A Complete Unknown

 

James Mangold's A Complete Unknown is a period drama that offers a glimpse into Bob Dylan's transformative years in the early 1960s. The movie chronicles Dylan's arrival in New York at 19, his ascent in the folk music scene, and his bold transition to electric instruments—a move that sent shockwaves through the music world.

The film's pacing was a bit long but mostly engaging, thanks to Mangold's skillful intertwining of Dylan's personal journey with significant U.S. historical events of the era. This provided valuable context to his artistic evolution, highlighting how Dylan's music became intertwined with the social and political shifts of the time. The Guardian noted a commanding theme of how, in the right hands, music can become a powerful weapon, with its galvanizing force. This theme is well-explored through Dylan's journey, as his music evolves, reflecting and influencing the changing landscape of American society.

The costumes authentically reflected the period, immersing viewers in the early '60s era. However, despite being set in the multicultural backdrop of New York City, the film's lack of diversity was noticeable. Characters of color received minimal development and dialogue, which was a missed opportunity to fully capture the era's rich cultural tapestry. This oversight detracted from the film's otherwise immersive portrayal of the time.

Regarding the performances, Timothée Chalamet delivered a compelling portrayal of Bob Dylan, capturing the young artist's rebellious, sometimes immature and bratty spirit, as well as his musical genius. His embodiment of Dylan's mannerisms and voice, combined with his live singing and guitar playing during filming, showcased his dedication to the role. His character was both relatable and intriguing. Additionally, Chalamet played well off of the supporting cast, which helped to enhance the narrative's depth. Edward Norton portrayed Pete Seeger as a benevolent figure, highlighting Seeger's efforts to promote emerging artists, including people of color, while also illustrating his resistance to the evolution of music. Elle Fanning played Sylvie Russo, a character inspired by Suze Rotolo, Dylan's girlfriend at the time. Russo was portrayed as self-sufficient, intelligent and influential in Dylan's activism, yet still easily influenced when it came to her relationship with Dylan.

While A Complete Unknown is not a film I would watch repeatedly, it was certainly worth viewing once for its historical significance and the performances of Elle Fanning and Timothée Chalamet. The movie provided a valuable insight into Bob Dylan's formative years and the cultural shifts of the 1960s, making it a worthwhile watch for anyone interested in musical history.

The Wild Robot

 

The Wild Robot is an animated comedy drama featuring the voices of Lupita Nyong'o, Pedro Pascal, Kit Connor, Bill Nighy, Stephanie Hsu, Matt Berry, Ving Rhames, Mark Hamill, and Catherine O'Hara. After a shipwreck leaves the intelligent robot Roz stranded on a remote island, she must adapt to survive.

The engaging story, which carried echoes of the animated film WALL-E, was a compelling exploration of collaboration and the interconnectedness of life. The film explored themes of growing up, independence, finding one's place, and the profound bonds of motherhood, all woven into a beautifully animated story. This gem tugged at the heartstrings while delivering a thought-provoking narrative.

Roz's journey to connect with the island's animal inhabitants, and her unexpected role as a caregiver to an orphaned baby goose, was both touching and inspiring. The film was a definite tearjerker, filled with genuinely heartfelt moments that will resonate with audiences of all ages.

The diverse voice cast brought the characters to life with warmth and authenticity, adding to the film's overall charm.

The Wild Robot is more than just a children's film. It's a poignant and beautifully crafted story that explores universal themes of belonging and the power of connection. It's sure to leave a lasting impression.

One of them Days

 

One of Them Days, starring Keke Palmer and SZA, centers on best friends and roommates Dreux and Alyssa as they scramble to recoup their rent money after a boyfriend's betrayal. What follows is a chaotic race against time, testing their friendship and pushing them to hilarious extremes.

The plot delivered a breezy, comedic ride reminiscent of the Friday franchise. It treaded on familiar territory, offering few surprises. Its strength shined with its vibrant energy and undeniable "Black Girl Magic." From the leads to writer Syreeta Singleton, and the infectious soundtrack, the film celebrates Black female talent.

