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‘The Deb’ Review: Rebel Wilson’s Directorial Debut Is a Campy, Mixed-Bag Teen Musical

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‘The Deb’ Review: Rebel Wilson’s Directorial Debut Is a Campy, Mixed-Bag Teen Musical

When Maeve (Charlotte MacInnes) gets suspended from school after a political demonstration backfires, her mother (Susan Prior), who also happens to be the institution’s principal, sends the Sydney teenager to live with her cousin Taylah (Natalie Abbott) in the Australian outback.

Dunburn, the fictional locale in which Rebel Wilson’s uneven directorial debut The Deb is set, is a small town recovering from a years-long drought and dereliction of duty by national ministries. The local government desperately needs money to maintain their water supply and have resorted, in one of the film’s more humorous gags, to making a viral video to bring attention to their plight. Of course, none of these issues concern Maeve, who arrives in Dunburn already plotting her escape. 

The Deb

The Bottom Line

Overstuffed with both good and bad.

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Venue: Toronto International Film Festival (Gala Presentations)
Cast: Rebel Wilson, Shane Jacobson, Tara Morice, Natalie Abbott, Charlotte MacInnes, Julian McMahon
Director: Rebel Wilson
Screenwriters: Hannah Reilly, Meg Washington, Rebel Wilson

2 hours 1 minute

Premiering at the Toronto International Film Festival, The Deb chronicles Maeve’s fish-out-of-water adventures in Dunburn. Upon arrival, the cosmopolitan teen loudly rejects the town’s regressive traditions. In particular, Maeve bemoans the annual debutante ball, which Taylah dreams of attending. She can’t understand why her cousin would submit herself to such retrograde pomp and circumstance. Soon, of course, Maeve realizes that she can’t so easily write this small town or its people off.

The Deb is based on the well-received stage musical of the same name by Hannah Reilly (who returns to write the screenplay) and Meg Washington (who serves as an executive producer). It’s a campy movie musical whose cultural self-awareness when it comes to teenage life might draw comparisons to this year’s Mean Girls musical adaptation but whose narrative owes much to Muriel’s Wedding. Taylah, like Muriel, is a big-hearted country girl who dreams of love and social acceptance — the kind of underdog screen protagonist who has become more common since P.J. Hogan’s 1994 film premiered at TIFF. 

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Whereas Muriel wanted to get married, Taylah wants to find a date to the debutante ball, a tradition that makes her feel closer to her deceased mother. Her transformation and friendship with Maeve drive most of the film’s action and offer a heartwarming, if predictable, relationship to root for. It helps that MacInnes (who played Maeve in the stage production) and Abbott fully embrace their characters and the exaggerations required of the movie musical. Their performances, as well as a handful of others including Shane Jacobson as Taylah’s father Rick and Tara Morice as a local tailor, soften the film’s more glaring contrivances. 

Outside of the acting, which leans into the ridiculous and amplifies the campy nature of the film, The Deb struggles in its translation to the screen. The music is contemporary pastiche — riffing on different genres and arranged in ways that recall the Pitch Perfect covers — and although a handful are memorable, thoughts of many fade with the credits. Wilson’s direction is similarly uneven, especially toward the middle of the film, which packs in convenient plot points to distract from narrative thinness. The result is off-kilter pacing that threatens to undo the film’s more successful parts. 

Like this year’s Mean Girls, The Deb does successfully play with the tools of the social media age, adjusting the aspect ratio to mimic iPhones and incorporating the use of platforms like TikTok or Instagram into its storytelling. The film opens with a bullish pop number (one of the movie’s strongest) introducing Maeve’s world at an elite private school in Sydney. The new teenage experience involves documenting every aspect of their lives and engaging in Plastics-like mocking and cruelty.

