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Film Critic, Movie Blog, Movie Reviews

The Founder (2016)

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Directed: John Lee Hancock  Rated: PG-13  Runtime: 1h 55m  Studio: TWC   Screenwriter: Robert Siegel  Cast: Michael Keaton, Nick Offerman, John Carroll Lynch, Linda Cardellini, Laura Dern, Patrick Wilson

The Founder follows the life-changing meetup of Ray Kroc (Keaton) and the McDonalds brothers. Highlighting the rise of instant gratification, meeting consumerism, and the billion-dollar-a-year business it all gave rise to; under the golden glow of some arches. 

In 1954 Ray Kroc was a desperate, terrible salesman. He saw potential buyers as dollar signs, nothing more. His only sales pitch never connected to those he attempted to sell milkshake machines. Except for one place, it wasn’t because Ray was a good salesman. 

John Carroll Lynch, Nick Offerman, and Michael Keaton in ‘The Founder’ Image Credit: TWC via Setdecorators.org

That big sale was to Dick (Offerman) and Mac (Lynch) McDonald’s restaurant in Southern California, the co-owners of the legitimately first McDonald’s hamburger joint. They liked what they had, appreciated that it worked (with proper oversight), and were content with their creation. Ray, on the other hand, saw potential and lots of dollar signs. That’s part of the ‘American dream,’ right? Why be content when you can be rich?

In the film, Ray aims to get the brothers to franchise and to see things his way. But they always say no. Some see the brothers as stubborn fools, but they aren’t; greed wasn’t their thing. They were happy, and Ray couldn’t understand this because nothing satisfied him.

‘The Founder’ Image: TWC via beyond50radio.com

That’s what The Founder boils down to, an antagonist who didn’t understand contentment and protagonists who were blind to how deep ambition went, what Ray calls persistence.

The casting for The Founder is superb. Offerman and Lynch are so in-tune with their characters and how they play off one another. It’s seamless. Keaton does a marvelous job of playing well–the walking personification of a greedy dick. 

Michael Keaton in ‘The Founder’ Image: TWC via Vox.com

Films based on a true story are only sometimes well done, let alone accurate, but the essence of the characters in this movie is spot on. It’s an excellent example of a cautionary tale of what happens to the “little guy” when legal loopholes, someone else’s vision, and manipulation play a role in a takeover. 

Cinematically this film is well-directed, edited, and flows logically from one part to the next. It’s easy to watch and compelling enough of a story to keep viewers engaged. I found it interesting, and I don’t even like McDonald’s. I haven’t eaten there in almost 20 years. Not every bio epic is done well, but The Founder is and is worth a place on your watchlist. 

A Pen Lady

2/23/23

Film Critic, Movie Blog, Movie Reviews

Causeway (2022)

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Directed: Lila Neugebauer  Cast: Jennifer Lawrence, Brian Tyree Henry Rated: R  Runtime: 1h 32m  Studio: A24/Apple TV  Screenwriters: Ottesa Moshfegh, Luke Goebel, Elizabeth Sanders

Causeway follows Lynsey (Lawrence), a woman from a crappy family who gets out of her Louisiana town the same way many in her situation do; she joins the military. When an explosion overseas leaves her with a traumatic brain injury (TBI), she’s sent home. She believes, as many service members often do that she’ll recover enough to return to duty. But to recover, she’s sent to the one place she doesn’t want to be; home. 

The filmmaker starts with the mundane—the part where Lynsey must learn how to be a person again. Cinematically the tone of the film conveys “the everyday person” and the settings that go with it. It’s subdued but thoughtful. The characters are silently driven by deep emotions, which reverberate in everything they do. 

Nothing exciting happens in this film. It’s the exhale between heartbeats, where the precipitating events already occurred, and what’s left is the aftermath. Being in the shoes of the broken is what Causeway wants from its audience. Usually, stories about returning war vets are male leads/perspectives and how it affects them and their families. It’s refreshing to see a female lead because women also serve and are affected by war trauma. 

Brian Tyree Henry and Jennifer Lawrence in A24/Apple TV’s ‘Causeway’ via NYT.com

The script is well written. It considers the nuances of dealing with a TBI, post-traumatic stress disorder (PTSD), anxiety, guilt, and depression. The life-numbing psychological toll it plays on a person, with none of the loud, stereotypical bullshit. Lynsey is in her own private hell, so when she encounters James (Henry), who is living with his own pain and guilt from a life-altering event, the two become friends. Lynsey’s personality makes this new relationship difficult, but James mostly understands. 

