film reviews, interviews, features | BRWC

Author: Matt Conway

  • Dr. Strange and the Marvelverse of Madness

    Dr. Strange and the Marvelverse of Madness

    Six years after his cinematic debut, Dr. Stephen Strange’s mystical arts go toe-to-toe with an ally-turned foe in Doctor Strange in the Multiverse of Madness. What appears as another business-as-usual MCU effort reflects an exciting change of pace with the involvement of Evil Dead and Spider-Man helmer Sam Raimi. 

    Raimi remains one of horror’s most respected auteurs, often enriching trademark narrative devices through his kinetic cinematic pulse and swirling camera movements. His latest foray into big-budget filmmaking has drawn surprisingly divisive reactions from critics and audiences alike. Some are even critiquing the auteur for conjuring a twisted take that opposes the universe’s family-friendly sensibilities (still in shock people think this should’ve been R). 

    I can see why Multiverse of Madness is drawing divisive reactions. The end product feels like an odd hodgepodge of narrative and sensibilities – a constrained blend of old-school horror and MCU machinations that constantly clashes with itself. While the tropes remain intact, Raimi extracts enough gonzo energy in a colorful and fittingly twisted stylistic deviation. 

    For the first hour, Multiverse of Madness delivers a shockingly disjointed vision. The film’s unsteady production process becomes deeply felt onscreen as the material jockeys between Dr. Strange’s internal struggles and Scarlett Witch’s descent into villainy without proper balance. Unlike fan-favorites Iron Man and Black Widow, Strange still feels like an enigma only defined by his crotchety attitude. On the other hand, Scarlett Witch’s well-defined arc in Wandavision feels noticeably absent as the script rushes the character into her untimely fate. The introduction of America Chavez, who Xochitl Gomez spiritedly portrays, barely makes a dent as the character receives little dimension onscreen. 

    Several scenes overloaded with exposition jargon and unfinished CGI showcase a shocking level of laziness for a Marvel big-budget production. Considering the narrative was stitched together after COVID-19 delays, the screenwriting team unsurprisingly struggles to cultivate a clear narrative direction for the film. I have a hard time blaming the talent involved because this is not how the moviemaking process should go.

    Not to rain on the MCU parade, but Marvel largely shies away from filmmaking’s intricate craft as their massive cinematic world expands. Few auteurs can operate outside the strict confines of Producer Kevin Feige’s vision, which leads most filmmakers compromising their artistic identity in favor of meaningless world-building. The approach leaves many of the studio’s grand production looking and feeling like a commercial for the next super-powered character that will debut (Hawkeye on Disney+ embraces the visual profile of an artless Honda commercial). 

    While the Feige formula enjoyed unprecedented success, it’s clear the approach is showing its age. DC’s The Batman and The Suicide Squad garnered passionate audience responses as both films showcased the succinct vision of their helmers. Marvel may remain the top box office powerhouse between the two, but their artistic limitations feel more apparent than ever.

    Thankfully, the second hour of Multiverse of Madness delivers the bold and artistically-invigorating experience I’ve been clamoring for. Raimi’s cinematic verve fully embraces the oft-kilter possibilities of his multiverse presence. Under his guidance, the typical cameos and action setpieces take on a newfound playfulness – an energy that’s been desperately missing from prior entries. After all, this is a superhero movie, and not all of them need to embrace solemnly-worn self-seriousness. 

    It’s a blast to watch Raimi renew his horror techniques on a big-budget scale. As the second half finds Scarlett Witch exacting her revenge, Raimi showcases the true horror behind her boundless powers. Inventive setpieces, creative camera movements, and an eye for unnerving imagery allow the film’s horror connotations to operate as intended. I also loved the ways Raimi plays with viewers’ expectations, including a hilariously cruel prank on fans who continue to fan cast an actor for a certain superpowered hero. 

    Dr. Strange in the Multiverse of Madness is far from great, but the film marks a welcome change of pace when finally discovering its comfort zone. I hope fans grow to embrace stylistically distinctive entries like this over been-there-done-that fare. Both Multiverse of Madness and the critically-disowned Eternals display much-needed creative life for the tried and true Marvel brand. 