The catch, of course, is that all of these students are hyper-attuned to injustice so they always punch up instead of down. Maeve’s popularity — both IRL and online — stems from her outspokenness on feminist issues. But she’s also a classic bully, and after one of her political acts goes awry, her classmates are more than eager to obliterate her reputation. In the spirit of the most high-profile cancellations of the 21st century, Maeve retreats from public life to reflect. 

The country air doesn’t suit our chronically online city girl, so from the moment Maeve arrives in Dunburn, she begins plotting her departure. She plans to make her great return to Sydney with a podcast that chronicles her small-town life and begins recording all of her interactions. She ropes in Taylah, making her journey to the deb ball the main narrative, and interviews the resident mean girls, Danielle (Brianna Bishop), Chantelle (Karis Oka), Annabelle, (Stevie Jean) and Annabelle’s mother Janette (played by Wilson), a beautician who makes Regina George seem angelic. As Maeve zips around town investigating, she’s also pursued by a bad boy named Mitch (Hal Cumpston), whom we never learn all that much about. 

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A significant portion of The Deb’s plot revolves around Maeve keeping the true intentions of her podcast a secret while forming a genuine friendship with Taylah, but there are other narratives stuffed into this film. One involves the fate of Dunburn, which is in desperate need of government funds, and the other concerns a will-they-or-won’t-they romance between Rick and Shell (Morice), the town’s tailor. These threads are introduced with confident set pieces and catchy tunes that accompany decent choreography, but the balance is lost once the plot lines require more involvement. Despite its 2-hour runtime, parts of The Deb can feel frustratingly shallow. 

That could be forgiven if the rest of the movie meaningfully cohered, but it doesn’t. The Deb, much like Maeve’s experience in Dunburn, is ultimately a mixed bag. 

Movie Reviews

Kanguva Movie Review – Gulte

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Kanguva Movie Review – Gulte

2/5


02 Hrs 34 Mins   |   Action Adventure – Fantasy   |   14-11-2024


Cast – Suriya, Bobby Deol, Disha Patani, Yogi Babu, Anandaraj, Kovai Sarala, Redin Kingsley, Natarajan Subramaniam & others.

Director – ‘Siruthai’ Siva

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Producer – K. E. Gnanavel Raja, V. Vamsi Krishna Reddy & Pramod Uppalapati

Banner – Studio Green & UV Creations

Music – Devi Sri Prasad

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It’s been about two and a half years since Suriya’s film in a lead role was released in theatres. In an attempt to deliver an out-of-the-world experience to the audience, he teamed up with director, ‘Siruthai’ Siva for Kanguva, an action-adventure fantasy film with a period backdrop. It’s been a while since Suriya delivered a hit at the Box Office and he has pinned all his hopes on the film. After raising expectations with the teaser, and trailer, especially the release trailer which was released a few days back, Kanguva, was finally released in theatres today. Did it live up to the expectations? Did the director, Siva, come up with a memorable film for the fans of Suriya and movie lovers? Let’s figure it out with a detailed analysis.

What is it about?

Francis(Suriya), is a bounty hunter based out of Goa along with his Ex-Girlfriend, Angela(Disha Patani) and friend(Yogi Babu) During a bounty hunting job, Francis and his friend meet a kid(Zeta) who is on a run. Both Francis & Zeta find a strange connection between themselves. What is the connection between Francis and Zeta? Why is Zeta on a run? Who is Kanguva & Poruva? What is their connection with Francis and Zeta? Forms the rest of the story.

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Performances:

Suriya as Francis Theodore looked a bit out of the place but he did well in the role of Kanga aka Kanguva. The way he used his eyes to perform in the role of Kanguva is fantastic. Disha Patani as Angela is wasted. All the sequences involving her are irritating.

Bobby Deol as Udhiran got a poorly written role with a very weird look and there’s not much to talk about his role. The child artist who did the roles of Poruva & Zeta did well. There’s a surprise cameo during the climax of the film by a ‘Most Loved Star’ but even the cameo did not work out. The cameo is used in the film just to give a lead to the second part.