Causeway’s script is a masterclass depicting people in their most vulnerable state. Showing the raw emotional parts of ourselves that we all have, but without the fluff, heavy exposition, and unnecessary buildup. The tone and flow of this film are spot on. Those involved did their homework on these topics or knew someone well enough to reflect accurately on them. 

Jayne Houdyshell and Jennifer Lawrence in ‘Causeway’ from A24/Apple TV via IMDb.com

I wasn’t sure I wanted to review this film because, at first, I wasn’t sure how to articulate the nothingness I felt when it was over. Causeway didn’t make me consider the perspective of people with TBIs, PTSD, or guilt. And I appreciate serious films that make the audience think about the subject matter they’re watching. I felt nothing about how the movie ended. I’m not heartless, but I know people who have gotten TBIs. I have PTSD and a few members of the alphabet soup club, so I get it. I don’t have to put myself in the character’s shoes; in a way, I already have a pair. In this movie, the audience doesn’t see who Lynsey was before, only how she is now. The adulterated version of her is what there is now, despite whatever progress she makes for herself. 

Causeway is a looking glass into a subject, a reality for many that aren’t talked about enough and not understood enough by the average person. It depicts valuable insight into a reality many deal with and suffer through and is worth discussing. You may only ever watch it once, but Causeway deserves a place on your watchlist. 

-A Pen Lady

Film Critic, Movie Blog, Movie Reviews

Moonfall (2022)

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Directed: Roland Emmerich  Rated: PG-13 Runtime: 2h 10m Studio: Lionsgate Movies Screenwriter: Roland Emmerich, Harald Kloser, Spencer Coen 

Cast: Halle Berry, Patrick Wilson, John Bradley, Charlie Plummer, Michael Peña, Kelly Yu

Some movies are “so bad, they’re good,” which is a polite way of stating ‘it sucks, but not so much I couldn’t sit through it again.’ Moonfall is no such movie.

Watching the trailer for Moonfall, I cringed and snickered while the lines from a Britney Spears song popped into my brain regarding director and writer Roland Emmerich; “Oops!…I did it again!” 

In Moonfall, it’s not an all-out alien invasion, this time out to destroy Earth. No, it’s the ludicrous, deeply implausible manner in which the moon will swing around Earth until it smashes into it completely. 

Emmerich certainly has a genre type he likes to make, but his problem isn’t the genre; he can’t write anything original for it anymore. He suffers from the same issues as director/writer James Cameron; they recycle their past works with new packaging. It’s reminiscent of a bad copy-and-paste job for a word file. We, the audience, see it and the flaws, but why do we keep going to see these? Continuing to see these insults to cinema is (partly) why studios keep green-lighting these projects. We, the movie-goers, must stop this crazy cycle! Other filmmakers are guilty of this too, but it takes a certain level of arrogance and stupidity to keep letting it happen with high-budget projects. How many regurgitations of the same story from the same filmmaker do we need? 

Halle Berry & Patrick Wilson in Lionsgate Movies ‘Moonfall’ via NYT.com

Besides Moonfall giving off watered-down Independence Day, Day After Tomorrow, Armageddon, and Transformers vibes, in the weakest sense, plot and storyline-wise, is the terrible dialogue! Point of observation, if you, the writer, write lines so frequently, in a non-comedic attempt, that has viewers thinking, “no shit, Sherlock,” or “thank you, Captain Obvious,” so much you could get half drunk a third of the way in, you need to rewrite. Or burn the script and start again. 

Even a good cast couldn’t have saved Moonfall from this poorly-written script, even with a good director. Yet, with Moonfall, the writing is mediocre (I’m being kind), the plot/story is ridiculous…and the acting. They may be lovely people, but when Halle Berry and John Bradley are your prominent cast members, even next to Patrick Wilson, what about that casting choice implies this film won’t be an abject failure? Halle Berry is the top billing for this film; I know it’s going to suck before I ever watch the trailer (totally misleading, BTW) because she can’t act! 

Image from Lionsgate Movie’s film ‘Moonfall’ via Polygon.com

The characters are all just…there. You can tell who’s related, who can’t stand who (and why), and how others are connected. Cool. It’s the end of the world, so who wouldn’t want their families safe? Still, none of them have depth or develop into someone or a subplot you want to root for. Why bother watching if you’re not invested in the characters or the story? 

There are so many plot holes and basic scientific blunders; the moon might as well be real Swiss cheese! How many people are required to launch a space shuttle? Three? Five? Oh, and the arrogance factor! A global catastrophe is occurring, and America is the only country to act or have a say in what to do about the moon. And, of course, there are nukes. At least in Emmerich’s Independence Day, there was communication and cooperation, or attempts at it. Here, no one but NASA is in charge until even they say, “fuck it, I’m out.” It’s a wonder the writers of this film had the balls to think the sequel they set this film up for would ever see the light of day. That will never happen! 

