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.

La Dolce Villa

 

La Dolce Villa, is a romantic comedy directed by Mark Waters and starring Scott Foley, Violante Placido, Maia Reficco, and Giuseppe Futia. The film follows a successful businessman who travels to Italy with a mission that unexpectedly leads him into a romantic journey amidst the picturesque Italian countryside. 

The movie's greatest strength was in its cast, with Foley and Reficco who were able to deliver a compelling father-daughter dynamic that formed the emotional core of the story. Their chemistry was undeniable, making their journey of healing and growth genuinely enjoyable to watch. The romance that blossomed amongst some members of the cast added a sweet yet predictable layer to the narrative.

The movie's themes of grief, new beginnings, and rediscovering one's passions by taking leaps of faith are well-integrated and inspiring. These elements make it a pleasant addition to the romantic comedy genre. While the film excels in its light-hearted tone and uplifting messages, it falls short in its predictability and developing its secondary characters. Although the inclusion of diversity is a welcome touch, these characters remained somewhat one-dimensional, missing an opportunity for deeper exploration.

Despite its predictability, La Dolce Villa remained an enjoyable watch, especially for those seeking a feel-good experience. It is a cute, family-friendly film that will appeal to fans of light-hearted rom-coms. While it may not stand out as a groundbreaking work, it's a satisfying choice with its beautiful Italian setting that will leave viewers yearning for a trip to the countryside.

Mother of the Bride

Mother of the Bride is a Netflix romantic comedy featuring an ensemble cast, including Brooke Shields, Miranda Cosgrove, Benjamin Bratt, Chad Michael Murray, and Rachael Harris. The story follows Lana played by Shields, who is shocked when her daughter Emma, played by Cosgrove, announces a sudden wedding in Thailand. The situation becomes even more complicated when Lana discovers that the groom's father is Will, played by Bratt, her former love who once broke her heart.

The film was lighthearted and amusing, making it easy to follow, though it ultimately fell into predictability. The chemistry between Shields and Bratt was decent, but their relationship lacked the depth needed to fully engage me. Additionally Shields tended to overact at times, which detracted from the believability of her character's emotional journey. Meanwhile, Rachael Harris and Chad Michael Murray were typecast in their roles but still managed to deliver enjoyable performances.

One of the film's significant shortcomings was its lack of character development. The central characters, Emma and RJ played by Sean Teale, failed to resonate with me due to their limited backstory and weak chemistry. Their rushed wedding, one month after getting engaged, with no legitimate reason why felt unconvincing.

While Mother of the Bride offers some comedic moments and a picturesque setting in Phuket, it struggled with depth and originality. The overall experience may entertain viewers looking for a light rom-com but likely won't leave a lasting impression. As it stands, the film serves as a forgettable addition to the genre rather than a standout feature.

New Jack City

 

New Jack City is a crime drama that attempts to capture the crack epidemic’s impact on New York City, following the rise of drug kingpin Nino Brown, played by Wesley Snipes, and the determined detective Scotty Appleton, played by Ice-T, who vows to take him down. Directed by Mario Van Peebles, who also plays Stone, the film blends action, drama, and even elements of dark comedy.

One of the most glaring issues with New Jack City was the acting. While Wesley Snipes delivered a charismatic performance as the ruthless Nino Brown, Ice-T struggled in his role as a tough NYPD detective. His stiff line delivery and awkward handling of a gun made his portrayal feel unconvincing. Chris Rock, in a more dramatic turn as a recovering addict, offered one of the more memorable performances, but overall, the cast lacked chemistry and character development.

Visually, the film did not aged well. The cinematography was uninspired, and the scene transitions felt clunky, making the film appear more like a made-for-TV movie rather than a polished theatrical release. However, one area where New Jack City did shine was in its authenticity when it came to 90s fashion. The hairstyles, outfits, and overall aesthetic screamed early 90s, which added a nostalgic charm for those who lived through the era.

The film also featured several musician cameos, including Keith Sweat, Troop, and Flavor Flav, which must have been a huge selling point at the time. These appearances added to the film’s pop culture relevance, even if they didn’t contribute much to the story.

What New Jack City got right was its plot. The story was unique and engaging without falling into excessive predictability. It attempted to touch on the themes of the infiltration of guns and drugs into poor communities and how these factors create a vicious cycle of crime and violence. However, while the film touched on these themes, it never fully explored them in a way that would have made a more profound statement. Expanding on the systemic issues at play could have elevated New Jack City from just another crime film to a more thought-provoking social commentary.

In the end, New Jack City was a mixed bag. It was a film with a stylish aesthetic and a compelling central conflict, but it’s weighed down by weak acting, poor cinematography, and an overall lack of depth. While it remains a cult classic for its era, it doesn’t hold up as well today in terms of quality or execution.

Kinda Pregnant

Netflix’s romantic comedy Kinda Pregnant brings together Amy Schumer, Will Forte, and Jillian Bell in a lighthearted yet slightly offbeat story about love, deception, and unexpected connections. Co-written by Schumer, the film follows Lainy (Schumer), whose carefully laid-out plan to settle down and start a family goes awry. In a desperate move, she fakes a pregnancy, leading to a web of lies—and ultimately, an accidental romance with her dream guy.

The movie delivered plenty of laughs, though some of the humor leant into awkward and unrealistic territory. The plot, while entertaining, did tread a predictable path at times. That said, Schumer and Forte’s on-screen chemistry kept things engaging. Lainy’s character development was well-executed, making her a likable and relatable protagonist. However, the supporting cast could have used more depth—I found myself less connected to their characters, which was a missed opportunity for the film to feel more well-rounded. 

Despite its flaws, Kinda Pregnant was an enjoyable rom-com with enough humor and heart to make it worth watching. If you’re looking for an easygoing, funny film with a solid lead performance, this one is a fun pick.

Lee

 

Ellen Kuras’ directorial debut Lee, is a biographical drama chronicling the life of Elizabeth ‘Lee’ Miller, a fashion model turned fearless war correspondent for British Vogue magazine during World War II, starring Kate Winslet in the titular role.

Winslet delivers a powerhouse performance, effortlessly capturing Lee’s determination, resilience, and vulnerability. Her chemistry with the supporting cast—Marion Cotillard, Andrea Riseborough, Andy Samberg, Noémie Merlant, Josh O’Connor, and Alexander Skarsgård—added depth to the film. However, while Winslet’s character development was strong, the rest of the ensemble was less fortunate. Many supporting characters felt underdeveloped, making it difficult to connect with their journeys in a meaningful way. One of the film’s surprises was Andy Samberg, stepping into his first serious role with ease. His character was engaging and likable, showcasing a different side of the actor beyond his usual comedic persona. In contrast, Alexander Skarsgård’s performance suffered due to a distractingly inconsistent British accent that faded in and out, making it difficult to take him seriously. His character’s lack of depth further compounded the issue.

Despite these minor flaws, Lee exceled in its storytelling and thematic depth. The screenplay was well-written, balancing historical accuracy with emotional weight. The film powerfully conveyed themes of perseverance in the face of trauma and the moral imperative to act against injustice. Kuras’ direction, coupled with beautifully shot cinematography, makes Lee a poignant and compelling watch.

In the end, Lee was an admirable biographical drama that shined thanks to Winslet’s exceptional performance and a moving, well-crafted narrative. Kuras’ did a fantastic job in her directorial debut of a film that was both a visually stunning and emotionally resonant exploration of a woman who refused to stand idly by in the face of injustice and horror.