Review by Adam Donato The best and worst thing for the marketing of this remake is that the original film was directed by Steven Spielberg (who also serves as a producer here). It puts butts in seats, but it also comes with lofty expectations. Luckily, there’s full support from the stars of the original. Still, remake holds its own because the changing of the genre. Who doesn’t like musicals? It seems a good chunk of audiences don't, as studios are disguising their musicals as regular movies. The Color Purple is the least of these recent offenders as the music is front and center in the marketing. Will this musical push pay dividends, or should this story have stayed in the eighties? Like it or not, the theater experience is a communal one. Some movies capture the passion of audiences in an almost interactive way. The Color Purple is sure to inspire elation from its audience as it is a full meal of a movie. The tragedy is heartbreaking. The struggle is torturous. The pursuit of justice is a triumph. The music puts an exclamation mark on all of these emotions. The story is one most of the target demographic has probably seen before, and they're rewarded with little winks to the original film. Save movies like The Holdovers for midweek afternoons, The Color Purple is for Friday night. It's sure to inspire people to feel their hearts out and join in on the fun. When it was announced there was a remake of The Color Purple, it was refreshing to hear they're coming at the story from a new angle. The musical aspect of the movie makes the story more upbeat than the original, which can sometimes conflict with a story mainly about female suffering. This line is toed well, though, as the music emphasizes how uplifting the story is supposed to be. The most fun number is "Hell No!" by Danielle Brooks. Meanwhile, the most powerful number comes from Fantasia Barrino with "I'm Here." While it does come too late in the story, it's such a triumphant number. Barrino and Brooks are definite stars in The Color Purple. Barrino is the more likely of the two to get nominated, but it would be no surprise to see Brooks getting a Supporting Actress nomination. What Barrino brings to the lead role is special. She has the kind of smile that looks like she's holding in a laugh. It's very infectious. Especially since it's a character that faces so many hardships, when the audience gets to see her smile, it's a blessing. These are two smaller-time actresses who hopefully get more of the spotlight going forward after these standout performances. The rest of the cast was good as well, including Colman Domingo and Taraji P. Henson. Hopefully, musical regulars of today, like Halle Bailey and Corey Hawkins, will keep the ball rolling as well.
The Color Purple gives a musical adaptation that stands on its own with the original. The songs bring life to a sad tale, and the new cast is exciting. There's a world where this movie dominates the Christmas box office and sneaks its way into the Best Picture race. While the public opinion of musicals has not been too favorable, musicals like this are going out of their way to make a case for their continuation. The Color Purple hits theaters on December 25. Rating: 4/5
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Review by Jonathan Berk The things that our minds retain are often baffling. We forget that important request our spouse made on our way out the door, but a song we heard three weeks ago still plays on a loop in our mind. Two people who experienced the same event as siblings may remember that moment in a variety of ways that seem like they must have been at a different event. Understanding the human mind is always puzzling, and writer/director Michel Franco’s new film Memory explores two sides of this idea: a person who remembers too deeply and one who can barely remember at all. The movie begins at an anniversary celebration for Silvia (Jessica Chastain) at an AA meeting. She lives with her daughter in a small New York apartment and works at a public home for adults struggling with mental health conditions. The many locks on her door and her hesitation towards people imply Silvia has had a rough past. After a celebration at her old high school, Saul (Peter Sarsgaard) follows her home. He stays outside of her apartment all night and through rain. Silvia confronts him in the morning, and their odd encounter develops from there. Casting Sarsgaard for this role and this specific initial encounter was a great play on audience expectations. Those familiar with the films Magnificent Seven, Boys Don’t Cry, Flightplan, An Education, or Green Lantern will think his character has malicious intentions. Saul notices Silvia sitting alone at a table. He works through the crowd and sits across from her. He doesn’t say anything to her and just stares at her. Eventually, Silvia gets up and leaves the party and Saul follows. It would be creepy if anyone took the actions that Saul does, but Sarsgaard in the role reinforces the concern. However, Saul’s motivation here isn’t what the circumstances imply. Chastain is playing so many levels of emotion in this film. She has had a rough time and, as a result, is a bit overbearing and overprotective of her daughter, Anna (Brooke Timber). Her fridge is broken, and she needs to call a repair technician. When the guy arrives, she says through the intercom and behind locked doors that she requested a woman technician. This happens before meeting Saul, which only makes that moment of her fleeing the party all the more stressful. Yet, this isn’t a thriller but rather a drama.
