film reviews, interviews, features | BRWC

Author: Matt Conway

  • No Time To Die: Another Review

    No Time To Die: Another Review

    No Time to Die Synopsis: James Bond (Daniel Craig) is enjoying a tranquil life in Jamaica after leaving active service. However, his peace is short-lived as his old CIA friend, Felix Leiter, shows up and asks for help. The mission to rescue a kidnapped scientist turns out to be far more treacherous than expected, leading Bond on the trail of a mysterious villain who’s armed with dangerous new technology.

    Posing with debonair smolder and a calculated gaze, James Bond has been an instrumental figurehead in the growth of mainstream blockbusters. To restrained conspiracy spy thrillers like From Russia with Love to action-packed ruminations on government deceit in Skyfall, the character has fittingly grown along with the times during his epic 25-film run. 

    The latest 007 enterprise, No Time to Die, marks another marquee milestone in the Bond franchise. With series mainstay Daniel Craig taking a bow in his last time as Bond, True Detective director Cary Joji Fukunaga embarks on the challenging task of capping off Craig’s five-film run. The results are an enthralling and sleek picture that hits the 007 formula to a tee before stumbling in its efforts to further build upon the Craig era foundation.

    In a world where CGI has become the homogenized norm for large-scale event films, No Time to Die delivers on the franchise’s trademark practicality. Fukunaga and Cinematographer Linus Sandgren embrace the super spy’s lush scale at every turn, implementing a steady hand behind the camera to capture each bullet-ridden setpiece with technical aplomb. From the roaring sound of high-speed chases to the lush window dressing of breathtaking vistas and suave outfits, it’s a blast to watch the series’ controlled indulgence unfold on the big screen again (Hanz Zimmer’s score makes for a perfect accouterment to the grandiosity). 

    Even as the franchise ages, No Time to Die comfortably wears the franchise’s tried and true formula on its sleeve. Bond finds himself going toe-to-toe with the latest manic psychopath looking to rain destruction upon the world, setting the course for another globe-trotting adventure full of peril and intrigue. In the wrong hands, playing to the brand’s greatest hits could reek of derivative pandering. However, Fukunaga and co-writers Neal Purvis, Robert Wade, and Fleabag’s Phoebe Waller-Bridge infuse enough modern vitality to build upon the timeless traditions. Waller-Bridge especially makes her presence known – with No Time to Die possessing a daft comedic streak akin to the series more playful entries. 

    Ultimately, No Time to Die is Daniel Craig’s showcase – and he unsurprisingly makes every frame of it count. Ever since breaking barriers with his 007 debut Casino Royale, Craig continues to unearth meaningful emotional textures under the super spy’s charming facade. Bond’s newfound vulnerability serves No Time to Die particularly well – offering Craig a few gentle frames that wrestle with the character’s endless chase for an emotional foundation. Supporting performances from Ana de Armas and Lashana Lynch also add to the proceedings. Both actresses imbue charisma and a poised presence as two of Bond’s fellow super spy peers.

    Throughout the massive, 163-minute runtime, No Time to Die attempts to set up an emotional crescendo before sadly missing the mark. Too much of the film’s second act gets bogged down in needlessly convoluted espionage machinations, delving into the background of Craig’s full roster of films while largely ignoring the human subtext behind the character’s growth. The script introduces an ingenious idea to ruminate on Bond’s emotional isolation, but the device could have used more development to build toward its fitting conclusion (Lea Seydoux returns with little to do). Rami Malek’s eccentric foe Lyutsifer Safin also doesn’t quite connect. The character feels more like an empty amalgamation of Bond villain cliches without building into his own lived-in person. 

    No Time to Die may not reach the heights of Casino Royale or Skyfall, but Craig’s final entry delivers a well-oiled swan song to the star’s superb tenure as 007. Under his tutelage, the Bond franchise evolved to a far more nuanced place, opening the door for more exciting opportunities to come for the next 007. 

    No Time to Die is now playing in theaters worldwide. 

  • Many Saints Of Newark: The BRWC Review

    Many Saints Of Newark: The BRWC Review

    Many Saints of Newark Synopsis: Young Anthony Soprano (Michael Gandolfini) is growing up in one of the most tumultuous eras in Newark, N.J., history, becoming a man just as rival gangster Harold (Leslie Odom Jr.) starts to rise and challenge the all-powerful DiMeo crime family. Caught up in the changing times is the uncle he idolizes, Dickie Moltisanti (Alessandro Nivola), whose influence over his nephew will help shape the impressionable teenager into the all-powerful mob boss, Tony Soprano.

