Category: REVIEWS

Flash, Redd, Twister: Weekly Round Up – Another week, another round-up of movie news coming your way. As has been the case throughout this lockdown, the movie industry simply won’t quit, despite there being plenty of issues for them to overcome. Still, it keeps me in good stead for content, so I can’t complain. Unless, of course, we’re talking about movies I really have no interest in, in which case… well, if you’ve read any of these before you’ll know just how well I can complain.

And speaking of movies I have absolutely no interest in; don’t you think we’ve had quite enough of the Pirates of the Caribbean franchise? I don’t know about you, but I certainly have. I mean, I really enjoyed the first one when it was released, but since then it’s been a slow and steady decline into absolute trash. Sure, the Gore Verbinski trilogy makes for an entertaining overall watch, but neither of the original’s two direct sequels come close to capturing the magic of that first movie, and everything that’s come about since then – and I do mean everything – has been so dreadful that I’ve only ever watched them once, and can only draw the conclusion that I watched them once because I hate myself.

Anyway, proving that there is no horse dead enough that Hollywood won’t continue to flog it, this week we got an announcement of a possible new film in the Pirates franchise, one that is reportedly going to be a spin-off, centred around a female character called Redd, who was introduced into the ride in 2018, and starring Margot Robbie.

Speaking as a Robbie fan, my initial thoughts were, “Don’t do it Margot! You’re better than this!”

But, then, the film is apparently going to be written by Christina Hodson, the brain behind Birds of Prey and Bumblebee, so perhaps this has a better chance of being good than I initially thought. Obviously Hodson has form taking on hot trash and turning it into something watchable and entertaining, so who knows?

At this point there is nothing much else to say about the project, other than that it is rumoured to be entirely separate to the Pirates of the Caribbean reboot by Ted Elliot, the co-writer of the original film, and Craig Mazin, the creator of HBO’s Chernobyl. I guess we’ll have to wait and see where this all goes, but here’s hoping it’s good. At the very least we can be somewhat sure it’ll be better than what we’ve had before, right? Right?

The next piece of news this week follows a similar pattern of should be terrible but actually somehow sounds absolutely brilliant.

The Flash movie has long been rumoured to be centered around the comicbook storyline Flashpoint, which involves parallel universes and time-travel, and was a big part of the DC TV Universe relatively recently. It would seem that we got a sort of confirmation that flash point will indeed play a part in the upcoming DCEU Flash movie, because we now know that none other than Michael Keaton will be reprising his role as Bruce Wayne/Batman from the Tim Burton movies in the Flash big screen outing.

I’ve got to be honest here, this seems like a great idea to me, no matter how absurd it sounds. I’ve long hoped that DC would adapt Batman Beyond for the big screen, and bring Keaton in as an ageing Dark Knight training up a younger generation. There was a part of me hoped that might be what we would be getting with Matt Reeves’ Robert Pattinson Batman movie, but at least now we know that the stage is set should they decide to head down that route (and they definitely should).

Furthermore, Michael Keaton is a fantastic actor, and his involvement in any movie is enough to make me buy a ticket, so despite the Burton films’ somewhat dated appeal now, getting the chance to see him return to one of his most iconic roles is enough to have me intrigued with this project.

And finally this week we have yet another piece of news that, on first glance, sounds like one of the stupidest things you could hope for, and then upon closer inspect reveals itself to be potentially fascinating.

If you’re anything like me, the 1996 disaster movie Twister is something of a guilty pleasure. I enjoy it, even though I know it’s dumb, and so this week’s news that Universal have been busy eyeing up a remake initially had me a little frustrated. However, disaster movies are in short supply these days (unless your Gerard Butler), and so I’ll admit I’m at least a little bit curious about where this might be leading.

My curiosity was heightened upon hearing the news that the film will reportedly be directed by Joseph Kosinski, who was at one point developing a remake of the Disney cult classic The Black Hole (and man, do I wish they finally get round to delivering that). Kosinski might not be the greatest director in the world, his previous movies include the Tom Cruise starring Oblivion, and the upcoming Tom Cruise starring Top Gun: Maverick, but we can at least be sure that he knows how to handle his action.

Here’s hoping we get to see more cows flying through the air sooner rather than later.

Queen of Lapa is a documentary about the struggles, abuse & strength of trans sex workers in Rio de Janeiro. Yet, it is unique in that it tries to punctuate no message, no story and is not the usual tale of a courageous leader fighting for the right of acceptance that we might expect to see.