The next moment Silvia and Saul share after that long, initial encounter is vital to understanding the ideas the film explores. Silvia believes she remembers an encounter with Saul many years before, but Saul does not. There are reasons Saul’s memory may not be accurate, but Silvia’s sister Olivia (Merritt Wever) confirms that Silvia is mistaken. Without getting into specifics, this moment is essential to many scenes in the rest of the film. Both Silvia and Saul’s memories are called into question but for different reasons. Our memories are fallible and subjective. The way Franco explores this idea through the story with these two characters is compelling and often stressful. Memory has some great performances and an intriguing premise. The questions posed don’t quite reach a satisfying conclusion. The romance is a complicated one that also raises some ethical questions when considering the circumstances of their meeting. Memory will be in theaters on December 22. Rating: 3.5/5 Review by Adam Donato George Clooney has had a remarkable career in filmmaking. He’s won Oscars for both his work as an actor and as a producer. The aspect of filmmaking he has tried and failed at has been directing. That might be a little harsh as his movies are more mid than terrible. His latest effort is The Boys in the Boat, a true story about a team of junior varsity rowers who make a miracle Olympic run. Starring Joel Edgerton and Callum Turner, The Boys in the Boat looks to duplicate its story’s underdog spirit at the box office. Does George Clooney have a surprise winner on his hands? Sports movies are pretty formulaic, and when they’re true stories, they aren’t full of surprises. The Boys in the Boat is about as standard as it gets when it comes to sports movies. The leads are so ordinary and uninteresting. As the buttoned-up coach, Edgerton plays the role well but isn’t given much to do. Turner is the lead character and is less than charismatic. He’s poor, likes his girlfriend, and has daddy issues. His story did not need to be front and center. It’s not outwardly bad — it’s just remarkably unspecial and bland. Clooney saps this story up for the old folks looking for an uplifting underdog true story. The guy who played Hitler in the movie had a better performance. If one of the main characters was more religious, it’s funny how Dennis Quaid would play the coach. You’ve seen this story before. The only thing the movie has going for it is that rowing crew is not an oversaturated type of sports movie. It’s one of the most beautiful sports in terms of terrain. There is beauty in how in sync the towers are as they glide through the water. There are some creative shots of the boys rowing in the boat that are pretty cool. It’s a niche sport as it’s very upscale, requiring commitment to physical fitness and high cost. The main character joins the team because it pays well, which is just a testament to the physical toll the position takes on someone at the highest level. Rowing crew is a beautiful sport that makes The Boys in the Boat stand out in a crowded genre.
To call The Boys in the Boat Oscar bait would be unfair. There’s no way Clooney is seriously expecting even to get nominated for any kind of Oscar for this. Pumping back on the hate for Clooney, though, there are much worse things than being mid. The Boys in the Boat is a competent sports film that showcases a gorgeous and underrepresented sport. The old guy made a cameo in The Flash movie; he can make his rowing movie in peace. Clooney better love this movie, as audiences will only have a mildly enjoyable time at the theater for this one. The Boys in the Boat hits theaters on December 25. Rating: 3/5 Review by Daniel Lima The fantasy of the middle-aged man forced into action to protect the virtue of young women serves as evergreen fodder for scores of thrillers, both high-octane and cheap. Ruthless is a picturesque example of the latter, shaggy even by the standards of cheap thrillers, only memorable in how it completely squanders the few good things it has going for it. It falls on Dermot Mulroney to play the familiar archetype, here a wrestling coach getting over the rape and murder of his daughter. Noticing bruises on a young student, he ends up getting involved in her home life and soon finds himself in a criminal scheme that only a man with a particular set of skills can unravel. To his credit, Mulroney actually has a good handle on the material, walking the line between a gruff, direct man who doesn’t know how to handle his grief and a loving father with an ironclad conscience. Where many leads in this kind of film are wooden and completely unemotive, in him, you see a man who struggles with saying the right thing at the right moment, who is able to take charge of a room without anyone else noticing, and when push comes to shove is genuinely frightening. It’s an uncommonly layered performance with a good amount of range. Unfortunately, that’s the only good thing to be said about Ruthless. A certain amount of shagginess on a low-budget production is expected, but this is a film where everything seems to drag for far longer than it ought to. Conversations are circular, with characters repeating themselves to each other for minutes at a time. Dead air exists between lines of dialogue, lacking any charge or tension, even in scenes with an immediate threat. The entire ensemble, except the star, seems to be figuring out their lines as they say them, adding to the complete lack of atmosphere. For a film about such weighty, dark subject matter, there is a lack of texture that seems almost deliberate.