John Bradley in ‘Moonfall’ by Lionsgate Movies via DigitalSpy.com

If Independence Day 3 ever happens, I’d rather see that than watch this film again, let alone a sequel. Comparatively, Independence Day: Resurgence was a far superior film (that Emmerich only directed, thankfully) worth rewatching, or just about any other disaster/apocalyptic movie. 

Moonfall isn’t “so bad it’s good;” it’s a master class on multiple things not to do in a film. Ever. That’s nothing to waste your free time on, so skip placing this movie on your watchlist.

-A Pen Lady

Film Critic, Movie Blog, Movie Reviews

Empire Records (1995)

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Director: Allan Moyle Rated: PG-13 Runtime: 1h 30m
Studio: New Regency (Warner Bros.) Screenwriter: Carol Heikkinen
Cast: Liv Tyler, Ethan Embry, Robin Turner, Johnny Whitworth, Rory Cochrane, Debi Mazer, Renée Zellweger, Coyote Shivers, Maxwell Caulfield

Adolescence is messy and confusing; adulthood doesn’t improve this, and Empire Records zeros in on this truth, though audaciously. 

Films set in ’a day in the life’ can be challenging to embody multiple points about movies that make them watchable. Character development is such an area. Several characters staff the store at Empire Records, but there isn’t just one main focus. This film is centered around the plot, with the characters woven in, telling the story (as they should be) even if none of them is deep or developed. There’s just this right mix, blending, to make it all right. 

Rory Cochrane in ‘Empire Records’ by New Regency via IMDb.com

Joe (Lapaglia) is the manager of Empire Records, who is beloved by his (clearly longstanding) employees. Lucas (Cochrane) learns that the owner, Mitchell, wants to sell the store to a big box chain music outlet. Doing so insults independent stores and expression and would see them all fired. So, he takes all the money from that day’s sales and heads off to Atlantic City instead of the bank. That doesn’t go to plan and helps fuel the main drive of the story. To top off learning he’s been robbed (the next day), Joe must contend with the has-been 80s pop star, Rex Manning (Caulfield), being in his store signing autographs. The filmmakers seemed to go for a mashup of David Hasslehoff and Fabio, wearing tight ass pants and a puffy pirate shirt. 

Forget the reality that the store is constantly full of people, and a large chunk of the film centers around most of the staff in the back or elsewhere. Those extras are off-screen; think of them as paused for these moments. In these moments, we see slices of each employee as people and friends. Professionally who wouldn’t want all their workers to jive well together? Who wouldn’t want to go to a job they enjoyed without worrying about co-worker goobers? I think it’s a great accomplishment writing-wise and shown cinematically because they are all very different people. But that’s what you should strive for in a business like a record store, a great blend of people who are going to know a bit about every music type so they can best interact with the customers. However, there are few interactions with the customers in this store. There’s still time to catch shoplifters, which is one of the funnier sequences in the movie. 

Maxwell Caulfield & Brendan Sexton III in New Rengecy’s ‘Empire Records’ via Slashfilms.com

The cast is full of many actors who were early into their careers and went on to do more significant and more notable parts. Liv Tyler for Armageddon and Lord of the Ring trilogy. Ethan Embry for Can’t Hardly Wait, Sweet Home Alabama, Once Upon a Time. Robin Tunny in The Craft and The Mentalist. Empire Records is a fun story that needs to be enjoyed for the feel-good comedy of becoming an adult in the mid-90s. It’s not campy or cheesy and has a well-blended soundtrack that merges perfectly with the pace and tone of the overall film. Was it a box office flop? Hell yes! 

Empire Records is a film that knows what it is. It was never difficult to sell or market to the public, yet the studio utterly failed with the trailer for this film. They over-explained, gave away too many details, and left nothing to the imagination. If they had given this movie a proper trailer, more people would have gone to see it. Empire Records is on the list of films that bombed at the box office but rose to cult classic status, deservedly. 

Johnny Whitworth, Renée Zellweger, & Liv Tyler in New Regency’s ‘Empire Records’ via Ranker.com

If watching comedic movies without thinking about them seriously is your idea of a good time, Empire Records is a hidden nugget worth a place on your watchlist. Watch the trailer at your own risk. I dislike it so much that I opted not to include it in this post, but nothing I said was a spoiler, as it was in the trailer. Cheers!

