Fast reviews for busy people! Watch as I review three movies in less time than it takes to make your bed. Have a look as I race against the clock to tell you about the uncom rom com “The Drama,” the outer space antics of “The Super Mario Galaxy Movie” and the singular “Dead Lover.”
Watch the whole thing HERE!
I join the Bell Media Radio Network national night time show “Shane Hewitt and the Night Shift” to talk Taylor Swift’s “The Life of a Showgirl” lawsuit, romance on sale, the Ferris Bueller that almost was and I review the Zendaya and Robert Pattinson uncom rom com “The Drama,” and suggest wedding cocktails to go along with the film.
Listen to the whole thing HERE!
I sit with Deb Hutton on NewsTalk 1010 to go over some of the week’s biggest entertainment stories and movies playing in theatres. We look at a new drama based on the Jeffrey Epstein investigation, the latest meme-worthy edition to the Australian National Film and Sound Archive, Keenan Thompson’s “Unfunny Bunny,” a new book for kids and I review “The Super Mario Galaxy Movie” and the uncom rom com “The Drama.”
Listen to the whole thing HERE!
I join CTV NewsChannel’s Scott Hirsch to talk about the uncom rom com “The Drama,” the outer space antics of “The Super Mario Galaxy Movie” and the singular “Dead Lover.”
Watch the whole thing HERE!
SYNOPSIS: An uncom rom com (uncomfortable rom com) “The Drama” stars Zendaya and Robert Pattinson as a young couple whose relationship is threatened by an unexpected revelation.
CAST: Zendaya, Robert Pattinson, Mamoudou Athie, Alana Haim, Hailey Gates, Zoë Winters. Written and directed by Kristoffer Borgli.
REVIEW: Unconventional and uncomfortable, “The Drama” is a showcase for Zendaya and Robert Pattinson’s embrace of the pitch-black material.
As quirky bookstore clerk Emma (Zendaya) and museum director Charlie (Robert Pattinson) plan for their wedding they take a moment to play a harmless game with friends. “All right, so before we got married, we did this thing where we said the worst thing we’ve ever done,” says Emma’s friend Rachel (Alana Haim). “I’ll tell mine if we all do it. Promise?”
After some encouragement Emma shares a dark secret so sordid it rocks her husband-to-be to the core. As the couple attempt to find “radical acceptance” of each other’s flaws and secrets, they first must ask if they ever really knew one another at all. “You have to stop thinking about it,” Emma says.
What begins as a meet cute rom com takes a turn into dark territory during a party game of “what’s the worst thing you’ve ever done?” over a bottle or two of wine. No spoilers here, but hot buttons are pushed by Emma’s confession, and the mist of romance disappears, crushed by the weight of the past.
Told with great energy by director/writer Kristoffer Borgli, the film is proof that many things can be true at the same time. It’s often uneasily hilarious but also upsetting. It’s stressful, provocative and yet awkward. Bound to be controversial, the gallows humor embedded in the script may corner the market on uncom rom coms as it mines some pretty dark material for laughs but somehow maintains a relatively fizzy tone.
Borgli uses the conventions of rom coms—the meet cute, obstacles and conflict, etc—but does so without the feel-good tone of a Drew Barrymore or Kathryn Heigl flick. The film’s shocking disclosure is a trigger for hurt feelings and bad behavior, but ultimately it contemplates the limits of love and empathy. It shares connective tissue with run-of-the-mill rom coms, but by its nature it digs deeper, examining the true nature of personal connection in the face of unpleasant surprises.
“The Drama” works because of Borgli’s fearless script, clever editing and Daniel Pemberton’s score, but it sticks because Zendaya and Pattinson bring messy humanity to Emma and Charlie that feel authentic no matter how twisted the plot machinations.
SYNOPSIS: In “Die My Love,” a new psychological drama now playing in theatres, Grace (Jennifer Lawrence) and Jackson (Robert Pattinson) leave the hustle and bustle of New York City in search of a quieter life on a rural Montana ranch. As the couple welcome a child, Grace begins to feel isolated, trapped and acts out in unpredictable ways. “I’m right here,” she says to Jackson, “you just can’t see me.”
CAST: Jennifer Lawrence, Robert Pattinson, LaKeith Stanfield, Nick Nolte, Sissy Spacek. Directed by Lynne Ramsay.
REVIEW: A non-linear, stream-of-consciousness look at one woman’s breakdown, “Die My Love” is not a movie you “enjoy” in the traditional sense. Like the recent “If I Had Legs I’d Kick You,” a psychological drama that mined similar territory, “Die My Love” is a confrontational, difficult watch.