As bad as all this is, the main issue is the lack of propulsive energy. This film hews closely to genre conventions, and it signposts every belabored narrative turn so that the audience is never for a moment unsure of how things will play out. That could work on some base level, but as low energy and sluggish as every scene is, it makes for an utterly baffling and excruciating watch. The viewer doubtlessly knows every single narrative beat, yet the story crawls forward at such a slow pace that one might fool themselves into thinking that there might be some wild subversion. In the empty space that fills the runtime, it’s easy to imagine that there might be something more just around the corner. Alas, that subversion never arrives. Ruthless, then, is best described as cinematic water torture. Like a person held in bondage, anxiously awaiting the next cold drop that splashes onto their brow, so does this film dole out every cliche of this erstwhile subgenre, at just the right pace to be absolutely maddening. With so many great alternatives to choose from and even more mediocre offerings, why watch something so bad? Ruthless is available on VOD December 15. Rating: 1/5 Review by Joseph Fayed Shot in a style considered unconventional given its subject matter, The Zone of Interest is as eerie as it's intended to be. The realism on screen isn't just a reflection of the film's setting; its social cues prove to be the most haunting of all. After a decade hiatus from feature filmmaking, Director Jonathan Glazer intrinsically captures a beautiful nightmare. Rudolf Hoss is the commander of Auschwitz. In 1943, he lives next door to the camp with his wife Hedwig and their children. They live in a two-story house with a well-kept garden and pool attached to it. The film follows how Rudolf and Hedwig strive to be the perfect nuclear family despite the evil they were actively engaging in just beyond the wall that separates them from the horrors of Auschwitz. It is gratifying to see a story about the Holocaust told with less of an emphasis on violence. While it is a true story, there is only so much trauma porn a viewer can handle to move the plot forward. It begins to feel purely done for shock value. This film is a prime example of how you can tell a story about brutality without showcasing it on screen. The lack of apparent drama is the most intriguing part. The blend of quieter moments mainly focuses on the family aspect while never downplaying the horrors next door. There are two different films here, one that is seen and the other that is heard. Through exploring the family dynamic, there is a much-needed sense of normalcy at times. The lead performances from Christian Friedel and Sandra Hüller keep the film very grounded. Neither attempts to upstage each other through their acting. Both of them are similar in terms of character arcs, with their line delivery being dependent on their abilities to be such reserved characters who are also extremely cold-hearted individuals.
The cinematography by Lukasz Zal is an impressive feat, too. The shots established throughout the Hoss family home require few cutaway shots or two shots, making you feel invested in these characters' every move. A particular scene set in the evening, shot with infrared cameras, temporarily takes you out of the colorful palette. The score by Mica Levi is just as haunting, used most effectively to break the film into different acts. Jonathan Glazer's direction proves that all of his movies so far have captured a different tone and let the performances speak for themselves. The actors get to act naturally, which is the cleverest trick for capturing the banality of evil. The Zone of Interest teaches you about history without needing to explain any of it. Impressive filmmaking and impressive performances will carry this film to success come awards season. The creative choices were made with the fact that these were real people in mind and how, by being who they were, they were effectively living a double life. The Zone of Interest opens in theaters on December 15. Rating: 4/5
Review by Sean Boelman
Almost two decades after the release of the first novel, Rick Riordan’s Percy Jackson and the Olympians young adult series continues to attract new readers, while serving as a point of nostalgia for its original fanbase. The new Disney+ adaptation can’t quite decide which one it hopes to serve, although it does show the promise to grow into something more fun when it gets into action.