-A Pen Lady

Film Critic, Movie Blog, Movie Reviews

The Menu (2022)

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Directed: Mark Fiennes  Rated: R  Runtime: 1h 47m 

Studio: Searchlight Pictures Screenwriter: Seth Reiss, Will Tracy  

Cast: Ralph Fiennes, Anya Taylor-Joy, Nicholas Hoult, Hong Chau

If you spend $1,200 to eat at the most exclusive restaurant in the world, accessible only by boat, you’d expect four-star service and food. You’d expect to be wowed and to go home full. Right?

The Menu is a film set up like a chess board, and I don’t know squat about chess. But, it has all the pieces in the form of the chef, staff, and varying levels of self-entitled, uber-wealthy elitist wannabes. The story moves with each clap of chef Slowik’s (Fiennes) hands. A new move on the board, a plot development, or character development (of sorts) is revealed, just like the courses of food served. 

The setting of The Menu is on a secluded island, the boat ride to said island and the dining room. It’s difficult to tell a compelling story when the cast stays in one room. Yet it’s not the setting that holds The Menu back; the plot does. 

Anya Taylor-Joy & Ralph Fiennes in Searchlight Pictures ‘The Menu’ Image: Via Screenrant.com

At first, I was intrigued by the odd behavior of some of the characters because I had no idea where the story was going, but it didn’t bother me. It’s all part of the “wow” one would expect. Dinner and a show. Yet, every character is overly critical or thinks they’re gods gift to food bloggers. Was I watching a movie or actors performing a skit based on bits from Twitter posts or Instagram? I waited for the revelation of why events were happening, let alone in the highly bizarre way they were depicted. When it came, I was vexed by the premise. This was the springboard for the story! Irritatingly unoriginal. I want to slap screenwriters Will Tracy and Seth Reiss. 

The writers went through the effort of crafting a “horror/thriller” with a lavish tasting menu on a secluded island with “shocking surprises” and a talented cast. It was tagged as a “dark satire” film, but the satire doesn’t come through. The only thing that comes across is a control freak chef who’s lost the joy of cooking and takes it out on anyone who’s ever held him in high regard. Chef Julian Slowik is the pinnacle (fictional) example of a toxic disgruntled boss. Though Ralph Fiennes is an excellent casting choice for someone to play calm, composed one second, calm and menacing the next. He always exudes a commanding presence in his roles, and Chef Slowik is no exception. 

‘The Menu’ cast from Searchlight Pictures Image: via NYTimes.com

There are a handful of other notable casting choices that round out the cast: Janet McTeer, John Leguizamo, Judith Light, and Paul Adelstein, to name some, who are all underutilized as actors in this film. But, some roles are supporting and nothing more. In this film, they’re pawns. Reflections of today’s YouTube “experts,” Instagram “influencers,” ego-driven money bags, and those that have seen one too many cooking shows. All of them are there for an experience that none of them actually stop to appreciate.

More than pawns are Hong Chau, who plays Elsa, one of Chef’s most trusted staffers, and Nicholas Hoult as Tyler, a self-professed foodie. Both are enamored with Chef and are prime examples of what happens when people adhere to blind loyalty. Sometimes we should never meet our heroes. Then there is Margot (Taylor-Joy), the exception to everyone else at this dinner from hell. A dozen people were invited to this dinner, and Margot was a last-minute fill-in. She did not factor into the painstakingly detailed menu Chef crafted for his guests. How will he adapt? After all, his menus are one of a kind. Works of art. 

‘The Menu’ from Searchlight Pictures Image: via the LATimes.com

I wouldn’t go so far as to call The Menu a horror film. A suspenseful thriller, yes. The movie is strange, intense, and at times a dark comedy. It had so much potential to be this dark horse thriller but fell short because the premise for the plot was too close to life imitating art. Again, we all have social media and cooking shows for that. That lacking foundation to screenwriting ruins what otherwise could have been a wonderfully dark, twisted display of ‘what the fuck!’ 

The Menu promises more than it delivers. It isn’t worth a place on your watchlist to fill your appetite for a positive cinema experience. 

-A Pen Lady

Film Critic, Movie Blog, Movie Reviews

American History X (1998)

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Director: Tony Kaye    Rated: R    Runtime: 1 hr 58 min    Studio: New Line Cinema Screenplay: David McKenna Cast: Edward Norton, Edward Furlong, Ethan Suplee, Avery Brooks, Stacy Keach, Elliot Gould, Fairuza Balk

There are only a handful of reasons a film holds up over time, let alone can be labeled as excellent or a masterpiece of cinema. American History X holds up because of the topic, but is that a good thing? The parallels between this film, fictionalized as it is, since the 1990s and now are disturbing. This film centers around the four R’s: rhetoric, rage, racism, and a form of redemption. 

