Author: Matt Conway

The Unbearable Weight Of A Massive Talent: The BRWC Review

The Unbearable Weight of a Massive Talent Synopsis: Unfulfilled and facing financial ruin, actor Nicolas Cage (Nicolas Cage) accepts a $1 million offer to attend a wealthy fan’s (Pedro Pascal) birthday party. Things take a wildly unexpected turn when a CIA operative (Tiffany Haddish) recruits Cage for an unusual mission. Taking on the role of a lifetime, he soon finds himself channeling his most iconic and beloved characters to save himself and his loved ones.

The infectiously eccentric movie star Nicolas Cage plays…Nicolas Cage in The Unbearable Weight of a Massive Talent. Buying into the meta zeitgeist surrounding the movie star’s Oscar-winning persona is an ingenious concept for writer/director Tom Gormican and co-screenwriter Kevin Etten. The duo cleverly follows in the footsteps of other supervise portraits of Hollywood personas, like JCVD and Being John Malkovich.

Alongside Mandalorian star Pedro Pascal, Cage takes center stage in a humorous and self-referential take on the buddy comedy formula. Unbearable Weight of a Massive Talent makes for a consistently compelling, albeit thematically inconsistent, descent into the movie star’s endearingly bizarre persona.

To Gomican and Etten’s credit, Unbearable Weight radiates infectious sincerity in its high-concept approach. Every frame fully embeds itself in Cage’s high-wire balancing act of brilliance and spontaneity. From Cage belting songs on the radio to his endearing pretentiousness for his craft, it’s a blast to see the creative team tap into the movie star’s slew of charming eccentricities. I also credit Etten for crafting a cleverly Hollywood-centric script, including a few playful references to the buddy comedy formula, Cage’s filmography, and other patterns in the industry.

Unbearable Weight idolizes its central persona, but it doesn’t completely glorify him. The film is often at its best when it’s at its most reflective, with a hyper-energized younger version of Cage re-appearing to remind the actor of his former glory. It’s a familiar narrative device, but not one utilized without care. Wrestling with ego and Cage’s descent from blockbuster material to indie efforts, Unbearable Weight analyzes the movie star while still celebrating his consistently energized presence.

Most of the fun stems from seeing Cage embody his Hollywood portrait. The movie star amplifies every comedic barb and emotional revelation with sincere dedication to his craft. Pedro Pascal also makes a great scene partner as the mysterious superfan who elicits Cage to his birthday party. The duo makes for an affectionate odd-couple, with both actors synchronizing to form a friendship forged by all things movies and Cage.

While consistently amusing, Unbearable Weight endures its fair share of unevenness. The screenplay works far better as a playful reflection on Cage and his career rather than playing off the buddy comedy formula. The movie inside a movie approach comes with its fair share of annoying contrivances, as the second half runs through a gamut of cliches without proper self-reflection. I can’t help feeling that some of the subversive appeals are left untapped here.

Inconsistencies aside, Unbearable Weight shines as a loving homage to all things Cage. Anyone else who watches Wicker Man or Bad Lieutenant: Port of Call – New Orleans religiously is sure to be a fan.

The Unbearable Weight of a Massive Talent is now playing in theaters.

27th April 2022
The Bad Guys: The BRWC Review

The Bad Guys Synopsis: After a lifetime of legendary heists, notorious criminals Mr. Wolf (Sam Rockwell), Mr. Snake (Marc Maron), Mr. Piranha (Anthony Ramos), Mr. Shark (Craig Robinson), and Ms. Tarantula (Awkwafina) are finally caught. To avoid a prison sentence, the animal outlaws must pull off their most challenging con yet — becoming model citizens. Under the tutelage of their mentor, Professor Marmalade (Richard Ayoade), the dubious gang sets out to fool the world that they’re turning good.