Based on the first book in Rick Riordan’s hit series of young adult novels, The Lightning Thief, the show follows a pre-teen boy who discovers he is a demigod and must use his newfound powers to prevent a war from happening amongst the Greek gods. It definitely helps that Riordan is so heavily involved in the writing of this series, although it does seem like his talents are much more on the page than in crafting dialogue. Something about the show that will excite fans of the book is that it does allow more time to dive into the underlying mythology and world. Sure, much of this is delivered through exposition, but in the first two episodes alone, we get a better glimpse into the structure and function of Camp Half-Blood than we ever did in the feature film adaptations. Yet, even though the show has an expanded length — eight 40-minute episodes, as opposed to a two-hour movie — it feels like we are still rushing through the beats. In many ways, the episodic structure disrupts the flow of the narrative, as commercial breaks and cliffhangers prevent the emotional beats from having as much of an impact.
Two episodes in, the series is also taking its time to build the character development. A large part of what works so well in the books and film duology is the friendship between Percy, Grover, and Annabeth. In the first two episodes, we only get a few moments with either of them, but this is the type of thing that can be given the benefit of the doubt until the rest of the series is seen.
However, the biggest issue of the show is that the cast simply isn’t very good. Of course, a Disney+ show (at least one that’s not part of a major franchise like Star Wars or the MCU) doesn’t have the same budget as a theatrical film. As such, the biggest names to appear thus far are Glynn Turman and Jason Mantzoukas. The cast doesn’t hold a candle to the ensemble of Pierce Brosnan, Uma Thurman, Sean Bean, Steve Coogan, and more A-listers in the movie. That being said, this could change when some of the gods come into play later in the season. The one area in which Percy Jackson and the Olympians doesn’t skimp is its visuals. The production design and CGI are pretty impressive. Since it’s the first two episodes, there’s not much in the way of action other than the Minotaur scene, but if that scene is any indication, the filmmakers have done a good job of making this feel cinematic rather than like a kids' show. So far, it does feel like Percy Jackson and the Olympians is a weaker adaptation of the source material than the feature films. However, the two episodes that were provided to critics for review prior to launch are almost exclusively set up. Perhaps once the actual quest begins, the show will be able to find its rhythm and deliver a wonderful family-friendly adventure. Percy Jackson and the Olympians streams on Disney+ beginning December 20. Two out of eight episodes reviewed. Rating: 3/5 Review by Camden Ferrell American Fiction sees Emmy-winning writer Cord Jefferson into the director’s chair for the first time. It is an adaptation of the Percival Everett novel Erasure. This comedy-drama had its premiere at the 2023 Toronto International Film Festival where it won the People’s Choice Award. Currently eyeing awards and Oscar recognition, this film has some insightful ideas about race and the commodification of art, but it also can sometimes falter due to its family drama elements. Monk is a novelist who resents the lack of integrity in the reading habits of consumers. He detests how best-selling books reduce Black people to outrageous stereotypes and how it limits the ability of his own work to flourish or be published. Fed up with this status quo and dealing with issues in his personal life, Monk uses a pen name to write a “Black” book that unexpectedly launches him to new heights and moral dilemmas. Despite being based on a book that’s over 20 years old, this premise still remains topical and one worth exploring deeper. Written by Jefferson, the film starts out strongly. It balances the social commentary with some compelling family drama, and its dialogue is well-paced and witty. While the commentary stays sharp throughout, the personal elements of Monk’s life become less compelling as time goes on. Instead of fleshing out his character like it initially does, it eventually feels like it’s bloating the runtime without too much benefit. Despite its flaws, Jefferson approaches the main social issues of this movie with nuance and great insight. One of the most memorable parts of this movie is Jeffrey Wright’s amazing turn as Monk. Regardless of whatever flaws are in this movie, Wright is a powerhouse of an actor who always makes the most of it. His performance is funny, emotional, and most importantly frustrating. He grapples with the lack of integrity in the way Black stories are marketed and sold, and this is shown in subtle and un-subtle ways. The supporting cast is also quite strong with some notable highlights being Sterling K. Brown, Issa Rae, and Leslie Uggams.