American History X’s story revolves around reformed neo-Nazi skinhead Derek’s (Norton) goal to keep his younger brother Danny from following in his lifestyle footsteps after release from prison. The timeline and events leading up to Derek’s incarceration (for three years) are shot in black and white, while the timeline and events following his release from prison are in color. This lends a sense of gritty gravitas to the storyline; cinematically, it works. The story flows well despite some underdeveloped sections. For only Edward Norton’s second major role, this film is still one of the top five of his work to date. For me, it really is one of the best performances of his career. 

It’s not just Norton; the entire cast performs well, considering their characters are horrible examples of humanity. Derek’s hate and buried humanity are balanced by Dr. Sweeny’s (Brooks) goals to mentor those everyone else would wash their hands of. 

Edward Norton in ‘American History X’ Image Credit: New Line Cinema via Vice.com

This film is dark and violent, too much for some or a-typical for Americans, but it’s rooted in factuality, making films like this difficult to watch. At its core, American History X (tries to effectively) represents hate, rage, ignorance, and (part) of what fuels it. More than that, how it’s possible to move beyond the twists in information, hate, and ignorance. Something that’s not often depicted well in films. Movies like this can act as mirrors to how we see other groups or ourselves as we are in the world, making us ask questions that might not otherwise occur. I think those are some of the best examples of great cinema. 

American History X isn’t great, though; it’s a very good film, but not great. That’s because of the underdeveloped areas within the story. Derek’s time in prison is rushed and could have been better fleshed out to make us feel the shift in his personality. There’s a scene where everyone is at dinner, and Derek’s father is talking. You can see where the notions of racism might have taken root for Derek and Danny, but it’s so weak compared to Norton’s lines in the scene that it comes across as undercooked filler. Those are a few non-spoiler examples that could have done more for a film with so many turbulent themes taking place simultaneously. At just under a two-hour runtime, it could have been a little longer and done more for the main character’s arcs, but it’s not bad for what’s packed in there. 

Edward Furlong as Danny in ‘American History X’ Image Credit: New Line Cinema

American History X is intense, captivating, psychological, and savage. It deserves its R rating and is best viewed by those over sixteen due to the content. It may end up being a film you only watch once in your life, but at some point, it belongs on your watchlist.

-A Pen Lady

Film Critic, Movie Blog, Movie Reviews

Doctor Strange in the Multiverse of Madness (2022)

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Doctor Strange in the Multiverse of Madness (2022)

Director: Sam Raimi  Rated: PG-13  Runtime: 2hr 6 min  Studio:  Marvel Studios

Screenwriter: Michael Waldron Cast: Elizabeth Olsen, Benedict Cumberbatch, Xochitl Gomez, Rachel McAdams, Benedict Wong, 

Doctor Strange in the Multiverse of Madness is a dark, trippy departure from the previous Marvel film template. It’s not quite as psychedelic as the first film but leans into a darker/horror-ish vibe attuned to director Sam Raimi’s style. 

While Raimi’s style is fully displayed in so many aspects of the film, a subtler undertone is trying to understand how Wanda Maximoff (Olsen) got to where she is as a character in this movie. So before viewing this film, you must watch the Marvel TV show WandaVision; first, it will answer things the movie won’t address. Once you’re all caught up, it’s a decent story and plot if you can overlook that Sam Raimi didn’t even watch all of WandaVision, just bits of certain episodes. It solidifies how Marvel Studios values its female characters, willing to sacrifice them for their prized goal of story continuity between projects. It’s a practice that truly needs to stop! The film starts with a leap right into the action and the introduction of a new character, America Chavez (Gomez), and a version of Benedict Cumberbatch’s Dr. Strange.  

While the audience doesn’t learn much about America as a character in this film, it’s clear her character is a bridge into the next phase of the MCU and shows new blood (and abilities) to work with as the original Avengers are all but gone. This was inevitable after Endgame, and while I thought Multiverse of Madness would play off of the events in Spider-Man: No Way Home, it takes the multiverse reality introduced in Spiderman and mashes it together with WandaVision. This opens up or gives room for a different Wanda/Scarlet Witch down the road (or any of the Avengers) because initially, Wanda/Scarlet Witch originated as a mutant in the comics. This fact is paramount because Marvel can finally introduce (let alone utter the word) mutants in the MCU. 