    Dr. Strange in the Multiverse of Madness is now playing in theaters.

  • Marmaduke: The BRWC Review

    Marmaduke: The BRWC Review

    Marmaduke Synopsis: A legendary dog trainer (Brian Hull) believes he can transform Marmaduke (Pete Davidson) from an undisciplined, but lovable dog, into the first Great Dane to win the World Dog Championship.

    Netflix may represent the first streaming empire, but it’s a service beginning to reach its creative and financial nadir. News of lost subscribers comes as new streamers pave their pathway in the market. Honestly, most of these platforms put out a superior product – often building libraries of beloved classics and vibrant original offerings that possess their own distinctive allure. 

    As competition grows, Netflix finds itself treading water as they roll out a blend of mediocre franchise-starters (The Adam Project) and failed Oscar bait (Don’t Look Up). All of the negative headlines culminate with the unceremonious release of another Marmaduke adaptation. What appears as a harmless animated offering mutates into a shocking low-point for the storied streamer. 

    It’s hard to go lower than the uninspired 2010 Marmaduke, yet somehow the creative team creates an even less competent feature here. Crafted on a shoestring budget in 2017, Marmaduke looks like a drug-fueled nightmare – an almost indescribable blend of contorted movements and poorly implemented techniques. None of the visuals present the textured details and imaginative visuals of its big and small screen peers. I almost recommend readers watch 5 or 10 minutes just to experience the sheer bewilderment radiating from every frame. I can’t imagine many lasting longer than that. 

    The plotting is equally haphazard. Marmaduke’s gangly presence finds himself stumbling into a dog contest, one where he predictable endures a series of charmless pratfalls as a substitute for an actual story. Playing out like a loosely formed sketch, Marmaduke barely operates like a movie. Rarely do scenes draw a real impression as the creative team repeatedly swings and miss at drawing interest. Even for a kid-centric vehicle, the script is careless and laughably ill-conceived. 

    Not even a skilled cast of voice actors breathe life into the proceedings. Star Pete Davidson radiates paycheck mode ambivalence in his flat interpretation of the titular dog. The actor’s laidback charisma is noticeably vacant as he self-awarely mugs his way through the dreadful material (To be honest, I don’t hate cashing an easy check on Pete’s part). David Koechner and Oscar-winner J.K. Simmons also find themselves bizarrely involved in roles that exist far beneath their talents. 

    It would be unfair to completely kill Netflix here, this is a film they acquired from the cinematic scrapheap. Still, it’s disappointing that the streamer distributes below-average products like Marmaduke over supporting their own fruitful projects (Netflix canceled several shows unceremoniously this year). 

    Marmaduke may go down as a “so bad it’s good” relic. For now, it stands as the worst film of 2022. 

    Marmaduke is now playing on Netflix. 

  • Pleasure: The BRWC Review

    Pleasure: The BRWC Review

    Pleasure Synopsis: Bella Cherry (Sofia Kappel) arrives in Los Angeles with dreams of becoming an adult film star, but she soon learns that fame won’t come easy as she harnesses her ambition and cunning to rise to the top of this mesmerizing and singular world.

    As a newcomer to the states, Bella Cherry sets herself down the challenging path of porn superstardom in Ninja Thyberg’s 2021 Sundance holdover Pleasure. The sensationalism and industrial malpractice behind the adult film industry aren’t new to the big screen (Boogie Nights and Mope) – but filmmakers have often overlooked the perspective of women disenfranchised by the inhumane landscape. 

    Thyberg, who conveyed part of an articulate thesis in her 2013 short film of the same name, imbues much-needed agency into her overlooked subjects in a feature-length adaptation. Pleasure descends into the adult film industry’s objectification with haunting visceral and thematic results. 

