MARLOWE -- Liam Neeson Becomes the Iconic Detective and Brings This Neo-Noir World to Life2/13/2023 Review by Dan Skip Allen Philip Marlowe has been brought to life more than a few times on the big screen. The Big Sleep, which stars Humphrey Bogart as the titular detective, is my favorite among many films with this iconic literary character. Based on The Black Eyed Blonde by author John Banville, Marlowe — the latest film about this famous literary detective — is coming out soon in theaters, stars the Taken star himself, Liam Neeson. It's been a while since one of these films has come out, so why not put another one out now? Detective Philip Marlowe (Liam Neeson) is going about his day when he is approached by a beautiful blonde woman, Clare Cavendish (Diane Kruger). She hires him to investigate the disappearance of her husband, Niko Peterson (Francois Arnaud). Marlowe comes across many men and women in his search for this man who poses a key to a larger scheme that has larger implications in Bay City, California, Hollywood, and abroad. This film has a lot of twists and turns before it gets to the ending that nobody sees coming. The myriad of characters in the movie all have different motivations and backgrounds that play into why they do and say the things they do. It's a giant puzzle that needs to be put together by the main man Philip Marlowe. He has many obstacles to get over, but we all know Liam Neeson always gets his man — even if it's in a period piece set in 1939. I'm a big fan of neo-noir and detective films set in the '30s-'60s. They just bring an element that is so enjoyable to me. Films like Chinatown and The Maltese Falcon are among the best in this genre. Marlowe takes this genre and runs with it, and it's fantastic. There are so many characters and subplots that it's hard to keep track of them all, but it's fun following breadcrumbs to see where they lead. That's what makes these kinds of films entertaining to watch. Liam Neeson has made a name for himself as an action star in the last decade. Even though he's up there at age 70 and counting, he continues to take roles that put him into these situations where he must do a lot of running, jumping, and fighting scenes. In this film, he has a few action set pieces, but none to the extent of his other movies in the last fifteen or so years. He is more reserved in the character of Detective Philip Marlowe. He has more dialogue and is less of an intimidating force, and more of a nice older man looking for this suspect. People tend to take him for granted, and Neeson plays up these aspects of the character nicely.
With neo-noir films also comes the femme fatale, a female character with a darker side to her, rather than a soft feminine side like most people would expect. Diane Kruger plays the femme fatale in Marlowe, and she sends Neeson's detective in all kinds of different directions. She has more to her than meets the eye, but the title character can't figure out her true angle. She keeps most of her true motivations close to the vest. She has a lot to hide. Her mother, played by Jessica Lange, tries to help Marlowe by creating him away from her, but he doesn't listen. He is a man of his word, and he is a bulldog in his search for her disappeared husband. He may be barking up the wrong tree. Marlowe is a fantastic trip down memory lane for me. I grew up watching Humphrey Bogart films as a kid, and this reminded me of a few of them, especially since Bogart played Detective Philip Marlowe in The Big Sleep. Neeson takes after Bogart as this character perfectly; he's aloof and standoffish, but also dogged in his nature to get to the bottom of this mysterious disappearance. Kruger is very good as the femme fatale, and the rest of the cast is stellar in all their roles, including Jessica Lange. Marlowe weaves together a fantastic story and good direction keeping all the subplots in order. I love this period in films, and all the clothes, cars, and production designs were on point. This is a fun film for fans of this genre and classic film fans in general. Marlowe hits theaters on February 15. Rating: 4/5
2 Comments
Review by Cole Groth Frances O’Connor’s directorial debut, Emily, premiered at the 2022 Toronto International Film Festival to rave reviews. Critics praised the film as a brilliant biographical drama in its portrayal of writer Emily Brontë. While Emma Mackey’s performance is the best in an already excellent career, and the production design is incredible, it’s hard for anything to stand out in this drab and overlong slog of a biopic. In addition to directing, O’Connor pens the script. She weaves real elements of Brontë’s life and combines them with a fictional relationship between her and a priest. While it’s not as strange as Blonde, it’s still strange to make up entire elements of somebody’s life for the sake of drama. The script is somewhat generic, and it feels like it’s a cobbled-together version of other period biopics. The outstanding production value stops this from being a miserable experience. The costumes and set design make this look like it takes place in the early 1800s. The cinematography from Nanu Segal and the score from Abel Korzeniowski is beautiful. Every scene is dreary and very British, but it’s strangely beautiful simultaneously. Emma Mackey’s performance will be remembered and should help her secure more starring roles in the future. She shows excellent range as a tortured mind in 19th-century Britain. Fionn Whitehead and Oliver Jackson-Cohen are great in their supporting performances but don’t reach the level of Mackey. While the film is named after Mackey’s role, it seems amateur to sideline almost every other character. While there are some positives, this is one of the dullest viewing experiences in a long time. At over two hours long, every minute of this feels somewhat wasted. It’s about as fun to watch as it is to read through Brontë’s Wikipedia page from start to finish. Biographical dramas, by their nature, are typically slow already, but this one feels like it could’ve been 90 minutes long, and it would’ve had the same effect. It also doesn’t help that the film doesn’t feel necessary.
