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Review by Cole Groth  As sunset falls on Ti West's X trilogy, let's take a moment to acknowledge what a neat event for the horror series. In X, West delivered a gory homage to '70s slasher flicks. In Pearl, we took a step back to the 1910s for a technicolor nightmare, showcasing the origins of X's villain. Now, West looks forward and places us in the '80s to end the trilogy. Out of the three films, this is easily the best. With a phenomenal leading performance from Mia Goth (who starred in all three), splendid kills, and some of the best cinematography from a horror film in a while, MaXXXine isn't just a great conclusion; it's one of the best horror films of the 2020s. Six years after the events of the first film, we follow Maxine Minx (Goth), a porn star looking to make her big break in Hollywood during the mid-'80s. Her journey to the top is interrupted as a terrifying serial killer known as the Night Stalker begins murdering people around her and a private investigator (Kevin Bacon) threatens to expose her involvement in the bloody string of deaths that occurred in her past. Maxine herself is a deeply interesting character, played perfectly by Mia Goth. She carries the aura of mystery around her throughout the film, leading to some great moments as the hero and times when she's frustrating to follow. She's willing to do whatever it takes to reach the top, but her cagey nature leads to plenty of aggravating moments. As the police follow her in an attempt to stop the killer, Minx offers almost no help, and as her friends are being murdered, she remains of little help when she could step up to be a hero. Just because she's the protagonist doesn't mean she's always likable, keeping her a constant source of intrigue.  The cast that surrounds Goth is star-studded and brilliant. Elizabeth Debicki, Moses Sumney, Michelle Monaghan, Bobby Cannavale, Giancarlo Esposito, Halsey, and Lily Collins are just a handful of the actors who deliver terrific performances in their supporting roles. They range from devious to heroic, each fleshed out nicely by West's script and interesting to follow. The cast makes MaXXXine stand out as a grand conclusion to the trilogy, bringing it from a series of amateurish low-budget slashers to a horror film with a blockbuster feel.
Speaking of grand, Eliot Rockett's cinematography and West's editing make this one of the coolest-looking horror films of the 21st century. It's perfectly colored and shot to emulate the style of the 80s but manages to stand on its own as more than mere imitation. West plays with some fun editing tricks, like split screens and sliding frames, making this an ambitiously edited film that film nerds will adore. As far as the killer reveal goes, this will fall flat for those unaware of the trilogy. The unveiling comes out of nowhere and makes almost no sense because the film doesn't set it up within the confines of its runtime. This will lead to problems for new fans but gives audiences who showed up to all three films a more satisfying conclusion. Ti West has quickly established himself as a horror director for the ages, and if anything is clear from MaXXXine, it's that horror is more alive than ever. It's an impressive experiment in horror, sealing off a phenomenal modern slasher trilogy on a satisfying and intense note. A24's experiment of releasing three cheap horror films within just a couple of years has clearly paid off. West has stated in interviews that he has ideas for the future of the franchise, and while the series seems to have ended on a perfect note with this film, I'll be eagerly awaiting what's next. MaXXXine releases in theaters starting July 5. Rating: 4.5/5
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Review by Daniel Lima  The hitman who attempts to leave behind their criminal life, only to be forced to fight out of the underworld, is a stock narrative, particularly within the past two decades of Korean cinema. There's nothing wrong with adhering to formula, so long as it is executed in an exciting, idiosyncratic way. At the very least, the familiar contours should manage to hold an audience's attention for a couple of hours. Sadly, A Man of Reason doesn't quite measure up, delivering only the barest minimum of what is expected of the genre and being all the lesser for it. Jung Woo-sung directs and stars as the contract killer, out of prison for the first time in ten years. Though he wants to rebuild his relationship with his wife and daughter, he finds himself marked for death by his former employer and so must use his particular set of skills to defend his family and forcefully sever his ties to the past. It's boilerplate material, yet there are missteps in establishing even this very basic premise. The former employer isn't actually the antagonist; instead, it's his lieutenant, a brown-noser who is simply jealous of the admiration his boss holds for Woo-sung. He does not personally see to the killing; instead, he relies on outside help. That outside help comes in the form of a pair of assassins who specialize in explosives. The result is our hero finds himself up against hirelings that he has no personal connection to, working for a villain he barely knows, who works with a powerful mobster who holds no animus towards him. Which is to say, there's precious little emotional stake in the actual conflict.  That should come from Woo-sung's connection to his wife and daughter. However, he doesn't even know he has a daughter until he's out of prison, and spends most of the film separated from both. Where films like The Man from Nowhere or The Killer externalize their protagonists' conscience but take the time to develop the bonds they form with their innocent morality pets, A Man of Reason simply asks the audience to accept that its hero will go to any length to protect his family. It's certainly enough to move the plot along but not enough to make an audience emotionally invested in what happens.