SZA, in her first major acting role, proved to be a natural comedian and actor. Her lines were delivered in a believable and funny. She was likable and possesses excellent comedic timing, displaying a surprising aptitude for physical comedy. Keke Palmer, as always, demonstrated her impressive range and comedic prowess in a consistently entertaining performance. Maude Apatow also added to the film's charm, continuing her streak of likeable roles.

One of Them Days is an easy-to-follow, feel-good comedy. While its predictability may be a drawback for some, the film's undeniable chemistry, humor, and celebration of Black female talent make it a worthwhile watch. It's a fun, lighthearted experience that will leave you smiling.

The Substance

 

Coralie Fargeat's The Substance is body horror satire starring Demi Moore as Elisabeth Sparkle, a fading aerobics star who, after being unceremoniously dumped by her chauvinistic boss, played by Dennis Quaid, resorts to a mysterious serum promising a younger, "better" version of herself.

The plot was uniquely visceral and unsettling as it dove deep into the dark heart of Hollywood's obsession with youth and the double standards faced by aging women. Initially I wasn’t sure how deep into the genera of body horror this would go but what ensued was a descent into grotesque, hyper realistic imagery that will certainly challenge any viewer's comfort zone.

For me, the film's strength lied in its unflinching portrayal of female anxieties surrounding aging, juxtaposed with the enduring privilege of men. Fargeat masterfully used the film's extreme visuals – including the reported 5,500 gallons of fake blood – to amplify the film's thematic core. The prosthetics were disturbingly effective, culminating in a final sequence that was as shocking as it was unforgettable. I was left wondering, "Who even dreams up something like this?"

The movie, while lacking diverse casting and featuring a mostly forgettable supporting characters, was notable for its strong female leadership in writing, directing and casting. Moore's performance was career-defining. She navigated a complex emotional landscape with raw vulnerability, showcasing a range I had not previously seen in her career. Margaret Qualley also delivered a phenomenal performance, further solidifying her status as a powerhouse actress deserving of more recognition.

While The Substance was undeniably unique and captivating, its extreme nature may not appeal to all audiences. It was a bold swing, and Demi Moore certainly deserved the praise for her commitment. Whether it's "Oscar-worthy" is debatable, but it was an undoubtedly memorable and thought-provoking piece of cinema. While I personally lean towards Cynthia Erivo's potential EGOT win for "Wicked," Moore's work here was undeniably impactful.

In the end I was left feeling like The Substance was a cautionary tale about the perils of chasing unattainable perfection. This film was an utterly bizarre experience that left me a bit confused and disturbed but also a bit impressed.

Juror #2

 

Juror #2, directed by Clint Eastwood, is a legal thriller that delves into the moral complexities faced by a juror during a high-profile murder trial. The film features a strong ensemble cast, including Nicholas Hoult, Toni Collette, J.K. Simmons, and Kiefer Sutherland.

Hoult delivers a compelling performance as Justin Kemp, effectively portraying a man torn between his conscience and the desire to protect his future. His on-screen chemistry with Zoey Deutch, who plays his wife Allison, adds depth to his character's personal stakes. Toni Collette brings nuance to the role of prosecutor Faith Killebrew, embodying a determined legal professional with her own complexities. Despite the limited character development, the cast elevates the material, making the most of their roles.

However, the film's character development is somewhat lacking, leaving the supporting cast underexplored. This shortcoming makes it challenging for the audience to fully connect with the characters' motivations and backstories. Additionally, the inclusion of people of color in stereotypical, one-dimensional roles within the jury feels like a missed opportunity for more meaningful representation.

The film doesn't venture beyond familiar territory. While it addresses themes of justice and personal responsibility it doesn't delve deeply enough to offer new insights into the genre. Additionally, the narrative builds tension effectively, but the cliffhanger ending may leave some viewers dissatisfied, as it offers ambiguity rather than resolution. While this open-ended conclusion aligns with the film's exploration of moral ambiguity, it might not appeal to those seeking closure.