The difference is in the execution.
While neither film can be called pleasurable, “If I Had Legs I’d Kick You” displays a sense of purpose missing from “Die My Love.”
Both feature compelling, raw performances from their leads, but “If I Had Legs” gives the viewer something to hang onto story wise. “Die My Love” has a premise—woman has a breakdown after moving to the country—but is frustratingly shy about fleshing out a complete narrative. The result is a film that feels like a series of escalating events rather than a cohesive whole.
The glue holding the entire thing together is Lawrence, whose fearless and ferocious performance physicalizes the character’s inner turmoil in increasingly unpredictable and upsetting ways. Crushed by postpartum depression and isolation, her behavior spirals, captured by director Lynne Ramsay, who co-wrote with Enda Walsh and Alice Birch, in a series of loosely connected vignettes. With little-to-no narrative accompaniment, however, the incidents, while often shocking, become repetitive and drain away the film’s power as a portrait of postpartum and human frailty.
Lawrence’s portrait of psychological collapse is raw and challenging cinema but as a vehicle for the performance “Die My Love’s” mix of reality and delusion falters.
SYNOPSIS: In “Mickey 17,” a new sci fi black comedy from Oscar winning director Bong Joon-ho, and now playing in theatres, Robert Pattinson plays an “expendable worker” who takes on dangerous jobs on the outer space colony Nilfheim. “You’re an Expendable,” he’s told. “You’re here to be expended!” If he dies—which is likely—he is regenerated and sent back to work. When one of his clones, Mickey 17, is replaced before death and makes his way back to the colony, the two Mickeys must fight back or be destroyed.
CAST: Robert Pattinson, Naomi Ackie, Steven Yeun, Toni Collette, and Mark Ruffalo. Directed by Bong Joon-ho.
REVIEW: An almost unclassifiable genre piece, “Mickey 17” has elements of sci-fi, comedy, drama, mystery, social commentary and suspense and more Robert Pattinsons than you can shake a stick at.
Fleeing a loan shark who threatened to hunt them down to the ends of the earth, Mickey Barnes (Robert Pattinson) and his best friend and business partner Timo (Steven Yeun) sign up for an outer space expedition to the human colony Nilfheim. “Nothing was working out,” Mickey says, “and I wanted to get off Earth.”
As Timo trains to be a pilot, Mickey becomes an “Expendable,” a disposable crew member, used for experiments, who when, and if, he dies, can be “reprinted” with his memories intact. “Every time you die,” he’s told, “we learn something new and humanity moves forward.”
As Mickey repeatedly dies and is reborn, all other life and death on Nilfheim is curated by Kenneth Marshall (Mark Ruffalo), a vainglorious politician with sinister intentions for his new society.
When the seventeenth iteration of Mickey is presumed dead—“Even on my seventeenth go around I hate dying,” he says.—and replaced by Mickey 18, Nilfheim’s “no multiples” rule is inadvertently broken. “In the case of multiples,” Marshall says, “we exterminate every individual.”
With dueling Mickeys causing trouble for Marshall, a new threat emerges, an alien big bug life form called “creepers” that may be the key to the survival or destruction of Nilfheim.
Oscar winning director Bong Joon-ho crafts an absurd story with serious messages about identity, survival, and colonization. Based on the novel “Mickey7” by Edward Ashton, it’s a farce, and like any good farce, it aims to give you something to think about once the end credits have rolled.
Buried beneath Pattinson’s charmingly nerdy performance and the film’s sci fi antics are heavy-weight, philosophical questions regarding what makes us human and what it means to really feel alive. Is it our physical being, our memories or our ethics?
From a world building point of view “Mickey 17” ponders colonial cycles of violence and authoritarianism. It may be in the dark outer reaches of the universe, but it is a world Bong Joon-ho has essayed before in films like “Parasite,” “Snowpiercer” and “Okja.” His best works are futuristic cautionary tales that hold up a mirror to current society. No matter how fantastical the setting, the very human follies of class inequality, governmental ineptitude and broken social systems are front and center.
But Boon doesn’t overwhelm with ideology.
“Mickey 17” continues with his pet themes, and while the story gets muddled by times, the movie impresses with its originality and commitment to entertaining while firing up the synapses.