Five criminal animals find themselves on a sudden pathway towards good in The Bad Guys. A stylized descent into the heist genre’s precise machinations marks a welcomed change of pace for Dreamworks Animation. The Shrek creator is synonymous with operating in the shadow of its Disney big brother, but the studio still charts its own path through glossy family films with a clever twist on familiar genre formula (Monsters vs. Aliens and How to Train Your Dragon).

While Dreamworks assumed the animation silver medal for decades, its recent track record reflects an empire reaching its artistic nadir. Low-energy and banal efforts like Spirit Untamed and Trolls: World Tour showcased a studio in the process of losing its once-dynamic fastball. Mixed with the rise of Illumination Entertainment (Despicable Me) and Sony Pictures Animation (Spider-Man: Into the Spider-Verse), Dreamworks has found itself lagging amidst the crowded animated field.

Thankfully, The Bad Guys infuses a surge of creative vitality into the studio and their homage-driven concept. The results conjure a whip-smart crime heist – a refreshingly sincere family-friendly interpretation that showcases Dreamworks’ best work in years.

Several family-friendly offerings attempt to recontextualize beloved genre pastiches, but most reflect their inspirations in a half-hearted effort. Similar to Dreamworks’ best projects, The Bad Guys embraces its genre forefathers with a genuine appreciation for their core tenants. Director Pierre Perifel and the film’s trio of writers (Aaron Blabey, Etan Cohen, and Yoni Brenner) steal a lot of mileage out of the sleek, fast-paced action of the criminal lifestyle. Like an infectious lovechild of the Ocean’s Trilogy, The Bad Guys dawns smooth swagger in its breezy approach – nailing the loose, infectious energy of an evolving heist yarn without playing down to its audience.

Perifel and his skilled team of animators deserve ample praise for reinvigorating Dreamworks’ played-out stylistic playbook. The decision to incorporate Spider-Verse’s innovative blend of 3D animation with 2D flourishes imbues newfound vibrancy in every frame. Each hot-pursuit car chase and grand theft of luxuries take on a brand new visceral energy – as the two styles harmoniously display eye-popping detail and ambitious craftsmanship (the film opens with an impressive 2-minute tracking shot). I am glad animation studios are wisely realizing the importance of evolving their craft rather than playing it safe.

The Bad Guys also presents a charmingly wicked ensemble to rally behind. Sam Rockwell and Marc Maron share an affectionately lived-in rapport as the team’s two longest-standing criminals. Craig Robinson remains an endearing comedic force as the team’s master of disguise, while Anthony Ramos and Awkwafina present their bubbly personas in full force. Unlike most star-studded animated efforts, the ensemble here shares a dynamic rapport as outcasts acting against society’s innate mistrust of them.

The Bad Guys delights even as the film steers into familiar, family-friendly territory. Viewers can expect the typical allotment of third-act plot twists and feel-good messages, but the creative team approaches the framework with enough thought and goodwill. I especially appreciate how the film’s “don’t judge a book by its cover” message cleverly touches upon the importance of doing the right thing rather than appearing virtuous to others.

The Bad Guys represents 2022’s biggest surprise to date. I am glad to see Dreamworks tap back into the strengths of their apex efforts, with this film hopefully marking the first chapter of an exciting new franchise.

The Bad Guys is now playing in theaters.

25th April 2022
New Release Breakdown: Multiverse, Spies, Oh My!

New Release Breakdown: April Edition

On this month’s New Release Breakdown, I journey through the multiverse, an icey cold tale of espionage, and another crappy Netflix release. Let’s get it rolling.

Everything Everywhere All At Once

Stuck running a local laundromat, Evelyn Wang remains unfulfilled from a life of broken dreams and an impending divorce. Her ordinary life suddenly flips upside down when a world-saving quest through the multiverse presents itself in Everything Everywhere All At Once.

From the quirky minds of the writer/director tandem, The Daniels (Swiss Army Man), it’s no surprise that A24’s latest serves as this year’s marquee critical darling. The duo constructs a vision of equally bold and affectionate ideas, utilizing the multiverse concept as an effective platform for ruminating on life’s inevitable regrets and revelations.