Before this film, I had no idea who Emily Brontë was. Usually, this would make me a member of the target audience because I would be learning about an unknown historical figure, but after watching this, I still have no idea who she is. A biopic about an obscure person in history should bring to light precisely who they are, but she seems like an incredibly unimportant woman. We’re painted a vague portrait of Brontë’s life, which only would work with household names. After sitting through 130 minutes of a beautifully bland drama, Emily doesn’t justify its existence. It feels somewhat derivative of other female-centered historical dramas and is simply not interesting. If you’re a fan of uncompelling films, then you might enjoy the melancholic portrayal of Brontë’s life. Otherwise, you’d be better off skipping this entirely. Emily releases in theaters starting February 17. Rating: 2/5 Review by Joseph Fayed Films set in the Appalachian Mountains usually don't take place there because of the beautiful scenery. Instead, they tend to serve as the backdrop for a storyline involving dealing drugs or living in poverty. Lo and behold, Devil's Peak is an example of the former. It is as southern Gothic as one can get. Based on a novel by David Joy, the thriller follows a ruthless crime lord in a small town (Billy Bob Thorton) at odds with his son, Jacob (Hopper Penn), who wants to leave his life behind to pursue the girl of his dreams. His dad does not take the news well, and the events that ensue test the loyalty of not just family, but everyone the father and son duo have crossed paths with. Most of the characters serve as a caricature for anyone who still has a pulse in the rural parts of the south. It ultimately works because each of them is acted so well by its mostly prominent cast. Billy Bob Thorton has some funny one-liners and acts like he would be a drug lord in another life. The biggest surprise for me was Hopper Penn, son of Sean Penn and Robin Wright, who ironically plays his mom in this film. Nepo Baby arguments aside, even when it has the parent and child working together, Hopper does a decent job at playing uneducated white trash. Sean Penn really rubbed off on him. The most convincing parts of the film surround Robin Wright's character, who is in recovery from drug addiction. Even in her small amount of screen time, her character pulls at the heart strings and is the only one who seemingly isn't defined by the choices she has made. She is a caring person, which is rare to see in supporting characters suffering from addiction.