    The Sopranos’ impact on filmmaking is everpresent in our modern, TV-centric culture. Featuring a towering performance from star James Gandolfini and a refreshing anti-hero approach to artform’s family-friendly image – The Sopranos forever shifted perspectives on what the small-screen can accomplish. Like many viewers, I discovered the series after its initial run and instantly fell in love with its blend of ball-busting humor and introspective, character-driven drama. 

    Over 14 years since the screen suddenly cut to black, series creator David Chase and company have returned with the prequel film Many Saints of Newark. Chase, co-writer Lawrence Konner, and longtime Sopranos director Alan Taylor collaborate on an ambitious deep dive into the facets that defined Tony’s mafia destiny. The film’s sprawling ambition accumulates some bumps along the road, but Many Saints admirably wears the show’s meaningful textures on its sleeve. 

    While this prequel presents several new faces, the film maintains the lifeblood of what made the series so appealing. Chase and Konner intelligently intersect Dickie Moltisanti’s rise to infamy through the perspective of the mob’s circular lifestyle. A commitment to the criminal lifestyle presents Dickie with the luxuries of sleek cars and limitless power – but his overwhelming paranoia and the all-too-familiar fate follow him around like an ominous shadow. Star Alessandro Nivola also imbues vitality into Dickie’s journey, with his twitchy unease and genuine regret morphing him into a compelling figure. 

    I’ve seen many write off Many Saints for being bloated, and while that’s certainly valid (we’ll get to that), I think the film works better in the context of its macro developments. The writer’s keen observations on the Moltisanti legacy complements the famed series without lazily relying upon its appeal. Balancing the allures and harsh realities of mobster life allows audiences to experience Tony’s descent first-hand, ultimately setting up the groundwork for his destiny as a feared mafioso.

    The addition of Leslie Odom Jr. as criminal rival Harold McBrayer also adds some much-needed confrontation of the character’s bigoted perspectives – with Harold’s steady rise consistently roadblocked by the family’s lingering prejudices and general lack of respect. The whole cast is impressively seamless in their roles. Michael Gandolfini captures Tony’s aloof charms and burdened misery with genuine impact, while Corey Stoll, John Margo, and Billy Magnussen skillfully convey some of the series’ fan-favorite characters. 

    I could talk all day about Many Saints’ thematic intrigue, but the real spaghetti and meatballs behind the film’s success come from its effortless re-capturing of the series charm. I felt like a comic book fanboy throughout the film – squealing with glee anytime an old-time favorite appeared and reacting with shock at any new wrinkle of Soprano lure brought to the table. From the hard-hitting dramatics to the intimate family gatherings, Many Saints successfully repackages the series’ allures on the big-screen.

    Still, I can see why Many Saints has sustained mixed reactions from diehard fans. Ironically, Chase’s sprawling narrative would honestly make a better fit for the small screen. Several intriguing subplots captivated my interest, but the lack of meaningful follow-through leaves a desire for more (I could have easily sat in the theater for a 10-hour version of this). Alan Taylor’s competent yet unremarkable direction also doesn’t do much to elevate the proceedings, trading the show’s sturdy visual profile for a needlessly bleak visual aesthetic. 

    Many Saints of Newark left me craving for more in largely positive ways. I hope Chase gets a chance to expand upon this film (a sequel has been rumored), as another project could do wonders in filling in the show’s expansive lore. 

    Many Saints of Newark is now playing in theaters and on HBO Max. 

  • Venom: Let There Be Carnage: The BRWC Review

    Venom: Let There Be Carnage: The BRWC Review

    Venom: Let There Be Carnage Synopsis: Eddie Brock (Tom Hardy) attempts to reignite his career by interviewing serial killer Cletus Kasady. Before he is executed for his crimes, Cletus becomes the host of the symbiote Carnage and escapes prison after a failed execution. It’s up to Venom and Eddie’s dysfunctional odd-couple relationship to save the day. 

    While critics denounced the film’s oddball mixture of superhero formula and zany comedic beats, 2018’s Venom became a worldwide phenomenon. Sony’s anti-hero spinoff performed on par financially with its web-slinging peer Spider-Man, signaling a fresh new inclusion to the sizable mass of superhero offerings. 

    It certainly suffered from unevenness, but I readily enjoyed what Venom brought to the table. Star Tom Hardy delivered a hilariously unkempt performance while forming a surprisingly sincere oddball pair with his sirely, human-eating symbiote. The long-awaited follow-up, Venom: Let There Be Carnage, thankfully grows from its mixed bag predecessor by leaning into the franchise’s distinct strengths. 