Benedict Cumberbatch as Doctor Strange in Marvel Studios ‘Doctor Strange in the Multiverse of Madness’ Image: Marvel Studios via Slashflims.com

While Wanda has gone down the dark magic rabbit hole, thus pitting her against Dr. Strange, Olsen and Cumberbatch give excellent performances. They’ve both embodied their respective characters for a while now, and they are clearly comfortable with the mannerisms and energy that make them shine. But it’s not just the performances and the directing that work for this story; it’s the choreography, sound editing, CGI, costumes, and various set designs! In a multiverse, everything is the same, but somehow just a bit different. How many ways can you dress up a New York street? Revise the Sanctom? In these areas, I say, well played and well done. 

The area I’m hung up on is Wanda’s journey to her point in Multiverse of Madness. I think writers really did Wanda dirty. She starts off as this traumatized child who is studied and used and lost loved ones. She finds a new type of family in the Avengers, certainly with Vision, but after the events of Endgame, they’re all gone or abandoned her. She’s essentially a traumatized adult with no support or resources. She goes from hero to baddie in a deep breath (the blip) and is shunted aside for the sake of franchise development. It sends a terrible message about loss and mental health, a stark contrast to the support group Steve Rogers led in Endgame. That’s all without factoring in Wanda’s power upgrade she (clearly) doesn’t have a handle on. Power corrupts absolutely, indeed!

Elizabeth Olsen as the Scarlet Witch in Marvel Studios ‘Doctor Strange in the Multiverse of Madness’ Credit: CinemaBlend.com

So while I’m not a fan of where the writers have taken Wanda’s character, Elizabeth Olsen certainly does a fantastic job of depicting a formidable badass. I look forward to seeing her character again and where Dr. Strange goes into the next phase of the MCU and America Chavez’s role within it. It’s not my favorite MCU film, but it’s not the worst and if you have time, make a place on your watchlist for it. 

  • A Pen Lady
Film Critic, Movie Blog, Movie Reviews

Spencer (2021)

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Director: Pablo Larraín  Rated: R  Runtime: 1h 57m  Studio: Neon Screenwriter: Steven Knight  Cast: Kristen Stewart, Jack Farthing, Sally Hawkins, Timothy Spall, Sean Harris 

Some (fictional) films are inspired by, based on, or adapted from other works or events. No matter the mild disclaimer, the audience understands that it’s still a work of fiction. Spencer doesn’t do that. It opens with “a fable from a true tragedy.” Like children’s stories that start with the words ‘once upon a time.’ We know they are made up unless you are a small child who hasn’t learned better yet. Steven Knight and Pablo Larraín set the tone for their film that the viewer will be as gullible as a small child. 

I’m not a royalist. I’m also no fan of Kristen Stewart. Yet I respect the humanitarian that Diana was, and her hands-on approach to parenting, as it was. So, I begrudgingly finally sat down to watch Spencer. 

Spencer is one of the most mind-numbingly dull waste of brain cells; time sucks, I have watched in years. If I had paid to see this in theaters, I would have gotten my money back. Instead, I kept skipping ahead (on Hulu) to see if anything more interesting would happen. It didn’t. A turtle could outrun the pace of this film; it drags with no redeeming waypoints along its runtime. I can’t fathom how chaotic it was to read the script for this film and why anyone would agree to such poor transitions from scene to scene. 

Kristen Stewart as Diana in ‘Spencer’ Image: Neon via Variety.com

In any one scene, Diana is depressed, frustrated, physically ill, and contemptuous. None of the grace of character attributed to her usual demeanor is on display in this slice of life holiday getaway. No one has their shit together one-hundred percent of the time, let alone behind closed doors. And yet, this depiction of her mindset after she and Charles (Farthing)decide to end their marriage is understandable only to a point. The rest of the cast, where the Royal family is concerned, was an ugly prop. A cold as ice implication that they hated Diana. There is nothing profound about any of them as actors. I think they may have been cast because they fit two criteria. First, they bear some resemblance to a royal family member. Second, they look like they could kill someone with a disdainful icy glare. 

The takeaway from Spencer is that Diana is ungrateful and is losing her shit. At the same time, everyone else micromanages her and watches the trainwreck in progress. Why? The royal family is an unyielding, un-empathetic lot trained in the archaic art of not feeling, speaking, or thinking. To do so is treason. Farthing’s Charles says there needs to be two of everyone, the real one and the one for photos. Yet, what is abundantly clear is that there isn’t one heart between the two versions of Charles or the Queen, and they’ve killed Diana’s along with her most of her soul. The only true glimmer of honesty in this movie is Diana’s warmth for her boys. 