None of that would matter if the film at least delivered thrilling set pieces. Sadly, this is where Jung well and truly drops the ball. The handful of action beats here are about as exciting as all the exposition: low-speed car chases, shooting a nail gun as the target jogs into cover, choppily-edited fist fights in the dark. Truthfully, much of the action in the classic Korean revenge thrillers of the '00s and '10s probably would not hold up today, but they at least committed to delivering a brand of stylized violence that hadn't really been seen up to that point. The only thing commendable here are the explosions, which seem practical, yet even they pale in comparison to another actor-director's action thriller, Hunt. Coincidentally, Jung Woo-sung had a starring role there; it's a pity he didn't take notes. All that said, nothing in A Man of Reason is exceedingly poor. It follows the expected beats of this kind of story andblunders its way through the narrative and the action, but not enough to earn ire. It certainly is not a success, but it's not a total failure. In a way, it'd be preferable if it were, as it would at least be memorable. Instead, it evaporates from the mind shortly after watching, leaving in its place the desire to revisit any number of better examples of its genre. A Man of Reason arrives in theaters July 5 and hits VOD on July 9. Rating: 2.5/5 Review by Daniel Lima  Lakshya in Kill. Courtesy of Roadside Attractions. I distinctly remember that in the fall of 2023, I was listening to an interview with stuntman/action director Lee Whittaker about his experiences working within the various Indian film industries (on Action Talks with Eric Jacobus, highly recommended). At one point, he was asked whether it would ever be possible for an Indian filmmaker to make something akin to the Indonesian film The Raid, that is, a stripped-down, brutal action film that abandons the ample melodrama and gravity-defying opulence of many Indian blockbusters in favor of a more grounded genre experience. It’s a question that made me chuckle, as while the interview was months old, the Hindi actioner Kill had just premiered at the Toronto International Film Festival, and it promised precisely that. The film has consistently been described as “The Raid on a Train,” and there’s no better way to do so. An army commando finds himself on a train that dozens of bandits have taken over, and it’s up to him to take them down. The film is under two hours, set almost entirely in one location, the fights are visceral and violent to an almost shocking degree, and there is only the barest amount of narrative groundwork laid. In short… it’s The Raid on a train. Obviously, the selling point here is the action, as hyperviolent and frantic as one would expect, given its obvious influences. Pitted against such an overwhelming force, the protagonist is forced to use every tool at his disposal against his foes, including the claustrophobic environment. To that end, the choreography departs from the typical Indian style of pseudo-superheroics, instead adopting a more realistic approach. Well, as realistic as carving through forty armed men can be. Throughout the many, many fights, characters utilize whatever weapons they can, from knives to canes to guns to fire extinguishers. Navigating the confined space provides an additional challenge and aids in combat, restricting movement but allowing one man to take on many without being swarmed. While limited to only one setting, there is a deliberate attempt to break up the visual staleness of the surroundings and introduce new dynamics to the action: taking a fight to the bathroom, opening a locked door while a friend provides cover, facing down one particularly large adversary. And, of course, all of this is uncompromisingly bloody, with an almost overwhelming amount of stabbing, mauling, cutting, and killing. It’s all admirably intricate, as one could expect from the action director pairing of Parvez Shaikh and Se-yeong Oh (who previously collaborated on films such as War and Tiger 3). However, it cannot be helped that there is a sameness to all the action, largely because of a lack of variance in both the actual choreography and the intensity of the action. Violence breaks out about fifteen minutes into the film and carries on at the same level for the next hour and a half. Considering the premise, we will inevitably see the number of villains dwindle, and there is a dwindling return on the impact of all the gore. Worse yet, there is little to distinguish all the combatants while they are fighting, as impressive as it all is to coordinate. Watching The Raid, there is a clear difference in how all the characters fight, befitting their personalities and the martial abilities of their actors. That personal touch is lacking here, and by the end, it all blends together.  