The way Jefferson satirizes these issues of race can occasionally be hit or miss. The insight is present and clear, but the humor of the movie doesn’t always land as intended. There are some genuinely funny moments throughout, but some jokes aren’t as successful. However, it does succeed in being provocative and inspiring important conversations about how we commodify art and sometimes celebrate offensive and tired tropes that are detrimental to marginalized communities. American Fiction isn’t perfect, but it has great analysis of important social issues while being quite funny more often than not. Jeffrey Wright is a memorable lead, and it proves Jefferson might have a lucrative career as a director in addition to his accomplished writing career. This is one you’ll likely see referenced a lot in awards season, and it’s definitely worth checking out despite its flaws. American Fiction is in theaters December 15. Rating: 3.5/5 Review by Cole Groth Few films have emerged throughout history as delicious-looking as The Taste of Things. It’s one of the year’s most exhilarating culinary experiences wrapped in a fantastically warm romantic drama. Beautifully written, shot, and staged, it’s hard to find a flaw here. Directed by Trân Anh Hùng, this film, nominated as France’s entry for the Best International Film Oscar this year, is an absolute must-see for foodies and cinephiles alike. Set in the idyllic 19th-century French countryside, The Taste of Things follows a chef, Eugénie (Juliette Binoche), who cooks for a powerful restauranteur, Dodin (Benoît Magimel). As Dodin engages in a series of high-society engagements, with accompanying feasts served up by Eugénie, we watch a romance unfold between the two. It’s a tender and beautiful relationship, oozing with this sentimentality the French are famous for. Their relationship goes through trials and tribulations as Eugénie develops a mysterious illness. If it isn’t abundantly clear already, the heart and soul of this film come from the food. French chef Pierre Gagnaire served as the culinary director for this, and where many other food-forward films like Chef or Big Night have thrived before in classy presentation, this film blows it out of the water. It feels like you’re a fly on the wall at a three-Michelin-star restaurant during a tasteful dinner rush — dish after dish gets pumped out, each more creative than the last. There’s a fantastic mix between classic cooking and new, inspired choices. It’s exquisite viewing that hurts a whole lot on an empty stomach as you feel truly immersed in a journey of culinary artistry. Outside of the deliciousness of the in-film food, the romance is genuinely remarkable. Binoche and Magimel were previously married and have a daughter together, so it’s unsurprising that they have a ton of chemistry on screen. It’s a romantic drama that’s fully sincere and heartwarming. The development between the two leads feels simple and works all the better for it. At a little over two hours, there’s a lot of time to develop the relationship between the two. What makes this movie so great is that Hùng’s script is free of any cynicism, giving the two characters time to exist in the glory of each other.
The Taste of Things is a dizzyingly gorgeous film on all fronts. The romance is tender and heartfelt, the food looks incredible, and even outside that, it’s beautiful. Everything is washed in a golden light. The cinematography is simple and focuses on the petite beauties of these characters’ worlds. The kitchens feel lived-in but dreamlike at the same time. It’s a deceptively simple movie that draws you in with a gorgeous exterior and will melt your heart afterward. On all accounts, The Taste of Things is destined to become a classic. It’s easily one of the best culinary films of our time and perfectly balances deliciousness and romance. Hùng quietly delivers a powerhouse directorial performance, supported by his fantastic screenplay and the perfect duo of Binoche and Magimel. This complete sensory experience should be seen on the big screen. The Taste of Things releases in theaters on February 9 after a qualifying run beginning December 13. Rating: 4.5/5
Review by Sean Boelman
The sports movie genre is typically riddled with cliches, but any cinephile who knows the work of filmmaker Sean Durkin (Martha Marcy May Marlene) wouldn’t expect something by the numbers from his latest. The Iron Claw is rightfully being hailed for its emotional resonance, but it leaves much to be desired on other fronts.
The film tells the story of the Von Erich brothers, who became a dynasty in the competitive world of professional wrestling before being struck with tragedy by a supposed “curse.” It’s a story that’s equal parts intense and sad, and while Durkin deserves credit for trying to do something unique and interesting, it doesn’t always work. The Iron Claw works because of how invested it gets you in the brotherly dynamic. The movie's first half hour is relatively slow as we get introduced to the brothers and see how they have bonded. However, the way Durkin tries to tie this family drama in with the sports underdog story isn’t always satisfying. Zac Efron’s performance in the leading role is very good, but it’s the type of performance that’s propped up by everyone around him. If it weren’t for his chemistry with the actors playing his family — Harris Dickinson, Jeremy Allen White, Stanley Simons, and Holt McCallany — his performance likely wouldn’t be registering on the radar as much as it is right now.