In the end, Juror #2 is a solid legal thriller bolstered by strong performances, particularly from Hoult and Collette. However, it falls short in character development and offers an ending that may not satisfy all audiences. While it doesn't break new ground, the film provides a thought-provoking look at the complexities of guilt and morality within the justice system.

Babygirl

 

Babygirl is an erotic thriller that delves into the intricate interplay of power, desire, and vulnerability within the high-stakes world of corporate America. Directed by Halina Reijn, the film stars Nicole Kidman as Romy Mathis, a formidable CEO of a Manhattan robotics company, and Harris Dickinson as Samuel, her ambitious young intern. Their affair challenges societal norms and personal boundaries, offering a provocative exploration of control and submission.

Nicole Kidman's portrayal of Romy was both fearless and multifaceted, revealing the complexities of a woman torn between her authoritative public persona and her concealed desires. Her performance was one of her most daring with her ability to convey a character grappling with deep-seated vulnerabilities. Harris Dickinson complemented Kidman with a magnetic presence, embodying Samuel's blend of youthful audacity and mysterious nature. Antonio Banderas delivered a steady performance as Jacob Mathis, Romy's husband, providing a grounded counterpoint to the film's escalating tensions. However, supporting characters, including Sophie Wilde as Esme Smith, Romy's assistant, received limited development, leaving potential subplots underexplored.

The film ambitiously tackled themes of power dynamics, addiction, and infidelity, set against the backdrop of Romy's traumatic past and her engagement in EMDR therapy. While these therapy sessions were depicted with artistic flair, I initially found them confusing as I was unfamiliar with the technique. Additionally, the film hinted at Romy's cult background but stops short of a thorough examination, missing an opportunity to delve deeper into the psychological forces that shaped her identity.

Despite being marketed as a thriller, Babygirl leaned more towards a psychological drama, with tension simmering beneath the surface rather than manifesting as overt suspense. The narrative focused on the internal conflicts and evolving dynamics between Romy and Samuel, offering a nuanced look at their entangled relationship. While the film did not evoke traditional thrills, its strength lied in its character-driven storytelling and the provocative questions it raised about desire and control.

The film bared a resemblance to Eyes Wide Shut, yet under Reijn's direction, it offered a more authentic experience from the female perspective, feeling less exploitative. Not surprisingly, Reijn has described Babygirl as her answer to Eyes Wide Shut, exploring what might have happened if Kidman's character had acted on her fantasies.

In the end, Babygirl is a bold cinematic endeavor that showcases Nicole Kidman's willingness to embrace complex and risqué roles. The film's exploration of taboo subjects and its subversion of conventional power structures make it a compelling watch, even if it doesn't fit neatly into the thriller genre. However, while thought-provoking and provocative, it may not be a film that invites repeated viewings.

Venom: The Last Dance

 

Venom: The Last Dance, the concluding chapter of the Venom trilogy, directed by Kelly Marcel, reunites audiences with Tom Hardy's Eddie Brock and his symbiotic partner, Venom, as they navigate a perilous journey, evading threats from both Earth and Venom's home world.

The plot, while straightforward and easy to follow, didn’t venture into new territory. This simplicity allowed for a focus on the dynamic between Eddie and Venom, with the latter providing much of the film's humor through witty one-liners and banter. Hardy's portrayal continued to be a highlight, capturing the chaotic yet endearing relationship between man and symbiote.

Familiar faces from previous installments made welcome returns, offering a sense of continuity and closure to the trilogy. However, the film fell short in developing its supporting characters, making it challenging for me to form meaningful connections with them.

The climax featured a montage that, while intended to be poignant, came across as somewhat corny. On a positive note, the film benefited from a diverse cast and the unique perspective of having Kelly Marcel, a female director and co-writer, at the helm, adding depth to the storytelling.

As the trilogy concludes, one can't help but wonder about the potential for future crossovers, particularly with Tom Holland's Spider-Man, which could inject fresh energy into the franchise. Overall, Venom: The Last Dance delivered a familiar yet entertaining experience for fans of the series. It served as a fitting end, balancing humor and action, though it left room for improvement in character development and narrative innovation.