Queen of Lapa opens by introducing us to Luana Muniz, our Queen of Lapa as she poses, cigarette in hand, for a photoshoot in a hallway of the hostel she opened to protect and house trans sex workers. She is above life, above the world; an outrageous and powerful person who knows that she is unique and special. Luana Muniz is arguably one of the most colourful, complex and interesting people to live on this Earth.

She is both eloquent, opening a fan to cool herself because she believes it to appear sophisticated, whilst not being afraid to shoot or beat those who attempt to rob or not pay those who live under her care. Queen of Lapa has given us a unique and unequalled fly on the wall perspective of the Queen of Lapa life in this unique refuge.

Throughout Queen of Lapa we are introduced to the residents of ‘Hotel Muniz’. Gabi, who is given more screentime than most tells us she recalls tales of abuse, robbery and rape with a smile on her face as if this is just the life of a sex worker in Rio; exacerbated further for those who are trans. Directors Theodore Collatos & Carolina Monnerat allow the cast to speak for themselves, and give full free freedom the topics.

We learn about their lives through arguments on the TV, rental payments and their preparations for securing a ‘mark’. We learn that some choose this life, some are forced, but most have been there from far too young an age. Muniz herself claiming sex work as a profession since the age of 11. We see the pain of surgery as Muniz discusses her problems with implants.

What makes Queen of Lapa beautiful is that pain, or joy isn’t always discussed but it’s there on the faces, and in there in their actions. This is real life, not a discussion piece. This community strives to live, and survive, they don’t have the luxury of a cause. Queen of Lapa is a triumph in documentary film making, with unfettered access it’s as if your there in the room yourself, or its as if the crew never showed up.

There are points where little appears to be happening, but nonetheless you need to admire the stylism and honesty that Monnerat and Collatos have created.

Released digitally just in time for Pride, this is a brilliantly put together documentary and a real insight into a hidden trade, and well worth viewing.

The festival circuit produces a plethora of acclaimed works, often being viewed as the starting point for a film’s journey to Oscar gold. While these events accentuate the quality of certain projects, others get lost in the crowded shuffle, suffering from divisive reactions and niche appeal. That’s where writer/director Olivia Assayas’ latest Wasp Network comes in, belatedly released on Netflix after a lukewarm 2019 festival run. While its imperfections are apparent, the film still displays a plethora of noteworthy qualities.

Set amidst Fidel Castro’s reign in Cuba, Wasp Network follows Rene Gonzalez (Edgar Ramirez), a pilot who unexpectedly leaves his wife Olga (Penelope Cruz) to work as a spy in an anti-Castro organization. The narrative follows Rene’s role in the Cuban Five, who worked to infiltrate US-based groups fighting against Cuba.

As a pseudo-cloak-and-dagger spy caper, Assayas craftsmanship indulges in its lush setting. Every frame is handsomely shot, contrasting its two settings effectively while emanating an impressive sense of scale. The aerial sequences majestically display the high-flying stakes of each mission, shot with precision and clarity while embracing a grounded approach.

Where most historical re-tellings offer a dry regurgitation of factoids, Assayas enriches Wasp Network as an intimate meditation on sacrificial agents operating on the ground floor of major change. The writer/director places audiences in the isolated perspective of Rene and his contemporaries, exploring the unwavering commitment and lingering pains from their detached lifestyle. It’s refreshing to see a spy narrative depict the less-heralded elements of the position to further humanize its central figures.

Instead of delineating obvious judgments, Assays lets his characters live and process their murky state. This complexion gives Wasp Network’s cast intriguing roles to explore. Edgar Ramirez’s subdued delivery fits the role of Rene seamlessly, confidently shrouding the character’s deeply-felt longing for familial bonds. Penelope Cruz is the standout of the bunch, displaying a whirlwind of emotions as she tries to piece things together amidst her husband’s departure. Veteran character actors Gael Garcia Bernal and Wagner Moura round out the cast effectively, with Moura especially sinking his teeth into the narrative’s most deceptive persona.

Wasp Network is aesthetically pleasing and thematically-promising, yet the film suffers substantially from its overly-ambitious nature. After a slow-burn first hour, the latter half finds Assayas trying to encompass a wide array of characters and pertinent information, ultimately over-stuffing the narrative framework. Cuba and America’s political strife is too complex to constrain into one 2-hour film, with the project’s aspirations likely being a better fit for the mini-series format where dynamics can properly render.

Despite its inability to reach grander heights, The Wasp Network offers an assured portrait of a largely unheralded chapter in the Cuban Revolution’s history.