The middle parts of the film are where the plot fell flat. In a small town where everyone knows everyone, it would've been much better if we had gotten to know everyone and their way of life. Instead, we only get to see the father, mother, and son. There was definitely backstory to how politics and the police are intertwined, but their problems are secondary to the family's. If Jacob's actions are supposed to create a domino effect for those around him, it is disappointing to only see the highlights of his immediate family. Devil's Peak has a convincing cast, trying their best in this post-Ozark feature. Unfortunately, this film doesn't choose to explore the depths this type of story could have, and its best moments come across as a family drama instead of the crime thriller many watching this are probably hoping to see. Devil's Peak hits theaters on February 17 and VOD on February 24. Rating: 3/5 Review by Dan Skip Allen Star Trek: Picard has been a reunion of sorts for Star Trek: The Next Generation and its many cast members, including its title character. The previous two seasons of the show introduced characters and brought back some popular villains from the past, The Borg Queen (Annie Werching) and Q (John Delancie). Season three sees the return of some familiar faces, but the villains are entirely new ones. Or are they that is what this story is about? It has many twists and turns. When season 3 kicks off, we pick up with Beverly Crusher (Gates McFadden), who is being attacked by unknown assailants. She sends a distress message to Admiral Jean Luc Picard (Patrick Stewart). He meets with Captain William T. Riker (Jonathan Frakes) at a bar and tells him what is going on. He agrees to help him. They hatch a scheme to get aboard a Federation ship, the Titan, with help from first officer Seven of Nine/Annika Hansen (Jerri Ryan). They go to the edge of Federation space to rescue Beverly Crusher and her son Jack Crusher (Ed Speleers, Downton Abbey), who are under attack from a massive heavily armed ship, the Shriek, near a space anomaly, which is a nebula. The Captain of the USS Titan Ryan's character is the first officer of Captain Shaw (Todd Stashwick), and he is not sympathetic to Picard, Riker, or Crusher's Son. While all that is going on far across the galaxy, Rafi Masiker (Michelle Hurd) is investigating a terrorist attack and a mystery of her own. She gets help from a mystery man she doesn't know until he reveals himself as Lieutenant Worf (Michael Dorn), a Klingon Officer. He was her secret agent handler and had her as his agent in a secure section of the Federation. How these two storylines tie in together is what makes season three of Picard that much more interesting. This story is the Star Trek I've been waiting for three decades. It's the best Star Trek I've seen in years, including recent new Star Trek shows. This season has a secret that elevates the show to a new level of Star Trek. Fans of the popular sci-fi franchise have speculated for years about this secret. The writers even throw in for good measure the daughter of another popular Next Generation character, the blind Engineer Geordi La Forge, Ensign Alandra Le Forge (Mica Burton, who is actually Levar Burton's real-life daughter). This season of Picard is full of all kinds of secrets and entertaining exploits. As in the Next Generation show, which aired around thirty years ago, Picard gives all its characters their own unique storylines — some from episode to episode, but mostly each character arc is season long. They intertwine with the overarching story that runs the entire season. Because the series is called Picard, Patrick Stewart is the main character, but writers share the spotlight very judiciously. All the supporting characters like Seven of Nine, William Riker, Beverly Crusher, Jack Crusher, Rafi, and Worf all have their own individual stories that fit nicely into the greater storyline. It helps make the show different within the context of the main storyline the series focuses on.
One of the things I have always loved about sci-fi shows and series is the visual effects within the show or series. Some of these shows and series don't have much of a budget, but this season of Picard is visually stunning. Some visual effects show characters I can't spoil in this review, but look very cool. All the space stuff, nebula, meteor shower, and space anomaly all look great. And of course, there are many things on the various ships brought to life impeccably by the team behind this season of Picard. They don't spare a dime on the production value or the cinematography or visual effects of this series, and I for one am glad about that. Applause also goes to Paramount+ for coughing up the money to do this show right. Akiva Goldman, Alex Kurtzman, and Terry Matelas are the showrunners and writers. They have a combined skill and ability that helps create a new era of Star Trek that is exciting and adventurous for the fans of the show and Star Trek in general. With this show, they give this cast of mostly returning actors from the Next Generation a more personal feel. The legacy of these characters is in good hands, and those fans, I count myself among them, will be happy with where this series goes in season three. Season 3 of Star Trek: Picard is as good, if not better, than the previous two seasons. It introduces new characters and brings back previous characters from the first two seasons of the show. The main thing I love is that the writers know how to weave in the classic characters from the Next Generation cast, which is the Star Trek I grew up with. These characters all have good story arcs, and I enjoyed seeing them in action once again. This series is and has been a success, and I would like to see more seasons. I could watch these characters over and over again and not get sick of them. This is some of the best Star Trek ever created. Gene Roddenberry would be proud of everyone involved in this series. Star Trek: Picard streams on Paramount+ beginning February 16. Rating: 5/5 Review by Adam Donato Thanks to the rise of streaming services, the amount of mediocre content has subsequently followed. Movies can easily disappear if they don’t have any marketing and are thrown onto a tertiary streaming service. At Midnight is the latest original film from Paramount+. A famous actress finds herself falling in love with a hotel worker while shooting on location. From the director of Dating & New York and with a cast of D-listers comes a movie you’ve seen a million times before. The saving grace for the plot of this movie following every genre cliché note for note is the sense of humor the movie has. A great deal of the dialogue in At Midnight borders on laughing with the movie and laughing at the movie. Sometimes it’s so absurd that it’s actually funny. Other times, it’s so dumb and cringe that it’s unbearable. The comedy is at the forefront of this rom com as seemingly every character has their own exaggerated personality. Shoutout to Whitney Cummings, who plays a bit part in this movie. Also Andre Holm from Workaholics game plays the bad ex-boyfriend who is completely obsessed with himself. These bit parts for comedians definitely add flavor to the movie’s sense of humor. In comparison to other rom coms like this, At Midnight might be the sexiest. Diego Boneta and Monica Barbaro have good comedic chemistry, but do also work as romantic leads. Boneta most popularly known from his role in Terminator: Dark Fate and Monica Barbaro in Paramount’s last big hit, Top Gun: Maverick. Barbaro also has Army of the Dead: Lost Vegas so it will be nice to see more from her going forward. So if the story doesn’t keep eyeballs glued to the screen, then the sex appeal will be destined to do the heavy lifting.
There’s endless amounts of generic romantic comedies on every single streaming service that make this latest one passable. At Midnight has the looks and the personality, but that does not save it from the common pitfalls of the genre. Leave it to Paramount+ to make something nobody cares about. Do not buy a subscription for this movie, but if you already have one and are a sucker for a simple romantic comedy, At Midnight should suffice. Love is in the air this Valentine’s Day season and there is no shortage of love to go around. Throw this one on with your loved one for a good Netflix and Chill experience. Paramount and Ignore? Never mind. At Midnight is now streaming on Paramount+. Rating: 3/5
Review by Sean Boelman
Valentine’s Day is coming up, and that means that every streaming service is putting out their romantic content of choice. Netflix’s player in the arena is the rom-com Your Place or Mine, starring Reese Witherspoon and Ashton Kutcher and written and directed by The Devil Wears Prada scribe Aline Brosh McKenna. It’s pretty much exactly what one would expect from Netflix’s obligatory February offering — agreeable and pleasant, if mostly unaffecting.
The film follows two long-distance best friends who find themselves experiencing tumultuous emotions when they switch places as she decides to pursue a lifelong dream and he takes care of her teenage son. It’s the type of premise you’d expect to have been made during the COVID-19 lockdown, but it’s unexpectedly maximalist in its production. The central conceit of Your Place or Mine is that, for a significant majority of the runtime, the two leads never share the screen. It’s a cute concept — even if it’s been done before and the movie seems to think that it’s more innovative than it actually is. What is arguably more surprising is that Witherspoon and Kutcher have a very natural, believable chemistry despite not really sharing the screen together. On their own, Witherspoon and Kutcher’s performances are nothing special. They kinda just stroll through the script at their own pace, and why wouldn’t they? It’s a very breezy rom-com the likes of which both of them have starred in a dozen times before. But there are some stand-outs in the supporting cast, including a hilarious Zoe Chao and an almost too charming Jesse Williams.
Perhaps the film’s biggest problem is the lack of motivation it gives to the characters. Although both of them are likable, they have very generic backstories. Witherspoon plays a single mother — which is immediately a sympathetic characteristic — with a vague divorce to an ex-husband who is barely mentioned. Kutcher is a book-smart businessman who gave up his creative dreams to pursue something more “practical.” Neither is unlikable, but they’re both very shallow archetypes.