Yogi Babu, Kovai Sarala and a few more notable actors are wasted in poorly written roles. Probably for the first time in the recent past, Yogi Babu’s comedy failed to evoke laughs.

Technicalities:

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Vetri Palaniswamy’s cinematography is first-rate. The way he captured the lush green forests and the way he and his team shot the film during the night is fantastic. Cinematography is the only department that gave their hundred percent to the film. Devi Sri Prasad was disappointed big time with poor songs and a soulless & loud background score. Apart from the ‘Mannippu’ song and the background score during a sequence in the second half, his work is below par and works against the film. Nishad Yusuf’s editing is poor as well. His fast cuts especially in the first half were a pain to the eyes. There’s a lot of VFX used in the film but it is strictly average at best. Production values by Studio Green and UV Creations are grand but the producers would have invested a bit more to fine-tune the VFX part.

Director, Siva selected a very good core point but his lack of experience in executing a film of Kanguva’s scale and his tendency to overdo drama worked against the film big time. He and his writers would have come up with better writing. All we get to see in the film is one action sequence after another without a soul and emotional connection. His work overall is below par.

Thumbs Up:

Two blocks each in both halves
Suriya’s performance as Kanguva
Core Plot of The Film

Thumbs Down:

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DSP’s Songs & Background Score
Weird Looks of Actors
Entire Goa Episode In The First Half
Lack of Emotional Connect In The First Half
Over-the-top drama

Analysis:

Since the release of Baahubali, many filmmakers across the country from multiple film industries have come up with ambitious films that are mounted on a huge canvas & interesting storylines to cater to the PAN India audiences but only a very few of those films worked out. Staying away from an overdose of local flavour is the basic rule that a PAN India filmmaker has to follow but unfortunately most of these filmmakers, especially the Tamil filmmakers inability to stay away from overdoing the local flavour is working against these PAN India films more often than not.

Kanguva has a very interesting plot and a setup that may have been very exciting on paper but the director, Siva and his team’s execution is loud, predictable and filled with an overdose of native flavour. Every actor in the film shouts and screams all the time for no reason. Along with the over-the-top execution and acting by almost all the actors, the weird looks designed for each of the actors, especially when the plot was set up in the year 1070, worked against the film.

The film starts on an interesting note with a monologue by an old woman in the year 1070 that questions the true purpose of each of us human beings’ birth, followed by another interesting sequence involving a kid named, Zeta at a lab in 2024. But, what follows after these two sequences in the first half is a mess filled with people screaming all the time and very predictable pre-interval sequences.

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The second half of the film is marginally better compared to the first half with a couple of well-executed blocks but again, apart from those couple of blocks, remaining everything is unexciting. Also, the sequences Suriya, Disha Patani, Yogi Babu and others in the first half in the backdrop of Goa are forgettable. All those sequences are executed very poorly and test the patience of the audience.

It is the director who is to be blamed for wasting the potential of a very interesting plot with below-par execution barring four blocks. Another culprit is Devi Sri Prasad. Both his songs and background score are forgettable, to say the least.

Overall, Kanguva has an interesting plot but the below-par execution made it a disappointing film that may find it difficult to sustain at the Box Office. There’s a lead given during the climax of the film using a surprise cameo by a star hero for the second part but it is highly unlikely that the second part of the film will be made.

Verdict – Too Loud & Over-The-Top

Rating: 2/5

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'Heretic' Review – A Rube Goldberg Machine Dripping With Theological Boredom

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'Heretic' Review – A Rube Goldberg Machine Dripping With Theological Boredom

Hugh Grant as Mr. Reed in the psychological horror film Heretic. Photo credit: Kimberley French. Image property of A24.

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Written and directed by Scott Beck and Bryan Woods (65, Haunt, writers of A Quiet Place), Heretic is a so-called psychological horror that is disappointing on all fronts. After only seeing the trailer once months ago, I initially thought that Heretic was a film about a serial killer (Hugh Grant) who used his crazy mouse trap-contraption house to lure in religious, door-to-door service people and kill them.

