Movie Reviews
Review: Clooney and Pitt carry the fixer caper 'Wolfs'
The overriding tension in “Wolfs,” starring George Clooney and Brad Pitt as rival fixers brought in to clean up the same crime, isn’t so much the threat of police arrest or Albanian mob assassination — both of which are concerns. It’s that Clooney and Pitt aren’t pals.
The two start out as strangers to one another. It’s a testament to Clooney and Pitt’s jovial on-and-off screen chemistry, and their bond in shared movie-star charisma, that it’s genuinely discombobulating to hear Pitt tersely call Clooney “sir” as he does in the opening scenes of Jon Watts’ winning, clever caper.
Pitt and Clooney first acted together in 2001’s “Ocean’s Eleven.” And like that remake riff on the Rat Pack original, “Wolfs” is as much, if not more, about its movie stars as it is anything else. The movie’s appeal is mostly in their easy charm and chemistry — the little eye rolls and games of one-upmanship that accrue until, finally, they’re buddies, like we want them to be.
Clooney is 63 and Pitt is 60, and there are few bits about back pain and Advil in Watts’ film. But “Wolfs,” which opens in limited theaters Friday and streams next week on Apple TV+, is designed to show you that they can still, without ever really breaking a sweat, get the job done.
When their characters meet, they are both standing in the penthouse of a luxury New York hotel where a tough-on-crime district attorney (Amy Ryan) is in desperate need of a cover up. A young, nearly naked man is seemingly dead on the floor. She’s frantically searched her phone for a number once given for such emergencies. That brings the first never-named fixer (Clooney) to the door. Not long after, the second, also unnamed fixer (Pitt) knocks. After a moment of confusion, he points to a small camera at the ceiling. He’s been dispatched by the hotel owner (an unseen Frances McDormand) who doesn’t want any bad press.
The two fixers are spiritual descendants, you might say, from Harvey Keitel’s Winston Wolfe, the fast-driving cleaner of “Pulp Fiction.” Each is a specialist, supposedly the only man who can do what they do. “Wolfs” — with an awkwardly spelled title that represents the pained collaboration of these two solo freelancers — is a little bit like the pointing Spider-Men meme brought to life. Fitting, then, that it comes from Watts, director of the three Tom Holland Spider-Man films. He also wrote the script.
There are more movies that “Wolfs” has some kinship with, too, like Tony Gilroy’s “Michael Clayton,” a high point for Clooney in which he played the clean-up man of a malicious law firm. “Wolfs” doesn’t measure up to anything like “Michael Clayton” — what does? — and isn’t trying to, anyway. This is more of an old-school movie-star-driven entertainment featuring two actors with skills as rarified as their characters’, the kind of movie that was once regularly at home in theaters but now has instead been built for the streaming era.
Informed that they have to finish the job together, the two fixers begin to go about the business of getting rid of the body. They eye each warily, disinterested in giving away any tricks of the trade. This mostly falls to Clooney’s character, whose creative way of lifting the body onto a luggage rack begins to earn the respect of Pitt’s character.
They turn out to have much, maybe everything, in common. Slowly, reluctantly, they inch toward a partnership. It’s a credit to Watts’ keen sense of rhythm and his stars’ subtlety that it more or less takes the whole movie to get there. Once outside the hotel, “Wolfs” unspools over the course of one night, shot sleekly in the shadows of downtown Manhattan by cinematographer Larkin Seiple.
Things get a jolt when the body in question turns out to be alive, and kind of a hoot, too. The kid, credited only as “Kid,” is roused from a drug-induced stupor, and quickly, in tighty whities, goes escaping down the street, forcing the two fixers on an extensive chase leading up to the Brooklyn Bridge. The kid is played with a lot of goofy moxie by Austin Abrams (“Euphoria,” “The Walking Dead”), and his account of how he got into this mess, delivered in a cheap motel, may be the film’s best sequence. Along with Sean Baker’s upcoming “Anora,” it’s turned into a surprisingly good season for New York nocturnal odysseys propelled by mop-haired kids who end up in Brighton Beach.
But the kid’s perspective on his two captors also pushes “Wolfs” along. He’s naive enough to think they’re his friends, even though they would seem duty-bound to dispatch him. Regarding Clooney and Pitt, both in leather jackets, from the back seat of the car, he otherwise correctly assesses them, calling them “like the two coolest people I’ve ever met.”
Thankfully, someone has come to the not-hard-to-deduce realization that Clooney and Pitt are good together. A sequel has already been announced. “Wolfs” turns out to be both the beginning and the coda of a beautiful friendship.
“Wolfs,” an Apple Studios release is rated R by the Motion Picture Association for language throughout and some violent content. Running time: 108 minutes. Three stars out of four.
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Movie Reviews
UNTIL DAWN Review
UNTIL DAWN is nicely shot and paced well, with believable performances. However, the movie has a strong humanist worldview featuring gruesome violence, lots of strong foul language, and excessive gore. The violence includes psychopathic killers, people spontaneously exploding, stabbings, kidnapping, demonic possession, and more. The frequent dying over and over in the plot of UNTIL DAWN puts the sanctity of life into question. It forces the characters to conduct abhorrent and unacceptable immoral actions for survival.