From ‘Spencer’ a family photo. Image: Neon via People.com

It’s not a secret the English monarchy is detached from reality, but apparently, so is the director and screenwriter of Spencer for thinking this was a story worth telling. It’s one thing to take liberties with known facts about a famous/infamous person and frame what unfolds as a “what if” scenario. Spencer, however, plays out as a dull character assassination. This telling doesn’t tell the audience some facts it doesn’t already know about Diana or the royal family. So why make it? Billed as a biopic, there is nothing epic about this film. By definition, a biopic is about the life of a person, not a day in the life of one. The distinction is essential. 

Spencer is a tedious watch with disjointed scene shifts overlayed by questionable musical accompaniment, performed by a cast as engaging as watching paint dry on cardboard. Again, I’m no royalist, but good or bad, Spencer is an $18 million piss on Diana and the royal family. Nothing so unoriginal, poorly constructed, and boring should ever make your watchlist. 

-A Pen Lady

Film Critic, Movie Blog, Movie Reviews

Last Night in Soho (2021)

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Last Night in Soho (2021) Directed: Edgar Wright  Rated: R  Runtime: 1h 56m  Studio: Focus Features  Screenwriter: Edgar Wright, Krystal Wilson-Cairns  Cast: Anya Taylor-Joy, Matt Smith, Thomasin McKenzie, Diana Rigg, Terence Stamp, Michael Ajao

The 60s are alive once more through the fashion trends and set designs quintessential to the decade in Edgar Wright’s Last Night in Soho. A dark, captivating story with suspenseful twists and a great cast. Its plot makes this time-traveling thriller an underdog movie amongst similar billings. 

Eloise (McKenzie) is a sheltered country bumpkin who travels the same path her dead mother once did; to be a fashion designer. Raised and encouraged by her grandmother Eloise seems detached from the modern, everyday world. Yet to make it as a fashion anything in England, London is the place to go. So, Eloise leaves home to attend the London College of Fashion. Eloise struggles in the dorms, becoming so downtrodden by the disillusionment of reality she leaves the dorm to rent a room off-campus. The writer’s choice here is to move the story along, but it strips Eloise’s character of the ability to grow as a person. This film’s dark unlying theme is a women’s lack of choices or autonomy. 

Anya Taylor-Joy and Thomasin McKenzie in ‘Last Night in Soho’ Image: Focus Features/Parisa Taghizadeh via hollywoodreporter.com

Once settled in her new space, she discovers something, like a portal to Narnia or Wonderland. Eloise is enveloped and inspired by the 1960s vivid glamour. The mysterious singer, Sandy (Taylor-Joy), and her manager, Jack (Smith) in her dreams until it turns foul. Are they dreams, memories, or time travel? Why does she stay when most people would run away screaming? Wright goes back and forth; he isn’t entirely clear. Nor is it clear if Eloise is an observer or participant in what she sees. It’s never explored and can seem like a plothole that should have been addressed upon first viewing. However, Wright likes to blur certain aspects, so maybe there isn’t one correct answer. This film is psychological.

The movement between Sandy’s actions and Eloise’s observations is (cinematically) well shot and edited. This facilitates in blurring reality and the dreamscape of past events. The lighting and music also cement the tone and pace of a given scene and the film overall. Edgar Wright makes it easy to watch but, in reality, involves a lot of forethought, takes, and editing. I applaud any movie with a detailed, rich plotline that doesn’t cause hiccups or continuity errors. Last Night in Soho is packed with details and aspects that make the characters’ lives plausible. None more so than Sandy.

Anya Taylor-Joy and Matt Smith in ‘Last Night in Soho’ Image: Focus Features via theguardian.com

Anya Taylor-Joy has had a busy last couple of years with a wide variety of roles to her credit. This movie is another notch off of genes she can pull off. While Eloise is the vehicle that gets us to Sandy, Sandy’s character is the star of this film. Her journey connects to everything in this movie—the twists and emotional resonance fuel the narrative. 

Last Night in Soho isn’t a horror film. It’s psychological, thrilling suspense with layers. I appreciate a screenplay that’s written and cast well and was not disappointed. Anya Taylor-Joy, Matt Smith, and Diana Rigg are all wonderful in their respective roles in this film. Each brings professionalism and gravitas to their character’s places within this movie. A perfectly cast, well-directed story of ambitions, the spotlight, and the nightlife of Soho in the 60s makes Last Night in Soho worth a place on your watchlist. 