Everything Everywhere constantly throws engaging comedic gags and vibrant action setpieces at viewers, but I commend The Daniels most for never forgetting their integral thematic throughlines. The duo conjures meaningful reflections on generational trauma, familial disconnect, and life’s neverending pressures between all the chaos. Michelle Yeoh and 80’s icon Ke Huy Quan also elicit award-worthy performances from their depictions of Evelyn and her affectionately bumbling husband. It’s a blast to see Yeoh’s charismatic movie star presence entrenched in a three-dimensional character, with the actress exhibiting the type of range most projects don’t offer her.

I have some quibbles with Everything Everywhere. The film’s bombastic energy leads to some inevitable unevenness, as the comedic-centric first half pales to the more character-driven finale. A few misgivings do not erase the ample achievements Everything Everywhere scores across its ambitious runtime. The Daniels have crafted another surreal yet humanistic journey through our fragile condition.

Everything Everywhere All At Once is now playing in theaters.

All the Old Knives

A tragic terrorist attack forever alters the path of two entangled CIA Agents. Eight years later, the cold and calculated Henry reunites with his lost love Celia as speculation around the case emerges.

Dressed in the cloth of cloak-and-dagger spy yarns, All the Old Knives embraces the slow-cook tensions of a poised and well-tempered narrative yarn. I am admittedly a huge fan of the subgenre, with recent hits like Tinker Tailor Soldier Spy and Wasp Network entrenching viewers in the textured intrigue behind professional espionage. I wish I could say the same about All the Old Knives, a sturdy yet underwhelming descent into cliched espionage territory.

The potential is certainly there. Director Janus Metz’s poised craftsmanship creates a refined setting simmering with tensions under the surface. Each frame is composed with great intricacy, reflecting the prim and proper facade of the superspy characters inhabiting the narrative. All the Old Knives’ slow-burn approach also creates a viable canvas for its central stars. Chris Pine and Thandiwe Newton share an electric rapport as former lovers reuniting over an unsolved case, while Laurence Fishburn and Jonathan Pryce prop up thin support roles through their sheer presence.

Everything about All the Old Knives looks the part, but the end product feels oddly detached. Screenwriter Olen Steinhauer remains one step behind the viewer’s expectations, spinning a narrative arc that rests rigidly on spy movie cliches. For a movie so reliant on the tensions of each sleight discovery, the generic plotting prevents each twist and turn from taking on its intended impact.

Competence aside, All the Old Knives struggles to ignite much interest in its by-the-numbers espionage narrative.

All the Old Knives is now available on Amazon Prime.

Choose or Die

Two down-on-their-luck programmers discover a killer 80’s video game in the retro Netflix horror feature, Choose or Die. Director Toby Meakins and Screenwriter Simon Allen draw a compelling concept, a blood-soaked slasher depicting an 8-bit descent into the untapped horrors of our blinding nostalgia. It’s just a shame that the end product wastes any promise.

Choose or Die represents the latest Netflix streamer to woefully underutilize its high-concept premise. There are shadings of promise throughout, especially in Meakins’ clever utilization of 80’s game design to depict several of the grizzly setpieces. That said, the film exhibits a disproportionate reliance on its stylistic allures without providing a reason for viewers to invest in the half-baked narrative.

Stars Iola Evans and Asa Butterfield find themselves trying to ignite an emotional pulse out of Allen’s generic screenplay. Both actors are stuck with little to do, going through the motions in characters who read like amalgams of other horror archetypes. I also think Allen has a pulse on engaging ideas with the film’s denouncement of nostalgia culture – but the concepts are left untapped aside from a few lackluster dialogue exchanges (a character literally screams “Fuck the 80s”).

Similar to the dust-coated game it’s based on, Choose or Die is likely to be forgotten amidst an endless wave of throwaway horror offerings.

Choose or Die is now playing on Netflix.

Thanks for reading this month’s New Release Breakdown. You can read other New Release Breakdown editions from March and February.