While that is partially the case, Heretic follows two missionaries from The Church of Jesus Christ of Latter-day Saints; Sister Barnes (Sophie Thatcher, The Book of Boba Fett) and Sister Paxton (Chloe East, The Wolf of Snow Hollow). The two women go to the house of Mr. Reed (Grant) who has expressed interest in hearing more about their religion.

(L-R) Chloe East as Sister Paxton and Sophie Thatcher as Sister Barnes in the psychological horror film Heretic (2024), A24

As Sister Barnes and Sister Paxton make their way inside, they soon find themselves trapped in Mr. Reed’s bizarrely intricate home featuring electricity on a timer, a front door that supposedly won’t open again until morning, and metal construction that blocks cell phone signals.

Reed, a theology major with vast knowledge of all religions, claims to have found the one true religion. Whether the two women will escape or if Reed knows what he’s talking about all factors into the cerebral aspect of the film.

(L-R) Chloe East as Sister Paxton, Sophie Thatcher as Sister Barnes, and Hugh Grant as Mr. Reed in the psychological horror film Heretic (2024), A24

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Martin Freeman constantly looked miserable and bored out of his mind when he appeared in films like The Hobbit trilogy and the Sherlock TV series. He suddenly looked like he was having the time of his life when he shifted film genres, plunged into horror, and starred in the 2017 film Ghost Stories.

It seems to be the same case for Hugh Grant. While this isn’t his first horror film, Heretic is his first film in the genre in 36 years (Grant starred in The Lair of the White Worm in 1988). Grant is noticeably lively in his performance in Heretic though and seems downright giddy to be torturing people.

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With cinematography by Chung Chung-hoon (Last Night in Soho, The Handmaiden), Heretic has two visually memorable sequences thanks to how they’re shot. When Sister Barnes and Sister Paxton first arrive, Mr. Reed leaves the room to check on his “wife.” While he’s gone, Barnes turns the candle he blew out and discovers what the scent of the candle is. As she slowly turns the candle, the camera turns with it.

Reed has a miniature duplicate of his house complete with little figures that represent Sister Barnes and Sister Paxton. In a sequence when Sister Paxton is trying to run away from Mr. Reed, we’re following her movements in the miniature but it seamlessly transitions from the model to the real thing when she enters the room and slams the door.

Sophie Thatcher as Sister Barnes in the psychological horror film Heretic (2024), A24

RELATED: ‘Kensuke’s Kingdom’ Review – Striking Animation That Plays It Safe

The method in which Heretic is written is somewhat odd. Not quite horrific enough to be scary with its religion-defying dialogue taking center stage, Heretic is essentially a two-hour sermon attempting to destroy your faith with some splashes of blood and a raggedy woman or two dying in a blueberry pie.  

It feels like if you walked into Heretic devoted to the Mormon religion, you’ll walk out of the theater a different person. Mr. Reed’s arguments regarding all religions stemming from the same concept are portrayed in a way that is believable and convincing.

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Chloe East as Sister Paxton in the psychological horror film Heretic (2024), A24

He somehow rambles about Monopoly and board games, music, and vinyl records to demonstrate similarities between certain board games, how some songs are essentially the same tunes with different lyrics, and that all religions are more similar than dissimilar.

While the dialogue-driven film can be interesting, it’s also rather boring. There’s an unsettling aspect to Mr. Reed’s behavior that capitalizes on the tension in the film. But there are also these long stretches where nothing happens besides the next topic of conversation or a weak payoff where someone’s throat is cut with a box cutter or it builds up to a whisper.