Lakshya in Kill. Courtesy of Roadside Attractions. Adding to this effect is the strength of the narrative, or lack thereof. As silly as it seems to critique a film like this for how it establishes its ensemble, it must be said that the short amount of time spent with them is not enough to engender any strong feelings about whether they survive. There is an atmosphere that anyone may die at any moment, but it is impossible to care, since they are all so thinly sketched anyway. If anything, the perfunctory romance that serves as the protagonist’s motivation actually does the movie a disservice, as the treatment of the love interest feels almost distasteful. Even the villains, as dastardly and cruel as they are, never feel particularly threatening to the commando hero.
None of this would matter if this movie delivered action that felt as fresh and exciting as its inspiration. Unfortunately, we already have The Raid, and plenty of other action movies have taken their own cues from that film’s brand of grounded martial arts mayhem. This raises the question: why is the thought of an Indian take on this same style appealing in the first place? As over-the-top and bloated as many Indian blockbusters can be, it is a style that other industries around the world are slow to draw influence from. Is it not more exciting to see the lengths that minds like Anbariv, Dhilip Subbarayan, or even an imported talent like Yannick Ben push the homegrown approach to stage action, rather than see the likes of Bollywood, Tollywood, and Kollywood adopt the same thing everyone else is? All that said, it’s not like Kill is not successful at what it does. For those looking for frenetic, close-quarters combat that leaves pools of blood on the floor and ears ringing with the sounds of crunching bones and disembowelment, this will supply that. Despite its missteps, it’s not even a bad version of its premise. Seeing the diversity and singular nature of Indian action cinema today, however, we should expect more than just “The Raid on a Train.” Kill hits theaters July 4. Rating: 3.5/5 Review by Jonathan Berk  Writer and director Niclas Larsson's film Mother, Couch is an anxiety-inducing examination of family issues delivered by a stellar cast. Larsson thrusts the audience into the film's surreal world, primarily set in an antiquated furniture store. It's a jarring experience that will make audiences question whether they missed the beginning of the film, but it establishes the tone that will carry through for the entirety. Ewan McGregor is at this furniture store with his estranged brother, played by Rhys Ifans, and their elderly mother, Ellen Burstyn, takes a seat on a couch and refuses to leave. The store is run by Taylor Russell and her father, F. Murray Abraham, and becomes an odd place to hash out the family baggage. The brothers call their sister, Lara Flynn Boyle, to come and help them figure out what to do about their mother. McGregor's character is working through many issues. He performs really well in this chaotic role. He is the anchor for all of the story elements, and each character has some connection to him. The film's ticking clock is McGregor getting to his daughter's birthday party. His wife, played by Lake Bell, is calling and inquiring when he'll arrive, but he can't abandon his mother despite how awful she is towards him.  Burstyn delivers this cruel, biting performance as the family's matriarch. She has to give a big performance while mostly sitting on a couch, which she does expertly. The writing adds to the experience, but the same lines said by someone less capable wouldn't have the punch they do here. Of course, it's also the reactions to the words that help sell the overall idea.