Will Ferrell’s incendiary wildman charisma has generated a storied career for the former SNL funnyman, headlining uproarious vehicles like Anchorman, Talladega Nights: The Ballad of Ricky Bobby, and Step Brothers with his distinct energetic sensibility. His once-celebrated style is now enduring a career freefall, as a mixture of laugh-free comedies (Holmes and Watson) and unremarkable career deviations (Downhill) failed to gain traction. Ferrell’s latest endeavor Eurovision Song Contest: The Story of Fire Saga signals a mild return to form for the comedic stalwart, but the project can’t overcome its bombastic tendencies.

Eurovision Song Contest follows Lars (Ferrell) and Sigrit (Rachel McAdams), two outcast Icelanders growing up with a dream to represent their country in Europe’s notable singing contest. When the opportunity stumbles in front of them, the two battle to prove themselves as their friendship gets tested by their new-found fame.

Utilizing a unique premise that highlights a colorfully theatrical event, stars Will Ferrell and Rachel McAdams clearly relish the opportunity to explore their oft-kilter characters. Ferrel’s shameless dedication to his craft renders laughter throughout, with his spirited shouts and untamed physicality selling even the most obtuse gags. McAdams’ effervescent flair rarely gets proper attention, as she portrays Sigrit’s bubbly, yet assured personality with warmth and comedic impact. Both actors imbue Lars and Sigrit with a child-like innocence that endears them to audiences, grounding what could have been over-the-top caricatures in lesser hands.

Eurovision excels when its central stars are in the spotlight. The opening act wisely focuses on their ragtag dynamic, as the two quirky cast-offs explore their creative avenue in an effort to earn the respect of their quaint town. There’s a folksy outcast spirit to their pursuit that I genuinely admired, as the film portrays Iceland’s idiosyncratic culture without being overly-mawkish. The eccentricities that writer Andrew Steele enhances the script with stand out as the film’s comedic highlights, adding much-needed flavor to the studio comedy design (a certain pop icon appears as a decaying ghost warning Lars throughout the narrative).

It’s once the story kicks into gear where issues begin to arise. Director David Dobkin crafts some opulent musical set pieces, but the story sandwiched between them follows uninspired plot conventions to a tee. Contrived conflicts separate Lars and Sigrit for much of the second half, robbing its appealing core of screentime while introducing a melody of one-joke side characters (Dan Stevens in an energetic, yet underwritten supporting role as a dashing singer). Making matters worse is the project’s bloated final form, as the simplistic premise is stretched to a wholly unnecessary and unsustainable 2-hour run time.

Eurovision also wastes a sizable opportunity to display deeper thematic ruminations. Most of Ferrell’s best work has doubled as sly commentaries on specific sectors, whether its Talladega Nights’ skewering of NASCAR’s conservative culture or Step Brother‘s humorous mockery of the manchild subgenre. The roots of Eurovision’s narrative displays a critique on music’s over-glorified presentation, with showmanship often masking a dearth of substance and emotionality. This idea is butchered with the script’s obvious handling, essentially spelling this idea out in the third act without any grace or build-up.

Eurovision Song Contest: The Story of Fire Saga has glitz and glamour to spare, but this uneven comedy can’t match the talents of its uniquely-fitted stars.

By Eleanor Klein. The Fox and The Rabbit is a short film directed by Garry Crystal about a father, his son Francis, and their issues involving their family-owned 100-year-old Saville Row store.

Stemming with issues from his childhood, Francis (played by Oliver Henry) spirals into a pattern of deliberate self-destructive, and vengeful behavior whilst running his father’s Saville Row Suit store. Francis’ opportunity to behave in this way is enabled by his father being paralyzed in a care home and unable to move or speak.

As Francis briefs his father daily on his failings with customers in the store, the story unravels to reveal his behavior is getting more destructive and more polarizing each day.

As a viewer of the short film, it is clear that as the story progresses, the destructive behavior of Francis is an explosion of feelings that have amounted since childhood. He manages to successfully grip the audience’s attention by feeding into his emotions from the lack of love shown by his father from an early age to the loss of his mother when he was a teenager.

This short film is an audience gripping film filled with curiosity and suspense. Oliver Henry’s performance is excellent in this role as he plays the son, Francis. His personality in the film is consistently cold, hate-filled and bitter as he vengefully acts out against his father’s wishes.

As his father appears more anguished and devastated with each daily visit by his son, Francis’ behavior appears to continue to purposefully spiral downwards leading to the complete alienation of previously loyal customers.

Overall, The Fox and The Rabbit is a must-watch for anyone who is a fan of suspense-filled short films.