That said, the script makes up for its lack of emotional depth with some genuinely funny moments. The film almost feels like two separate movies smashed together — one a love triangle rom-com starring Witherspoon, and the other a fish-out-of-water parenting comedy starring Kutcher. Still, both halves work quite well, and while not blended seamlessly, at least make sense when combined. The film has the production values that one would associate with a Netflix rom-com: oversaturated lighting, straightforward cinematography, and editing that’s a bit too cutesy for its own good. That being said, there is one aspect of the movie that gives it a distinctive personality: the soundtrack — which heavily features The Cars. Although it’s hardly a specific choice, it makes the film feel fun. Your Place or Mine is a charming little romantic comedy, and while it’s not the game-changer for the genre it seems to think it is, it’s a brisk use of the familiar tropes. For a movie intended to be put on for a date night with that special someone, it’s not a bad option. Your Place or Mine streams on Netflix beginning February 10. Rating: 3.5/5 Review by Dan Skip Allen Experimental films aren't anything new to audiences. People have been making them for decades now. Just last month, an experimental film called Skinamarink was released to a huge success in America. The Outwaters is another such film from writer/director Robbie Banfitch, who also stars in the film. Two brothers, Robbie and Scott, and their sister Leslie, travel to the Mojave Desert to film a music video of their friend when something unbelievable happens to them. What we are watching is a camera video of them documenting their trip and experience before, during, and after the event. The police use the SD cards of the camera to show what happens to these four people. All the cast play versions of themselves, so in a way, this film is semi-autobiographical. It's like they are experiencing these events in real-time. How we see the film is mostly through a flashlight or the camera lens, which is very small and doesn't show a lot. It kind of has a claustrophobic feel while watching in that way. The way the movie is being filmed gives it a suspenseful real-life aspect. It's like a film within a film. The film also uses various sound effects to create a sense of dread, like thunder or bombs and bullets flying around. But the four people don't know what direction they are coming from, because they can't see anything because it's so dark out. During the day, they are fine filming the scenes they need for the music video. It's at night that the dread sinks in for this quartet of young people. That's not a good thing. Screams from characters and blood on the hand of one of the four also show that something is out there in the desert, and a barely visible being on a hill in the distance is just enough to show the audience that something sinister is going on here. As a fan of horror, these types of techniques are exactly what the doctor ordered to show people the film means business regarding the scare factor.
The acting of the four family members and friends is outstanding. Their screams and the dialogue of "don't leave me," or "I'm okay," by multiple members of the four were frightening, to say the least. Bloody limbs and panting are enough for the audience to be genuinely concerned about what is going on on screen. Voicemails from their mother don't help at all either. They ramp up the concern for us watching the film. The Outwaters leaves viewers scared out of their minds and genuinely frightened for their lives. This film goes to places I have never seen horror films go in my lifetime. I've been watching movies for a long time, and this is one of the most original films I've ever seen. It builds up the story and characters just enough for the viewer to care about them, and then pulls the rug out from under them with the story. It's a crazy story that is only believable to those who watch it — and even that is asking a lot. The horror renaissance continues to amaze me each and every day I see another bat-shit-crazy film like this one. The Outwaters hits theaters on February 10. Rating: 4/5 Review by Cole Groth It’s almost time for Valentine’s day, which means the season of love is upon us, and rom-coms will be topping charts on streaming services everywhere. This year, you’ll be able to choose between two romance films: The Ashton Kutcher and Reese Witherspoon-led Your Place or Mine and Dave Franco’s sophomore directorial effort, Somebody I Used to Know. If I had to choose between the two, I would recommend the latter, a more complex, heartwarming, and daring romantic dramedy led by a powerful Alison Brie. While it’s not a traditional rom-com, its artistic endeavors make it so good. Plot-wise, this film is a bit hard to explain. We follow Ally (Brie), a workaholic TV producer who’s just had her TV show canceled. After returning home, she has a chance encounter with her ex-boyfriend, Sean (Jay Ellis). Their romantic night together brings Ally back to a time when she was happier. When she visits his family the next day, she learns that Sean is getting married. I’ve seen a few rom-coms in the past when