20th April 2022
Father Stu: The BRWC Review

Stuart Long, a boxer-turned-actor who spent most of his days as a freewheeling degenerate, finds his purpose as an ordained priest in Father Stu. It’s easy to see why Executive Producer and star Mark Wahlberg viewed Long as a compelling subject – with Long’s free-spirited soul undergoing a transformational journey as each trial and tribulation brings him closer to faith.

For the most part, religious films operate solely by preaching to their indoctrinated choir rather than observing a life motivated by undying faith. Pinnacle Peak Pictures and Ben Shapiro’s newly-formed Daily Wire serve up these cynical offerings yearly, often producing films that communicate their messaging with a lack of artistry and entertainment value (God may not be dead, but I sure am glad the God’s Not Dead franchise is).

Still, the subgenre isn’t entirely hopeless. Renowned auteur Martin Scorsese skillfully entrenches viewers into the perils and self-serving egoism of missionary work in his 2016 masterwork, Silence. Even a few recent faith-centric offerings, like Beckman and The Unholy, utilized their religious canvases by thoughtfully illustrating their subjects’ moral dilemmas.

With Father Stu, Wahlberg marks a potential career-changing pivot to religious fare for the star actor. Instead of analyzing Long’s odyssey with insight, Wahlberg and company create a cookie-cutter and oddly mean-spirited descent into biopic formula.

Religious proverbs and good-faith speeches are a dime a dozen in Father Stu, but the entire endeavor feels rather listless. In her first big-screen project, writer/director Rosalind Ross, the wife of co-star Mel Gibson, falls into the typical biopic trap of capturing a subject’s entire livelihood in a truncated two-hour experience. Her approach creates a breathless, paper-thin narrative, an overstretched arc that finds Long traversing from one significant moment to another without developing a genuine understanding of his persona.

Ross’ craft is similarly generic. The director and her editing team lean on folksy score notes and obvious song cues to carry much of the emotional heavy lifting, showcasing a vision crafted in the mold of a generic Hallmark biopic. Aside from some of her and Cinematographer Jacques Jouffret’s intimate framing choices, most of Father Stu operates on autopilot.

Ross especially struggles with the film’s blending of tone. Long’s ever-present levity amidst challenging circumstances is noteworthy, although the writer/director does not find cohesive or humorous ways to express his sensibility. Several jokes are conjured in shockingly poor taste, highlighting the film’s conservative worldview in downright uncomfortable ways. Scenes mocking a transgender woman, laughing at frequent uses of the r-word, and painting gay Hollywood executives as sexual predators make for bizarre inclusions in a supposedly “feel good” affair.

Father Stu may represent a passion project for Wahlberg, but the celebrity performer struggles in igniting much interest. The actor’s macho-man bravado is everpresent as Stewart Long, with the character’s bad-boy past mirroring some of Wahlberg’s own mishaps as he emerged towards superstardom. However, Wahlberg approaches Long as nothing more than a generic degenerate-turned-good. His inconsistent accent and overworked delivery can’t convey the nuances behind Long’s evolution, creating a portrait of blind hero-worship that offers nothing but praise for the character and his complicated past.

Father Stu fumbles its viable true story at nearly every turn. If Mark Wahlberg wants to make a career out of faith films, I hope he learns to evolve his craft from here.

Father Stu is now playing in theaters.

19th April 2022
Fantastic Beasts – Secrets Of Dumbledore: Another Review

Fantastic Beasts: The Secrets of Dumbledore Synopsis – Professor Albus Dumbledore (Jude Law) knows the powerful, dark wizard Gellert Grindelwald (Mads Mikkelsen) is moving to seize control of the wizarding world. Unable to stop him alone, he entrusts magizoologist Newt Scamander (Eddie Redmayne) to lead an intrepid team of wizards and witches. They soon encounter an array of old and new beasts as they clash with Grindelwald’s growing legion of followers.