    I commend Thyberg for exemplifying an astute understanding of her subject matter. Aesthetically, Thyberg and Cinematographer Sophie Winqvist intelligently incorporate the glossy, over-lit visceral allures of modern adult film scenes. The clever visual profile welcomes a harsh juxtaposition between porn’s sensual imagery and the underlying abuse occurring behind the scenes. 

    Pleasure never overworks its material into uncomfortably exploitative territory, allowing each bold artistic choice to reflect the raw discomfort of porn’s complex landscape. Every stylistic decision showcases commendable dramatic tact on Thyberg’s part as the filmmaker accompanies her disturbing imagery with a flurry of frenetic cuts and intimately-framed shots. What could appear sleazy in the wrong hands becomes a disturbing portrait of one of entertainment’s largest industries under Thyberg’s control. 

    Thyberg also showcases the textured minutiae of a day-to-day existence in porn. With equal parts empathy and gravitas, the writer/director depicts the ways aspiring young women suffocate under beratement and discarded treatment from their male counterparts. Thyberg deserves ample praise for not compromising her challenging NC-17 vision despite facing apparent pressures from other studios (A24 originally purchased the film from Sundance before selling it to Neon).

    As the wanderlust dreamer Bella, star Sofia Kappel commands the screen in her expressive and physically demanding portrayal. Kappel conveys the glowing highs and degrading lows of Bella’s journey as she tries to stay afloat in a system that vyes to consume her. The unheralded supporting cast also deserves praise for ensuring authenticity in every frame.

    Pleasure ultimately dampens some of its impact with a rushed and far too-clean finale. Still, the experience elicits a taunt and razor-sharp depiction of adult film’s dysfunctional climate. 

    Pleasure opens in limited theaters on May 13. 

  • The Survivor: The BRWC Review

    The Survivor: The BRWC Review

    The Survivor Synopsis: After World War II, Harry Haft (Ben Foster) is a boxer who fought against his peers in concentration camps. Haunted by memories, he tries to use fighting legends as a way to find his love.

    The generational pain lingering in the aftermath of the Holocaust remains a vital subject for artistic expression. Acclaimed efforts like Schindler’s List and the Son of Saul examine the era with tact and brutal honesty, often utilizing their visceral craft in a harrowing education on the era’s haunting impacts. Potryaying the Holocaust also comes with its own set of difficulties for filmmakers. A few noble failed endeavors highlight how the era’s nuances require more than just good intentions on the filmmakers’ part.

    With The Survivor, 80’s filmmaking stalwart Barry Levinson focuses on the resonant true story of Harry Haft. As a man forced into life-or-death boxing matches inside the concentration camps, Haft’s story emanates the stark trauma and survivor’s guilt facing a generation exposed to inhumane practices. Thankfully, The Survivor explores Haft and his fighting spirit with an empathetic eye.

    Levinson, a filmmaker who has endured a slew of middling efforts after his filmmaking heyday, recaptures his artistic voice in his depictions of Haft. Levinson and Screenwriter Justine Juel Gillmer wisely merge Haft’s inhumane existence in the camps alongside his aftermath as a boxer desperate to find his lost love. The cojoined time periods reinforce the untapped trauma left in the wake of Haft’s cursed role as a purveyor of death and destruction at the Nazi’s hands – with each flashback assaulting viewers in the same uncontrolled manner they confront Haft.

    As a filmmaker from a different era, Levinson’s traditionalist and restrained filmmaking choices serve as a fitting complement to his material. His balance of visceral horrors and the imaginative fears of the unknown convey Haft and his existence with technical aplomb. Levinson radiates respect for his subject and his struggles – he never overworks his craft to a point where the ample suffering feels exploitative. I also give Levinson and Gillmer credit for elevating some of the biopic’s most tired cliches. The duo’s usage of journalist interviews as a lead-in to flashbacks and inspirational speeches earn a more meaningful place in The Survivor than in more tangential efforts.

    The Survivor stands out most as a reflection star Ben Foster’s commanding talents. Foster remains one of the industry’s most underappreciated talents, with understated work in The Messenger and Leave No Trace showcasing an unbridled dedication to his craft. As Haft, Foster confronts PTSD and the character’s suppressed emotions through his detailed eye for humanity. It’s a credit to Foster that not a single character revelation feels false. The actor mines expressive detail in every frame as Haft endures an emotionally restrained journey for recovery.