On some level Batman has always been escapist entertainment. The comics, TV shows and movies have always tackled big topics like morality, vengeance and the razor’s edge between anarchy and order but between Adam West’s grin, Michael Keaton’s gadgets and Christian Bale’s colorful foes, escapism is always part of the mix.
“The Batman,” starring Robert Pattison as the Caped Crusader, and now playing in theatres, is three hours of entertaining Bataction but the real-world themes of distrust in elected officials, our constitutions and each other, provide anything but escapism.
The story begins on Halloween night, as costumed criminals swarm Gotham City. As chaos reigns on the streets, the Bat-Signal illuminates the sky. “When the light hits the sky it’s not just a beacon,” says Batman (Pattison), “it’s a warning… to them. Fear is a tool.”
It’s a tool Batman uses effectively. His masked presence, his fists of fury and habit of snarling, “I’m vengeance,” have made him a fearsome presence in Gotham City. The rank-and-file police don’t know what to make of the Caped Crusader, but Detective James Gordon (Jeffrey Wright) sees him as an asset, particularly when high ranking city officials begin dying at the hands of The Riddler (Paul Dano), a psychopath whose costume suggests he is a fan of the Gimp from “Pulp Fiction.”
At each grisly murder the Riddler leaves behind a cutesy card for Batman, inscribed with a riddle, like “What does a liar do when he dies?” that could serve as a clue to solve the crime.
As the evidence, and the bodies, pile up, Batman’s investigation leads him to a wide-ranging conspiracy involving a local crime boss (John Turturro), his minion Oswald Cobblepot a.k.a. The Penguin (Colin Farrell doing a pretty good impression of James Gandolfini), a long-held Wayne family secret and nightclub worker and cat burglar Selina Kyle a.k.a. Catwoman (Zoë Kravitz).
“The Batman’s” almost three-hour running time may seem daunting, particularly in the wake of several overly long superhero movies that haven’t delivered the goods. I’m happy to report that director Matt Reeves has crafted a movie that flies by in the bat of an eye.
This is not an origin story, that tale has been told over and over. It is more of a coming-of-age tale. As played by Pattison, Bruce Wayne is a dour and sour hero who, when asked, “Are you hideously scarred?” replies “Yeah.” His scars, however, are all on the inside.
He is driven by a sense of vengeance to clean up the streets of the kind of people who killed his parents. That, he says, is his legacy, not the fabulously wealth of Wayne Enterprises. As the story progresses his mood doesn’t change—it’s as if Pattison’s perfect cheekbones would shatter if he ever cracks a smile—but his outlook does. Batman may be the face of vengeance, but by the time the end credits roll, he realizes hope trumps vengeance. “People need hope,” he says. “To know someone is out there for them. The city is angry. The city won’t change, but I have to try.”
After five “Twilight” movies Pattison understands how to brood on screen. He is comfortable with the stillness the character requires, which works well to emphasize the Batman’s loner status. The stillness of the character, when he isn’t running, jumping or jackhammering a bad guy, suggests a calm but that sense is betrayed by the simmering rage behind Pattison’s eyes. It is that anger that gives him an unspoken reason to exist.
This is a Batman who is still figuring things out, who is fueled by his single-minded need for revenge, but working to funnel his energies in a way that will benefit him, the people he loves and Gotham City. He doesn’t have superpowers, just a powerful drive and a handful of gadgets. He’s a one-man army, and Pattison does a good job of showing us, not telling us, the complexity of the character.
Director Reeves has stripped away much of the slickness of the Christopher Nolan and Zack Snyder films in favor of a grittier vision. Think 1970s movies like “Chinatown,” “The French Connection” or “Taxi Driver.” Reeves has made a boiled down detective noir that scales back the theatrics of previous versions to concentrate on the personal stuff.
But that doesn’t mean there isn’t action to spare. The new Batmobile, now a muscle car, makes its debut in a wild car chase and Pattison’s Batman doesn’t kill people, unlike Affleck’s take on the character, but that doesn’t mean he isn’t willing to pummel the heck out of his adversaries.
“The Batman” is an interesting new direction for the Caped Crusader movies. There have been better villains in other films and the sins of the father angle has been explored before, but this movie captures the zeitgeist in a very interesting way. It confronts hot button topics like the alt right, agents of chaos and lying politicians, issues ripped from the headlines, but is tempered with a message of hope, of rebuilding belief in the world around us.
I suppose every generation gets the Batman they deserve. Our hard knock world has delivered us a Batman with an edge; a troubled hero who almost succumbs to his worst tendencies, but, in the end, looks toward a horizon of hope. It’s a powerful message for our world gone mad, particularly when it comes from a guy in a mask.
