Tag: dark

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

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

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

The Prestige (2006)

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The Prestige (2006)  Directed by: Christopher Nolan  Rated: PG-13  

Runtime: 2hr 10min    Based on: Novel by Christopher Priest

Studio: Warner Bros.  Screenwriter: Jonathan Nolan, Christopher Nolan

Cast: Christian Bale, Hugh Jackman, Michael Caine, Scarlett Johansson, David Bowie, Andy Serkis

At one point in human history, societies believed in magic. The supernatural. To be wooed and wondered by those who would dare wield it in a wide variety of ways over time. As mankind grew more intelligent or less gullible, depending on the century, the notion of the mystic arts or magic tricks became a tradecraft of sorts—the art of illusions.

In Christopher Nolan’s Prestige, the art of illusion is on full display in London during the late 1890s. A pair of competing magicians professionally try to one-up each other to be the best. This civil rivalry turns sour after a performance goes sideways, locking them in a dangerous loop of who is truly the best, no matter the costs or consequences. 

The Prestige is a detailed, dark drama ruled by magic, science, and obsession. It keeps you reeled in as you watch it. As you watch, you’re trying to figure out if you can see what’s coming, which is fair; this is a Christopher Nolan film. His films make you think, make you try and pay attention without missing that ‘it’ factor. That’s fitting considering the narrative that’s unfolding on screen.

Christian Bale & Hugh Jackman in ‘The Prestige.’ Image: Warner Bros.

Robert Angier (Jackman) is a magician with stage presence and lacks imagination. Alfred Borden (Bale) has nothing but imagination but can’t package it so that an audience will care. Their rivalry transcends professionalism; it’s a vendetta. Deserved or not-you understand why they act the way they do. Bale and Jackman’s energy into their respective characters is lovely; they play off one another so well. These performances are grounded by John Cutter (Caine) and Olivia’s (Johansson) additions. 

Cutter is Angier’s manager, and Olivia is his assistant until she’s not. Michael Caine, as always, is a phenomenal addition to any cast. Johansson does a good job with her character despite the century where a woman in her profession isn’t anything more than an attractive assistant, with no other women to interact with truly. However brief, David Bowie’s depiction of Nikola Tesla is eerily spot-on. The always talented Andy Serkis assists his character. 

David Bowie as Nikola Tesla in ‘The Prestige’ Image: Warner Bros.

Arthur C. Clarke said, “magic is just science that we don’t understand yet.” When watching a film like The Prestige or The Illusionist, which also came out in 2006, this statement is so fitting one might think that the screenwriters took it to heart when crafting these films. 

In creating this movie, the ingenuity that went into the settings, the costumes, and the props/setup for the tricks themselves are impressive. All these things, mixed with the film’s pace, drive the story forward in a manner that is quite enjoyable to watch. 

A well-acted story rooted in dark humor, drama, and the urge to know what happens next are what makes The Prestige worth a place on your watchlist. 

-A Pen Lady