    Despite its resonance, The Survivor does succumb to some unevenness. The expressive details of the film’s first half are less apparent in the latter half as Gillmer attempts to incorporate Haft’s complicated healing process. Between Hary’s relationship with his kind-hearted wife Miriam and searching for his childhood love, the second half does not breathe enough with its characters. Perhaps a mini-series approach could have rendered even more layers upon The Survivor’s strong foundation.

    Unevenness aside, The Survivor hooked me from start to finish. Haft’s process of suffering and recovery reflects the light at the end of the tunnel in humanity’s endurance of trauma.

    The Survivor is now playing on HBO Max.

  • Memory: The BRWC Review

    Memory: The BRWC Review

    Memory Synopsis: When Alex (Liam Neeson), an expert assassin, refuses to complete a job for a dangerous criminal organization, he becomes a target. FBI agents (Guy Pearce and Taj Atwal) and Mexican intelligence (Harold Torres) are brought in to investigate the trail of bodies, leading them closer to Alex. With the crime syndicate and FBI in hot pursuit, Alex has the skills to stay ahead, except for one thing: he is struggling with severe memory loss, affecting his every move. Alex must question his every action and whom he can ultimately trust.

    A hitman on the run tries to keep up with his fading mental state in Memory. Pairing an inventive premise alongside stalwart director Martin Campbell (Casino Royale and GoldenEye) is one way to revitalize Liam Neeson’s decaying action track record. While Neeson remains a sturdy enough presence as an actor, his once-proud legacy as an action star has taken a backseat to a slew of uninspired fluff (Blacklight and The Marksman).

    Memory isn’t without some welcomed improvements from Neeson’s played-out formula, but the changes are not enough. Part international crime drama, part assassin story, Memory delivers an overstuffed and banal effort that will quickly fade from viewers’ memory banks.

    The promise for an assured actioner is certainly there. Seeing Neeson’s cold and calculated hitman Alex wrestle with his newfound morality and memory loss imbues some intriguing wrinkles into the all-too-familiar subgenre. Neeson continues to be adept at enriching his brand of everyman action heroes – while a capable supporting cast – featuring Guy Pearce, Monica Bellucci, and Taj Atwal – helps in personifying generic supporting players.

    Unfortunately, Memory never decides what movie it wants to be. Like several direct-to-video actioners before, Neeson’s hitman spends a large chunk of the narrative sitting on the sidelines as international agents follow his trail. The decision to mold Neeson into a supporting player greatly restricts the dramatic potential of his arc, with Alex rarely getting a moment for meaningful reflection across his killing spree (the decision also reflects obvious budgetary restrictions).

    In his place, Pearce and Atwal lead a dull international crime yarn. I am sure De zaak Alzheimer, the source material Memory is based on, presented merit in its mystery of a murdered young witness, but Scardapane’s script plays out like a poor man’s No Country for Old Men. Memory draws every character and their progression in uninteresting black and white terms. For an arc intended for intrigue, few moments present much excitement as the played-out formula runs its course.

    https://www.youtube.com/watch?v=ye63hQLDj4k&t=80s

    Not even the assured touch of Martin Campbell can save Memory’s failing faculties. Campbell, who showcased a refreshing comeback in 2021’s so-so The Protege, finds his craftsmanship severely restricted by tight budgetary constraints. Each gunfight loses tension through a flurry of cheap, CGI blood splats, while Campbell’s few creative touches mostly take a backseat to a film stuck on visual autopilot. It’s a bummer to see Campbell and Neeson stuck in a project that feels beneath their distinctive talents.

    Despite a few intriguing inclusions, Memory leaves a case of deja vu for viewers enduring another byproduct of Neeson’s generic formula. Let’s hope Neeson can retain his action movie fastball going forward.

    Memory is now playing in theaters.