Boyle and Ifans get some solid moments as well. The three siblings have an interesting past that's explored throughout the film. However, Russell and Abraham make the most of their screen time. They act as the keepers of the reality the characters find themselves in and offer sagelike advice or throw threatening commentary on the actions of these strangers invading their space. The decision to make this story a little more surreal adds to both the tone and the creativity. Several scenes allow for aesthetically interesting visuals. The staging of the furniture store mirrors the rooms of a house, lending to the exploration of our character's past. The metaphors the film is working with allow it to hit its visual stride later on. The third act, in particular, really makes the most of the odd reality the characters find themselves living in and will push the audience's willingness to accept it or storm out angry. All of these elements mix reasonably well, but they don't make for an enjoyable experience. It's hard to watch Mother, Couch and not be reminded of Ari Aster's Beau is Afraid — another film that sought to make its audience uncomfortable, but one that executes the approach a little bit better. Still, Niclas Larsson's film is well-made and gets its idea across enough to make it worth watching. Mother, Couch will be in theaters on July 5. Rating: 3.5/5
Review by Sean Boelman
(L to R) Eddie Murphy as Axel Foley and Paul Reiser as Jeffrey Friedman in Beverly Hills Cop: Axel F. Courtesy of Netflix © 2024.
A fourth film in the Beverly Hills Cop series has been in and out of development for decades. Now, 40 years after the release of the original movie and 30 since its most recent entry, Netflix is releasing the legacy sequel Beverly Hills Cop: Axel F. The result is about as good (or bad) as one would expect from a straight-to-streaming continuation of a once-bustling franchise — that is to say, it’s entirely inoffensive and totally palatable, if not particularly impressive.
The film follows Axel Foley as he leaves Detroit yet again to go to Beverly Hills when his (adult) daughter’s life is threatened. Along the way, he causes hijinks as he uncovers a conspiracy in the 90210. It’s an incredibly generic, predictable story — anyone with any cinematic knowledge would be able to guess the “twist” just by looking at the cast list — but if you’re willing to be satisfied by the bare minimum of another adventure with Murphy’s detective, this sequel is passable. Unfortunately, stars like Tom Cruise and Will Smith have spoiled legacy sequels for the rest of Hollywood. Although Eddie Murphy is only a few years older than either, he feels decades older in Beverly Hills Cop: Axel F. Although it might be a quote from Lethal Weapon, you’d think Murphy’s detective would be shouting, “I’m too old for this shit!” The action set pieces in the movie are sorely lacking any sense of adrenaline and excitement. Excusing it due to Murphy’s age can only go so far when others in their sixties — and older — have done much more exhilarating things in recent action flicks. And while it might be possible to forgive them for not being exhilarating, they also aren’t particularly effective at setting up slapstick humor situations. 
(L to R) Joseph Gordon Levitt as Detective Bobby Abbott and Eddie Murphy as Axel Foley in Beverly Hills Cop: Axel F. Credit: Melinda Sue Gordon/Netflix © 2024.
There are still some funny moments to be found in Axel F. Some of the funniest jokes are tongue-in-cheek, poking fun at the franchise, or even Murphy himself. However, these witty moments are only enough to get a passive chuckle out of the viewer. It never ascends to the laugh-out-loud level of the original, feeling more like a nostalgic imitation than an actual successor to the comedy classic.
The rest of the returning cast is also mostly underwhelming. Judge Reinhold is barely in the film, and when he is present, it feels like he’s sleepwalking through his role. Other familiar faces tend to pop up in a “Hey, remember this guy?” way rather than meaningfully progressing the plot forward. Of course, as with any legacy sequel, there’s some new blood added to the mix. The best addition is Taylour Page, who surprisingly holds her own against the comedic veteran she shares the screen with. Page brings a spunky, almost defiant personality to the role that, while a bit on the conventional side, plays well to the role she is being asked to perform. Joseph Gordon-Levitt and Kevin Bacon aren’t bad, but it constantly feels like they are just happy to be there. Granted, as much of this may be due to how poorly written both of their characters are as to their unimpassioned performances. Yet, for all of its problems, it’s hard not to get at least a little swept away in the nostalgia of Beverly Hills Cop: Axel F. It’s not exactly a good movie, and it’s nowhere near as good as the original. However, it is just — and only just — reminiscent enough of the 1984 movie’s success to be worth the time for fans of the franchise. Beverly Hills Cop: Axel F streams on Netflix beginning July 3. Rating: 3/5 |