relationships get destroyed for the main character to get his or her way but rest assured, Franco’s direction takes us down a more satisfying road. Somebody I Used to Know doesn’t play exactly like a rom-com but is more of a journey of self-discovery and the messy roads that love takes us down. Brie and Franco, a married couple, co-wrote the script, and it’s pretty great. It gets surprisingly vulgar and takes us down some uncomfortable territory, but through a rocky second act, we arrive at a satisfying third act. It helps a lot that Brie, Ellis, and Kiersey Clemons pull through as the central love triangle. Fans of Community will be excited at the supporting role of Danny Pudi, who brings great comedic levity to a somewhat grounded rom-com. There’s a lot of chemistry between everybody involved, making each romantic moment believable. At a relatively brief 105 minutes, this rom-com makes for a pretty easy watch. For anybody who wants to watch an elevated rom-com, this will more than satisfy, but those who like simple, breezy rom-com might get turned off. Quite a few questionable decisions are made, both in front and behind the screen, and this is not a film that the whole family can enjoy.
The first thing many viewers will think of when seeing the title is the all-time great Gotye song from 2011. Unfortunately, Franco didn’t think to include this in the film even though it fits perfectly with the film. With Amazon producing this, it probably isn’t hard to get the rights to a 12-year-old song. Beyond the fact that they share titles, they share similar themes of reflecting on a past love. While it’s not a devastating loss, little things like this make me wonder if studio executives are in touch with any popular culture. Fortunately, the rest of the score is excellent. While missing an obvious song choice is lame, composers Danny Bensi and Saunder Jurriaans bring a lovable indie charm. The cinematography is also surprisingly good, with the shooting location of a picturesque Oregon making each scene beautiful in its own way. With a seemingly endless catalog of rom-coms releasing each year, studios can either stick to the formula or deliver us daring films that put a spin on the genre. While it’s easy to love the formulaic ones, I’d choose the bold choice any day. While Somebody I Used to Know isn’t a rom-com that I’d recommend to everybody, its message will resonate with many viewers. It teaches us the importance of not losing yourself and how your past can ground you in the important things in life. The last scene is one of my favorites of the year so far, and it solidifies Franco and Brie as a good duo for writing. I’ll look forward to their following projects. Somebody I Used to Know releases on Prime Video on February 10th. Rating: 3.5/5 Review by Camden Ferrell When You premiered on Lifetime in 2018, I don’t think anyone expected it to become the hit phenomenon it is today. Since then, we’ve followed Joe Goldberg on his deadly and obsessive path to find love, and it has riveted audiences with its endless twists. Season 4 of You is its weakest yet by a slim margin, but that doesn’t mean its not full of blood, steamy passion, and genuinely shocking moments. Joe is no longer in Madre Linda. That life has been left behind, and he is now in Europe with a new name and new occupation. However, a new start doesn’t mean a relaxing life. He quickly finds himself involved with a group of obscenely wealthy socialites in London, but things take a deadly and mysterious turn very quickly. Following Joe has been a crazy journey thus far, but the show has to evolve to avoid becoming repetitive, so this premise is a decent change of pace for the series. The biggest concern coming into this season is if the show would suffer due to one specific character not being with us anymore. This particular character, who I’m not naming to avoid spoilers to potential new viewers, was the highlight of the past two seasons, but this new season doesn’t suffer greatly in their absence. While it is hard saying goodbye to that character, their omission opened the door to a lot of interesting possibilities that the season explores occasionally. Penn Badgley delivers another beguiling and sinister turn as Joe Goldberg. He’s as good as ever in this season, and he hasn’t lost any of his charm or calamity, and he definitely shines even where this season falls short. The new cast is decent for better or worse. I wasn’t sold on Charlotte Ritchie at first, but she definitely grew on me a lot by the end of the season. Lukas Gage also has a sizeable role that is hit or miss but has a chaotic energy that meshes well with the show’s style. The main pitfall of this season is that it takes a gamble on a new type of story, and it works but not nearly as well as the past few seasons. More concerned with mystery than thrills and romance, this new season shakes things up for better or worse. It may not have viewers on the edge of their seats, and it might not satisfy their appetites for carnal passion, but it still is quite enjoyable and hard to turn off. The show has never been prestige television, but among all the changes, they still remember that entertaining their viewer comes first.