Dumbledore, Newt Scamander, and their loyal allies unite to save the wizarding world in Fantastic Beasts: The Secrets of Dumbledore. Serving as the third chapter in a so-so prequel franchise, Warner Brothers’ attempts so far at reigniting the magic of their marquee Harry Potter series continue to feel notably underwhelming.

The inaugural chapter, Fantastic Beasts and Where to Find Them, laid out a promising-enough foundation between the eccentric magizoologist Newt and his muggle companion Jacob. A deft balance between whimsy and blockbuster thrills was quickly shattered with its sequel, Crimes of Grindelwald, a dysfunctional and overstuffed follow-up that failed to conjure an alluring spell. In between the chaos, Warner Brothers’ endured several public relations nightmares (the removal of Johnny Depp and numerous Ezra Miller incidents) that magnified the franchise’s onscreen and offscreen dysfunction.

If the first two entries represented dual opposites, The Secrets of Dumbledore serves as a fittingly mediocre middle-ground. It’s clear the creative team viewed this third entry as an opportunity to reshape and reflect the magical brand’s best qualities. Despite earnest attempts to course-correct the franchise, The Secrets of Dumbledore ultimately succumbs to the errors of its predecessors.

Credit to Warner Brothers for making a few welcomed changes. Stepping in for Johnny Depp as the xenophobic, muggle-hatting Grindewald, Mads Mikkelsen extracts menace and charisma as a radical wizard with romantic ties to Dumbledore. Depp’s self-serious shtick failed to capture the intriguing undertones behind the character. Mikkelsen and Law share an emotionally-charged rapport while effectively capturing their complicated history.

The decision to incorporate Harry Potter screenwriter Steve Kloves also adds much-needed clarity. J.K. Rowling’s attempts at adapting her own material showcased her weaknesses in screenwriting – with the author often fixating on world-building exposition at the expense of meaningful characters and a balanced narrative. Kloves’ wisdom helps tremendously in making sense of the busy plotting. His touch improves Secrets of Dumbledore’s balance of blockbuster thrills and fan-favorite moments.

Unfortunately, the welcomed improvements cannot mend a wayward franchise. Kloves attempts to put a bandaid on the series’ problems with an exposition-laden first act, which clunkily shouts plot points from previous films in an overworked attempt to get viewers up to speed. The film never recovers from there, shifting around characters as the story begins to run in circles. Even with some subplots – like Kather Waterson’s role as Newt’s love interest – getting sidelined, Secrets of Dumbledore still spins too many narrative plates at once. One plate featuring clumsy political allusions to Nazi Germany’s extremist bigotry serves as a well-intended meditation that stumbles to articulate anything of note.

Law, Mikkelsen, and Eddie Redmayne’s quirky charm as Newt remain compelling presences. It’s just a shame that Kloves and Rowling can’t give these characters focus in a film overstuffed with uninteresting characters. Ezra Miller delivers a career-worst performance as Dumbledor’s cursed family member Credence, sulking and overacting in his misguided attempts to draw heart-wrenching despair. Miller spotlights a supporting cast left with little to do other than play generically pleasant figures. Even fan-favorite Dan Folger seems to be going through the motions as the series’ human everyman.

Secrets of Dumbledore, like its predecessors, still struggles to draw much attachment from me (even the original was just ok). Director David Yates recreates his grim Harry Potter aesthetics from the latter chapters with enough success. That said, the magic behind those films feels noticeably absent here. The spell behind Harry Potter’s success lies in its development of complex characters over a multi-film arc. Warner Brothers and the Fantastic Beasts’ creative team certainly vies for a similarly arresting narrative, yet the series continues to draw ambivalent reactions for most viewers.

Wrapping up with an earnest-enough conclusion for its characters, Secrets of Dumbledore almost seems self-aware of its dead-on-arrival status. The franchise will likely go down as Warner Brothers’ so-so attempt at reigniting the Harry Potter money train.

Fantastic Beasts: Secrets of Dumbledore is now playing in theaters.

15th April 2022