Dominant Worldview and Other Worldview Content/Elements:
Strong humanist worldview that twists the concept of modern psychology into a supernatural hellscape with unexplained time loops and reoccurring nightmarish horror filled with excessive violence and gore, but with unexplained pagan supernatural elements (such as a storm circling a house, the appearance of more buildings, the time loop itself, and many more), the time loop perverts the laws of mortality and implies that the consequences of violence, murder, suicide, etc., don’t apply, the psychologist controlling the time loop discusses the situation with modern psychology in vague circles meant to confuse and disorient the nature of the reality in which the victims are trapped, religion or God is not explicitly discussed, but there’s an unexplained cross in front of a house that isn’t explained and a character references the belief that a possessed person cannot become possessed through contact but rather weakness of faith, and some occult content where one woman is a self-described psychic and is into “woo-woo” stuff as another character describes it, she tries to amplify her psychic abilities with help from the others by holding hands and meditation, and she often has strong feelings and seems to have a sense the others do not have, but no worship or symbols are shown, plus a girl dating a guy is said to have previously dated a girl as well as other men;
Foul Language:
At least 101 obscenities (including 62 “f” words), two strong profanities mentioning the name of Jesus, and four light profanities;
Violence:
Very severe violence and gratuitous blood and gore throughout including but not limited to dead bodies, monsters, scarred masked psychopath, stabbing, beating, and people spontaneously exploding;
Sex:
No sex shown, but a person puts on a VHS tape and a pornographic movie is heard playing briefly but not shown, and a woman is said to date a lot of people and one time dated another woman;
Nudity:
No nudity;
Alcohol Use:
No alcohol use;
Smoking and/or Drug Use and Abuse:
No smoking or drugs; and,
Miscellaneous Immorality:
A psychologist is a callous antagonist whose motives are relatively unknown beyond having a morbid curiosity that led to awful experiments and playing games with other people, he purposely keeps people trapped for no known reason other than his sick and twisted observations that end in gruesome murder and unnecessary torture.
One year after her sister Melanie vanished without a trace, Clover and her friends look to find more information about her disappearance. Clues lead them to an abandoned mining town. This place of unimaginable horrors traps them all in a horrifying time loop where they will be murdered again and again.
UNTIL DAWN is nicely shot and paced well, with believable performances, but it has a strong humanist worldview overall with some occult elements is filled with gruesome violence, gore, lots of strong foul language, and a time loop that leads to an increasing amount of horrific murder and unacceptable immoral actions for survival.
The movie begins with a woman named Melanie clawing her way through the dirt with an unknown monster chasing after her. Digging her way out, she looks up to a masked psychopath standing over her with a scythe. She begs him, “No! Please not again. I can’t!” He fatally stabs her without a thought. It cuts to the main title, and an hourglass is shown with a ticking clock sound and unsettling music.
Cut to a group pf people in a red car driving up a winding mountain, an obvious nod to THE SHINING. It’s been one year after Clover’s sister Melanie vanished without a trace. The group consists of Max, Nina, Megan, Abe, and Clover. Shortly after their mother died, Melanie had decided to start a new life in New York. Clover decided to stay, which created tension between the sisters before Melanie left.
Clover and her friends are looking for more information about her disappearance. Their last stop is the last place she was seen in a video message taken in front of a middle-of-nowhere gas station. Megan, a proclaimed psychic, wants to join hands outside and see if they can feel any mystical energy regarding Melanie. Their attempt is cut short when an RV blares its horn and almost hits them, scaring them all.
Clover goes inside the gas station for a cup of coffee while the others talk outside. Clover asks the man behind the register if he worked here last year. After confirming he’s been working there for years, she shows him a picture of Melanie from the video. He asks if she was missing and clarifies saying that Clover is not the first to come asking. When she asks if many people around here go missing, he says people “get in trouble” in Glore Valley. As their only lead, the group decides to go there and stick together.
Nervously driving to the valley in an increasingly dangerous storm, the group begins to question what they are doing. Suddenly the storm stops but is still raging behind them. They park in front of a house with a “Welcome Center” sign, with the storm circling around the area but leaving the house dry. Confused, they get out of the car and look around. Nina decides to see if there’s anyone inside so they can come up with a plan. Everyone goes in except Clover, who walks up to the strange rain wall.
Inside the house, they find a dated and dusty interior. The power and water don’t work, and they conclude that they are the first people to come there in years. There is a strange hourglass with a skull on the wall. Checking the guest book, Nina finds Melanie’s name signed multiple times, with increasingly shaky handwriting. In another room, Abe finds many missing posters with faces on a bulletin board and finds poster with Melanie’s face.
Outside, Clover thinks she sees a person in the rain. She also hears Melanie’s voice and runs after it. Concerned, Max calls after her and he pulls her back in. As Nina signs the guestbook, the sun suddenly sets and the clock starts ticking.
Inside the house now with the hourglass turned over, they try to understand what’s happening. The car is out in the rain now with someone revving the engine threateningly. Some of them go to the dark basement, where the lights don’t work. There is an eerie sense of dread as Abe goes to check out a noise, and Nina finds a scarred and masked psychopath standing in a room as the top half of Abe’s body falls to the ground.
Hearing the commotion upstairs, the others go to see what happened and Max spots the killer. They run to hide, and the apparently invincible psychopath horrifically stabs each of them as they try to fight back. The sand in the hourglass runs back, as each character returns to where they were when Nina originally signed the book (she now signs it a second time). They remember what had just taken place, and how they were all murdered. Clearly stuck in this time loop escape room situation, they will now have to figure out how to escape this terrifying hellscape as the situations get worse with every loop.
UNTIL DAWN is nicely shot and paced well, with believable performances. However, the movie has a strong humanist worldview featuring gruesome violence, lots of strong foul language, and excessive gore. The violence includes psychopathic killers, people spontaneously exploding, stabbings, kidnapping, demonic possession, and more. The frequent dying over and over in the plot puts the sanctity of life into question. It forces the characters to conduct abhorrent and unacceptable immoral actions for survival.
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