Even though the show is still quite bingeable (even more so than some television shows that I actually like better), it can feel a little slow at times. All episodes clock in under an hour, but it feels like the show wastes time occasionally. The pacing could be better throughout the season, and it feels like its climax is definitely rushed in some regards, but it manages to compensate for that with some excitement that made this guilty pleasure show so popular in the first place. Dividing the season into two parts works really well, and the one month break will leave viewers with questions for sure. And even for viewers with the skills of an accomplished sleuth, the second half of the season has plenty of tricks up its sleeve that you will not see coming. Like most shows, there are a handful of moments that could have been executed better or changed for better effect, but this is the season we have, and it’s still far from unenjoyable. You season 4 is different for better or worse. Despite being its weakest season, you never really long for previous seasons, because these new episodes still have a lot to enjoy throughout. The cast may not live up to the high bar set by previous characters, but Badgley looks as good as ever as he tries to navigate his new life in as bloodless a way as possible. Even though I’m against binging television, I found these 10 episodes to go down pretty smoothly. The first 5 episodes of You season 4 are on Netflix February 9 with the final 5 episodes coming out on March 9. All 10 episodes are reviewed. Rating: 3.5/5
Review by Sean Boelman
A star-studded adult-skewing film coming out in February isn’t typically a great sign, as it probably was finished in time for awards season but chose to sit it out — likely as an indicator of quality. While the thriller Sharper might not be as intelligent as it clearly hopes to be, it’s still just as diverting as one would hope.
The movie follows a web of interconnected lies that begins to form around a wealthy family in New York City. It’s an old-school acting showcase that allows its A-list ensemble to chew the scenery with every exaggerated twist and turn the story takes. In other words, it’s one of the most fun adult-aimed films in quite a while. Ultimately, the big twist of the movie is pretty predictable, but the ride along the way to get there is so wild that it’s entertaining nonetheless. The fragmented structure is somewhat gimmicky but allows the story to unfold in a way that lets the viewer peel back layer upon layer of the story in a fascinating way. If Sharper does have one massive misfire, it’s the message. It’s clear that in some ways, this is trying to be an “Eat the Rich” narrative, but making the protagonist a trust fund kid — no matter how disillusioned he is with his family’s wealth — weakens any sort of satirical punch the film could have had.
There’s also the fact that none of the characters are particularly likable, but this issue is much more forgivable given that it seems purposeful. The joy of the movie is not in rooting for any particular character to win, but to root for them to absolutely destroy one another. It’s an extremely cynical film made for cynical people, but the same crowd that loves Succession will likely eat this up.
Of course, the ensemble is a massive highlight. It’s rare that you see a true ensemble picture like this with four leads who each hold their own, but Julianne Moore, Sebastian Stan, Justice Smith, and especially Brianna Middleton are all ravishing. The only person in the cast who doesn’t feel fully utilized is John Lithgow. Benjamin Caron’s filmmaking also stands out. The editing is stylish and kinetic, and the production design creates a sleek New York urban socialite setting for the narrative. The soundtrack is also one of the best of the years, including a Talking Heads needle drop and plenty of others that just create an overall air of fun. Plenty of people are going to call Sharper ridiculous and predictable, and both of those things are true. But there is one thing no one can rightfully call it: boring. Benjamin Caron has created a stylish thriller with a brilliant ensemble, and the result is just an all-around good time. Sharper hits theaters on February 10 and streams on Apple TV+ February 17. Rating: 4.5/5 |
Archives
May 2024
Authors
All
|