Hugh Grant as Mr. Reed in the psychological horror film Heretic (2024), A24

Heretic is beautifully shot with a stellar performance from Hugh Grant, but its intriguing concept is drowned out by the desire to deconvert the audience and have a lukewarm reveal regarding whatever the one-true religion is. Watching the film is like being trapped in a church of a religion you don’t believe in with an overwhelmingly passionate pastor trying to dissuade you from ever coming back.

‘Memoir Of A Snail’ Review – Hilarity And Empathy Bundled In Stop-Motion Brilliance

Heretic (2024), A24.

PROS

  • Hugh Grant
  • Well thought out dialogue
  • Strong writing

CONS

  • Talks the audience to death
  • Horror aspect feels secondary
  • Gets dull during final act

Mentioned This Article: A24 Heretic Horror Hugh Grant Movie Review psychological

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Review: ‘Emilia Pérez’ is the most wildly original film you’ll see in 2024

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Review: ‘Emilia Pérez’ is the most wildly original film you’ll see in 2024
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The next time you can’t decide what kind of movie to watch, stream “Emilia Pérez.”

In just over two hours, there’s pretty much everything: noir crime thriller, thought-provoking redemption tale, deep character study, comedic melodrama and, yes, even a go-for-broke movie musical.

The other important thing about Netflix’s standout Spanish-language Oscar contender? You won’t find a more talented group of women, whose performances keep French director Jacques Audiard’s movie grounded the more exaggerated it gets as the cast breaks into song-and-dance numbers.

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Trans actress Karla Sofía Gascón is a revelation as a drug kingpin desperate to live a different, female existence in “Emilia Pérez” (★★★½ out of four; rated R; streaming Wednesday). She’s one of several strong-willed personalities seeking inner joy or real love in their complicated lives: Selena Gomez plays a mom driven back into old bad habits, while Zoe Saldaña turns in an exceptional and multifaceted performance as an ambitious attorney caught in the middle of drama.

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Rita (Saldaña) is a defense lawyer in Mexico who toils for an unappreciative boss while also making him look good in court. But someone does notice her skills: Rita receives an offer she can’t refuse from Manitas (Gascón), a notorious cartel boss who yearns to live authentically as a woman and hires Rita to find the right person for the gender affirmation surgery. After moving Manitas’ wife Jessi (Gomez) and their two boys to Switzerland, Rita helps him fake his death while Manitas goes under the knife and becomes Emilia.

Four years later, Rita’s in London at a get-together when she meets and recognizes Emilia, who says she misses her children and wants Rita to help relocate them back to Mexico. (Emilia tells them she’s Manitas’ “distant cousin.”) Rita moves back home and helps Emilia start a nonprofit to find the missing bodies of drug cartel victims for their family members. While Emilia tries to make amends for her crimes, she becomes increasingly angry at Jessi for neglecting the kids and reconnecting with past lover Gustavo (Edgar Ramirez).

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And on top of all this dishy intrigue is how it works with the movie’s musical elements. Original songs are interspersed within the narrative in sometimes fantastical ways and mostly for character-development purposes. They tend to be more rhythmically abstract than showtunes, but by the end, you’ll be humming at least one rousing melody.

Saldaña gets the lion’s share of the showstoppers, including one set in a hospital and another at a gala where Rita sings about how their organization is being financed by crooks. Gomez gets jams of the dance-floor and exasperatingly raging variety, and Gascón has a few moments to shine, like the ballad that showcases her growing feelings toward Epifania (Adriana Paz), a woman who’s glad when her no-good criminal husband is found dead.

Gascón is spectacular in her dual roles, under a bunch of makeup as the shadowy Manitas and positively glowing as the lively Emilia. What’s so good is she makes sure each reflects the other: While Manitas has a hint of vulnerability early on, sparks of Emilia’s vengeful former self become apparent as past sins and bad decisions come back to bite multiple characters in an explosive but haphazard finale. 

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The stellar acting and assorted songs boost much of the familiar elements in “Emilia Pérez,” creating something inventively original and never, ever bland.

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