    Hardy’s dedicated acting chops have never been in question, yet these shamelessly affable superhero offerings showcase a new skillset in his repertoire. As the constantly down-on-his-luck journalist Eddie, Hardy offers a brilliant comedic see-saw of action and reaction as he plays off his CGI counterpart. In a world where super-powered protagonists are celebrated for their honorable heroism, Hardy’s bumbling sincerity and screwball comedic energy serve as a welcomed change of pace. Let There Be Carnage fearlessly allows Eddie and Venom’s bickering relationship to be the narrative focal point – building upon their unlikely connection with humorous and surprisingly genuine results. The inseparable pair share comfort in each other’s support as they wrestle with feelings of insecurity and isolation. 

    Let There Be Carnage often feels like a relic from a bygone time, which isn’t necessarily a bad quality. Gone are director Ruben Fleischer’s flavorless aesthetics. In its place, Andy Serkis imbues the sequel with bold dashes of colorful personality. I loved how grand the film felt in its wild swings between goofy humor and swaggering wickedness. Serkis unabashedly conjures the type of vivid, comic-like expression that made Sam Raimi’s Spider-Man and Tim Burton’s Batman work so well on the screen, rarely conforming his tendencies to the atypical grandeur of modern superhero efforts. Cinematographer Robert Richardson’s imagery would benefit from more pop aesthetics (some shots reek of murky and unfocused techniques), but Serkis successfully invests viewers in a nonstop ride of delightful carnage. 

    The sequel’s new additions also add a dash of sinister personality. Woody Harrelson is fittingly unkempt as Cletus, bolstering the killer’s wildcard bravado with a villainous menace streak lying under the surface. Naomie Harris is overqualified as his piercing confidant Shriek, although the actor’s natural gravity onscreen creates a sympathetic victim of circumstances. The duo’s eye for vibrant theatrics fits the script’s campy tendencies like a glove.

    I had a blast throughout Let There Be Carnage’s runtime, although the film could benefit from having more meat on its bones. Like Eddie’s venomous infliction, the truncated 97-minute runtime acts as a gift and a curse. While it allows the film to retain a refreshingly breezy pace, the material’s intriguing dynamics don’t receive enough screentime to grow onscreen. 

    Carnage and Shriek share a shaky arc that lacks proper shading, while Venom and Eddie’s descent into an anti-hero lifestyle feels like a frantic, last-minute stinger before the film’s dramatic end-credit sequences. These films’ unique strengths could be even stronger in the hands of writers who could spin more reflection into the characters’ underlying grief and turmoil. Glimmers of Batman Returns-level ruminations on heroes and villains conjoined existence as outcasts are ignored for the film’s single-minded pursuit of crowd-pleasing entertainment. 

    Venom: Let There Be Carnage forwards the franchise’s vibrant personality with winning results. Tom Hardy and company imbue infectious glee into every frame, continuing to craft a blockbuster franchise that confidently rides its own wave. 

    Venom: Let There Be Carnage is now playing in theaters nationwide. 

  • The Addams Family 2: The BRWC Review

    The Addams Family 2: The BRWC Review

    The Addams Family 2 Synopsis: In an effort to get closer as a family, Gomez (Oscar Isaac), Morticia (Charlize Theron), and the rest of the Addams clan embark on an adventurous road trip in a hideous and humongous camper.

    Critics bemoan the needless revival of decayed IPs – with most repackaging their brand’s appeal to craft a commercial and easily consumable product. The general uneasiness is part of what made 2019’s The Addams Family a pleasant surprise. While I may be in the minority (the film holds a meager 45% rating on Rotten Tomatoes), the amiable family-friendly effort found a pulse in its humorous juxtaposition between the Addams’ wicked persona and the conformity of mainstream society. 

    Audiences showed up for the creepy and kooky reboot (amassed 200 million worldwide on an economical 24 million budget), which leaves us with The Addams Family 2. My apprehensions going into the 2019 original are ever-present with this autopilot, direct-to-streaming level sequel. While the same creative team is back, the original’s playful charm feels noticeably absent. 

    Even this lesser version still presents some of the original’s strengths. Experienced animation directors Conrad Vernon and Greg Tiernan find their groove when embracing ghoulishly visceral gags. From a tongue-in-cheek homage to Carrie’s blood-soaked prom to Wednesday Addams bone-twisting pranks on her brother, there are glimmers where the film tunes in to the properties’ clever embrace of the macabre. The star-studded voice cast also imbues lively spunk into their roles. Oscar Isaac and Charlize Theron share a warm rapport as Gomez and Morticia, while Nick Kroll remains a scene-stealer as the bumbling Uncle Fester. 