Yet, while those other actors are good, they are supporting players in the traditional sense. This is Efron’s show, and they are there to give him something to work with. It does subvert expectations in a way, as you’d expect a movie like this to be more ensemble-driven, but Durkin clearly centers this around Kevin.
However, although the family dynamic is compelling, many of the other themes feel disappointingly undeveloped. For example, the brothers’ desire and constant pursuit of living up to their father’s legacy is only mentioned in passing. And one of the brothers’ struggles with addiction is shown but not explored in depth. Diving into these subplots with more depth could have elevated this beyond being an effective biopic into something more. There are quite a few scenes, though, in which Durkin’s strong command of the camera creates a profoundly emotional effect. One scene shows Efron’s character doing warm-ups in the ring after he receives bad news, and the emotion in this scene — as simple as it is — is extraordinary. Yet these glimpses of brilliance only make it more frustrating when the film reverts to jogging through its beats. There are many things to like about The Iron Claw, and the parts that Durkin focused on perfecting — mostly the brotherly dynamic — are very good. However, too many parts of the movie feel undercooked for it to walk home a champion. The Iron Claw hits theaters on December 22. Rating: 3/5 Review by Jonathan Berk Finestkind is the newest film from writer/director Brian Helgeland (42, A Knight's Tale). The twisting of the plot is used to heighten the stakes multiple times throughout the film, making it feel like a made-for-TV movie. However, the characters and their relationship struggles make you care enough for them to get you invested. This is backed by solid performances from the film's cast to push the movie into worth-watching territory. Charlie (Toby Wallace) has just finished college and is ready for law school. But, this summer, he wants to work with his estranged half-brother, Tom (Ben Foster), on his fishing boat in Boston. These brothers have to work on their issues while one thing after another goes wrong, complicating their lives. Wallace has had a big year, also appearing in The Royal Hotel and The Bikeriders (now scheduled for June 2024). While he’s been acting for a while, his role in 2019's Babyteeth made him stand out. Wallace can bring genuine pathos to his characters, even when they may seem a bit despicable. That ability makes us feel for what Charlie is going through, even if the situations on screen are slightly underdeveloped or melodramatic. Jenna Ortega (Wednesday, X) plays a love interest to Charlie, who also doubles as a type of femme fatale. Her life seems far less privileged than Charlie's, and their initial interactions are a bit tense. However, the talent of Ortega and Wallace helps us root for these two and their strained connection. Foster has taken some roles that lead to big swings, like in Alpha Dog or The Punisher. However, his roles in movies like Leave No Trace and Hell or High Water demonstrate he is capable of playing quieter and subtler parts. He blends these two sides of his style for this movie. Sometimes, his performance is mostly internal, and the audience ponders what exactly he will do. Then, there are moments in the film where his character is angry or out of control, and that other style of Foster’s shines. This big shifts in character could feel out of place, but in this instance it fits the film. Of course, those big swings may reveal more about the film itself than Foster's character.
At the heart, Finestkind is a family drama about two brothers trying to come to terms with their relationship. There are two fathers, Tommy Lee Jones playing the remorseful father of Tom, and Tim Daly playing Charlie’s pushy dad. They represent these generational ideas pushed on the younger ones. The film questions the notion of masculinity, especially with the Boston backdrop. Those dramatic moments can be affecting, and the performances add to that. Then, the film ties in the crime aspect, and it often feels a little goofy. Finestkind is worth checking out. The performances are good, and there is enough of a Fast and Furious family vibe that makes it enjoyable. While not all of the crime elements of the story work, it builds to a pretty powerful ending. Some audiences may feel the movie is a bit too saccharine in its final moments. However, the only way to truly know if it works for you is to watch it till the end. Finestkind will be streaming on Paramount+ on December 15. Rating: 3/5 |
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