags off one of many Comanche hunters. The opposite hunters seek for their buddy. Naru needs to go together with them. The opposite males say no, however her brother reminds them that Naru is an efficient tracker and is aware of medication. Ass night time begins to fall, they discover their injured companion, and Naru applies the natural medication expertise her mom taught her.
Taabe needs to proceed searching the lion. Naru needs to go along with him, however Taabe orders her to go along with the lads taking the injured man again to their village. Naru warns her brother that one thing should have scared the lion away, or else their buddy can be lifeless.
On the way in which again to the village, Naru finds a lifeless rattlesnake that’s been skinned by the Predator. The lads suppose it was a bear, however the tracks across the snake recommend one thing that walks on two legs. So, Naru and one other man go to warn Taabe.
After reaching Taabe, Naru recommend they bait the lion and wait to assault it from the timber. Nonetheless, whereas Naru and the opposite Comanche courageous wait on one tree limb, the lion grabs the courageous and seems proper subsequent to Naru. A wierd noise, apparently coming from the but unknown Predator, distracts Naru, and he or she loses her stability and falls.
Naru wakes up within the village and learns that Taabe introduced her dwelling and went again out for the lion. Taabe quickly returns with the carcass of the lion. Due to Taabe’s bravery, the chief picks Taabe as Battle Chief. Nonetheless, in the course of the tribe’s celebration, Naru tells Taabe they need to return out, past the ridgeline, and kill the factor that scared the lion and killed the snake. Taabe reminds her that he’s the one who killed the mountain lion and that he needed to carry her again to the village. “I can hunt,” Naru says. “You tried,” Taabe replies, “however you couldn’t deliver it dwelling.”
The following morning, Naru and her canine go to hunt the Predator. She returns to the place the place they discovered the injured courageous. She makes use of a keep on with measure the Predator’s footprint and finds a small splash of the alien’s inexperienced blood.
Close by, the Predator makes use of his infrared machine to look at a wolf run after a rabbit. The alien confronts the wolf, kills it, guts it, and celebrates his kill.
In the meantime, Naru and her canine proceed to trace the Predator. By the following day, the Predator hears the canine barking, so he begins monitoring them.
Ultimately, the Predator assaults Naru and a bunch of Comanche braves despatched by her brother to take Naru again to the village. Then, Naru and her brother are kidnapped by a bunch of French fur trappers, who use them as bait to draw the Predator. An enormous battle ensues.
PREY is extremely properly filmed and edited. The pure atmosphere of the Comanche village is superbly photographed, and the motion is intense. Along with preventing the alien, Naru will get trapped in a bathroom and encounters an offended bear in addition to the mountain lion.
The film’s important downside is the bloody violence within the third act, the place the Predator alien kills many Comanche Indians and plenty of French fur trappers. PREY additionally has 4 obscenities, two of that are in French. As well as, there’s a feminist subtext to Naru’s want to hunt with the younger males. When her mom asks her why should she hunt, Naru replies that she should as a result of everybody tells her she will’t. On the constructive facet, nevertheless, PREY stresses braveness and sacrifice all through its story. That mentioned, excessive warning is suggested due to the film’s bloody, intense violence.
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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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