    Where the original presented a fresh new angle for the Addams clan, this sequel exists merely to generate profits. Screenwriter duo Benji Samit and Dan Hernandez empty the bucket of contrived family film devices – dragging audiences along a tired road trip narrative littered with melodramatic plot beats. Wednesday’s questioning of her family ties serves as the narrative’s only driving force, and even those scenes can be telegraphed from a mile away. The rest of the barely feature-length 93-minute runtime (a flat musical number and the credits make up the final 10-15 minutes) feels like a scattershot series of gags that largely fail to connect. 

    The Addams Family 2 ends up feeling too disconnected from its beloved source material. Similar to far too many modern family films, much of the experience sledgehammers awkward pop culture songs and references without any creative spark. The creative team creates a fast and furious experience full of colorfully loud gags. That busy energy feels like the complete anthesis of what the Addams Family represents, with the morbidly clever moments being too few and far between to convey the source material’s spirit. 

    The Addams Family 2 will likely please energetic younger viewers, but adults and fans of the source material will spend most of the runtime checking their watch. 

    The Addams Family 2 is now playing in theaters and on VOD. 

  • Dear Evan Hansen: The BRWC Review

    Dear Evan Hansen: The BRWC Review

    Dear Evan Hansen Synopsis: Evan Hansen (Ben Platt) is an anxious, isolated high-school student who’s aching for understanding and belonging amid the chaos and cruelty of the social media age. He soon embarks on a journey of self-discovery when a letter he wrote for a writing exercise falls into the hands of a grieving couple whose son took his own life.

    From the meteoric heights of its glowing Broadway debut to the shattering lows of negative reviews for the film adaptation, Dear Evan Hansen holds a divisive presence on audiences. Readers are likely aware of the film adaptation’s multitude of controversies, including the return of 28-year old Ben Platt as the titular teenager and dismissive comments about the film’s reduction of serious subject matter. 

    At the end of the day, all of these storylines wash away when it comes time to view the film. I never go into a movie with a vendetta or ill intent – so I was desperately hoping that Dear Evan Hansen transcended the overwhelming negativity. Unfortunately, this musical meditation on mental health and compassion lands with an unshakable repugnant streak. 

    Dear Evan Hansen is a challenging film to discuss. Director Stephen Chbosky presents competence across the board from a technical perspective, while emotive work from supporting players Julianne Moore and Kaitlyn Dever infuse dimension and dramatic authenticity into their infrequent roles. None of these factors can prevent Dear Evan Hansen’s inescapable problems with its angst-ridden protagonist. 

    Platt’s awkward presence sticks out like a sore thumb. While he spots the clothing and nervous tics of an adolescent, the adult actor’s aged look feels like an SNL parody on the musical (I kept getting glimmers of Kyle Mooney with his overwrought delivery). Platt not only struggles in appearance, as the actor’s over-delivered performance does not play well to the screen’s toned-down tendencies. Every grimace and nervous expression strains itself to generate pathos. Films are supposed to immerse audiences in their narrative, yet Platt’s performance distracts the audience with every frame (and he’s in virtually every frame). 

    Now there’s the oh-so-controversial story. Without spoiling the details, Evan Hansen places himself in a precarious position after a simple lie spirals out of control. Not only are his decisions bewildering and lack empathetic self-reflection, but the whole film reduces a character’s suicide into a glorified plot device. Connor, the troubled teen who takes his own life, serves no presence other than teaching the protagonist a laborsome life lesson. The simplified reduction of suicide continues with the film’s mistreatment of mental health – as Evan’s struggles are never given dimension outside of his noticeable tics and the cheery message of affirmation he gives himself. 

    I don’t think this film draws a tenable road map for mental health understanding, often treating helpful solutions like therapy and medication as an afterthought in its favoring of crowd-pleasing music numbers. As someone with no context of the Broadway show, the sunny musical numbers make for an awkward inclusion. Simplistic, rah-rah lyrics and an overabundance of autotune create garish setpieces devoid of emotional impact. The blend of these broad, crowd-pleasing moments and the film’s heavy undertones never coheres into a succinct experience.

    Like a teenager going through puberty, Dear Evan Hansen endures an awkward and dysfunctional transition to the big screen. If you’re looking for a film about someone finding themselves in the wake of suicide, I highly recommend Bobcat Goldthwait’s searing and self-aware World’s Greatest Dad instead.

    Dear Evan Hansen is now playing in theaters nationwide.