“We’re living in a twilight world.” That’s the password The Protagonist (John David Washington) and Company use in “Tenet,” the new Christopher Nolan mind-bender, now playing only in theatres, but the movie’s premise is more “Twilight Zone” than twilight world.
The movie opens with a breathless and loud rescue sequence in an opera house in Ukraine, the first of the movie’s several eye-and-ear-popping action sequences. At stake is a mysterious component, part of a much larger device, with the power to end the world. A nuclear holocaust? “No, something worse.”
The Protagonist is tasked with piecing together the potentially world ending puzzle. “Your duty transcends national interest,” says his handler Victor (Martin Donovan). All he has to go on is a gesture and a code word, Tenet. “It will open some of the right doors,” Victor says, “but some of the wrong ones too.”
So far, “Tenet” feels like an elaborate James Bond style story, complete with exotic locations, enigmatic characters and a world that needs saving.
Then things get complicated.
The Protagonist isn’t simply dealing with the usual spy stuff, like international intrigue, a Russian oligarch or femme fatales. He’s fighting against “inversion,” a disturbance in the very fabric of time, that sees material running backwards through time, while the rest of the world moves forward. So, in the upside-down story of “Tenet,” an “inverted” weapon could affect the past as well as the present.
It’s a reversal of the way we think of linear time. It’s not time travel. The Protagonist doesn’t jump back to ancient Egypt for a quick chat with Cleopatra or zip forward to talk to his 100-year-old self. When he inverts, he is in the moment, but running counter to everyone else. “You’re not shooting the bullet,” he’s told by a researcher (Clémence Poésy). “You’re catching it.” Then, by way of clarity, she adds, “don’t try and understand it,” which may be the best advice The Protagonist has received to this point.
Teamed with shadowy operative Neil (Robert Pattinson), The Protagonist enters a topsy-turvy world of high-end art, down-and-dirty dealings with strongman Andrei Stor (Kenneth Branagh) and a clock that is moving backwards and forwards simultaneously. “You have a future in the past,” Neil says to The Protagonist.
At the centre of the action is John David Washington, hot off his Golden Globe Best Actor nomination for “BlacKkKlansman.” He’s in every scene, and whether wearing a Brooks Brother suit (in one of the film’s funniest exchanges) or hanging off the side of a building, he’s a convincing action hero with acting chops. It’s a demanding role and he pulls it off with equal parts bravado and restraint. It takes swagger to anchor a movie like this but in his relationship with Kat (Elizabeth Debicki) he reveals a flirtier, more tender side. The protagonist is a well-rounded character and, if they don’t do a “Tenet 2: Time Gone Wild” perhaps his name could be added to the list of 007 candidates.
The supporting cast, Branagh as the “all our lives in his hands” villain and Debicki as his beleaguered wife and Pattinson as the calm, cool and collected mercenary, all acquit themselves well but “Tenet’s” real star, however, is Christopher Nolan.
For blockbuster starved audiences Nolan delivers the kind of spectacle we’re used to seeing in the summer months. As per usual, he avoids CGI wherever possible in favor of practical effects. The results are eye-popping. The big set pieces—like an airplane driving through a building—don’t have the kind of digital disconnect that often comes with computer generated action. The show-stopping sequences are busy, exciting but most of all, organic, and the sense of peril (and pageantry) that comes with that is undeniable. Add to that Nolan’s use of IMAX cameras and you have wild action that fills the big screen in every way.
With a complicated story comes drawbacks. In the first hour there is a lot of exposition. People ask questions—Do you know what a free port is? How does inversion work?—while others take the time to answer them all in an effort to keep the audience in the loop. There’s a lot of talk about theories and plans but Nolan keeps things lively with lightning fast—with a capital “F”— pacing.
Will you understand the puzzles of “Tenet’s” time manipulation story? Maybe, maybe not. It’s definitely a movie that will hold up to multiple viewings, revealing new info and fostering more understanding of the plot each time. The trippy last hour is jam packed with artfully arranged action scenes that manipulate time in increasingly psychedelic ways. While you may feel lost in time as the movie careens toward the end of its 150-minute running time with an involved and inversive climax that weaves the past into the fabric of The Protagonist’s mission, you may wish you could invert time and relive the story again. And you can, for the price of a ticket.
“Tenet” opens in over 70 countries worldwide, including Europe and Canada, starting on Wednesday, August 26.