-A Pen Lady

Film Critic, Movie Blog, Movie Reviews

Kimi (2022)

apenlady

Kimi (2022)

Directed: Steven Soderbergh  Rated: R  Runtime: 1h 29m  Studio: New Line Cinema

Screenwriter: David Koepp  Cast: Zoë Kravitz, Byron Bowers, Rita Wilson

“What if every sound…what if every moment, was recorded?” The trailer for Kimi asks.

Around 3.5 billion people on this planet have some Andriod-based phone or an iPhone; it’s one or the other. How many have an Amazon device that uses Alexa? ‘Hey, Google,’ ‘Hey, Siri,’ and ‘Alexa’ are available digital assistants on those devices, respectively. So it’s no new idea that they can always listen in on us record us when we are unaware. In that, Soderbergh’s Kimi doesn’t bring up anything the public is in the dark on. In this film, such recordings are voice streams or data streams. 

Anglea Childs (Kravitz) is a work-from-home (WFH) tech analyst. Her job is to sift through logs of complaints/troubleshoot the voice activation interactions between digital assistant Kimi and a user’s requests. Effectively she’s the human component of AI advancement/diagnostics. Angela works as a voice stream interpreter, so Kimi will understand that reminding someone to buy more “kitchen paper” is slang for paper towels. Easy, right. What is easy about such a position when you hear something horrible in a data stream?

Kimi follows Angela as she attempts to reach out to her employer and others within the company she works for to handle such a situation. That’s not easy for Angela because she rarely leaves her home. Soderberg and Koepp leave her character to seem as odd to the viewer as she is to her fictional counterparts. There is nothing more than a few comments throughout the film that mentions why Anglea is the way she is. This marginalization of her mental health is stigmatizing. Worse because it’s a core feature of what propels Angela to do anything (or not), the main reason she works from home. It’s made light of, yet the lion’s share of this film’s setting is her apartment. 

Zoë Kravitz in HBO’s ‘Kimi’ Image: WB and New Line Cinema via LAtimes.com

Anglea is agoraphobic, which in part means she’s afraid to leave places (like home) that are perceived as safe, but she will. Anglea is shown in small ways to make an effort to overcome her issues, which was nice to see reflected on screen. However, how the creators of this movie felt about the problems or bothered to research is sad. They gave her no support system, only a doctor, dentist, and mother who come across as ‘done with her attitude problem’ mentality. Their addition to the plot is filler and adds nothing to the story. 

Poorly intertwined into Anglea’s layers as a character is the film’s actual plot. When she suspects a crime has been recorded, her boss tells her to scrub it. To get rid of it. Part of the reason is for the love of capitalism, and Amygdalya’s CEO doesn’t want to be lumped into a privacy storm like Amazon. Being told to ignore something is one thing; being told to destroy potential evidence is another. It speaks to privacy concerns, certainly, but also to ethical and moral obligations to our fellow man.

A Kimi device in HBO’s ‘Kimi’ Image: WB and New Line Cinema via thecinemaholic.com

Kravitz’s Angela isn’t stupid; she’s intelligent, healthy, and resourceful. So, when she’s not having a full-on panic attack or a bout of debilitating anxiety, why didn’t she call the FBI herself or email them with a file attachment? It’s understandable the compulsion Anglea has to help this stranger. Still, Anglea never needed to leave her place to do it. The plot devices to ensure she did are weak excuses to justify chasing her down in the first place. Ultimately culminating in nothing more than an aggressive show of…(no spoilers!). A better writer would have done justice to a plot like this, but this whole script stinks. 

The only thing that redeems Kimi in any way is Kravitz. She depicts neurotic, ritualistic mannerisms and behaviors with ease. She brings to life what it must be like to live and work with agoraphobia without coming across as a batshit crazy shut-in. It’s measured and not over the top, which allows the audience to see Angela as a person. 

Zoë Kravitz in HBO’s ‘Kimi’ Image: WB and New Line Cinema via Dailymail.com

Sadly not even Zoë’s performance can make up for a cardboard ending. The build-up throughout the story is hollow when the “villain,” Brad, is backed by thugs. Where they come from and why they are involved is inconsequential. It’s eluded to as a glossed-over subplot that means nothing to the story beyond a tired plot mechanism. 

Kimi’s billed as a thriller, but there’s little. Instead, it’s an exercise in poor execution of ideas to a screenplay. Another half-hour or forty-five minutes to flesh out details left on the floor would have helped this narrative shape up into something worth watching. Kimi’s trailer makes this film’s tone and pace come off as more exciting and engaging than it was. There are far better thrillers out there and projects that don’t waste your time or Zoë Kravitz’s talents as an actress. Kimi isn’t worth a place on your watchlist. 

-A Pen Lady