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Quirky ‘PROBLEMISTA’ Aspires to Make America Artistic Again

El Salvador native Julio Torres, a former SNL writer described as a comic surrealist, injects every single quirky ounce of his personality into Problemista. The experimental indie film financed by A24 explores the dual struggle of an aspiring toymaker and his labyrinthine journey to navigate the American immigration system. Working from a script that he wrote, Torres directs, produces, and stars, making this a singular effort that’s bursting with Torres’ at times crude, often surrealistic, and always a little off-kilter sensibilities. For those operating on his wavelength, Problemista will be an original breathe of fresh air, a new creative voice projecting itself boldly into the cinesphere with Torres’ lispy monotone. His style being a decidedly acquired taste, those who don’t vibe with his unique approach to the dramedy genre however will find this to be a rather long and taxing watch. 

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Old-Timey Underdog Sports Drama ‘THE BOYS IN THE BOAT’ Lacks Personality, Punch 

George Clooney’s adaptation of Daniel James Brown’s biography, ‘The Boys in the Boat: Nine Americans and Their Epic Quest for Gold at the 1936 Berlin Olympics,’ is a study in contrast.  Brown’s diligently researched and thrillingly told biography loses its texture and depth, succumbing to  formulaic filmmaking. The film falls prey to the pitfalls of a tepid adaptation, trading the story’s nuance for Hollywood shorthand, effectively reducing it to a SparkNotes version of events. As a film, The Boys in the Boat overlooks its most crucial element: the individual boys in the boat. Presented as a singular unit, the boys emerge as a vague assortment of working-class underdogs, lacking distinct individual characterization. By glossing over the individual motivations of each boy, the film forfeits its inspirational potential, resulting in a glossy and paint-by-numbers recounting of events. Read More

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Scorsese’s Osage Nation Crime Opus ‘KILLERS OF THE FLOWER MOON’ is a Sprawling Tragedy of American Indifference

Marty makes ‘em long. His most recent crime opus, Killers of the Flower Moon, based on David Grann’s 2017 nonfiction novel of the same name, explores themes that have long rumbled the conscience of the American auteur: corrosive greed, masculine rot, and the unsettling notion of violence as an accelerant for upward mobility. This time out, he’s dedicated 208 minutes (nearly three and a half hours, only a minute shorter than The Irishman) to telling this version of that story. That’s a full hour longer than Goodfellas, a movie that similarly deconstructed the idea of the American Dream and reframed it through the lens of rugged individualism, sickening violence, and moral decay, with startling clarity and explosive plotting. The result this time around, however, is a narrative that feels hazier in its execution, though no less lurid in its exploration of these enduring themes. By not framing this savage tale from the perspective of the affected indigenous people, Scorsese inadvertently echoes the same indifference he condemns. Read More

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‘THE EXORCIST: BELIEVER’ Fails to Resurrect the Terror

If there’s one thing an Exorcist movie, be it a sequel, prequel, remake or sequel, needs to be, it’s scary. David Gordon Green’s 50-years later requel, The Exorcist: Believer fails that most fundamental test. The very celluloid of William Friedkin’s The Exorcist hums with tension and terror – each shot more possessed with unspeakable dread than the last. It’s the original nightmare-inducing horror film, a palpable shock to the system that stands up half a century later. It’s especially remarkable when you consider the context: just five years earlier, filmmakers were ensnared in the strict confines of the Hays Code, a moral guideline that prohibited profanity, suggestive nudity, graphic or realistic violence, and sexual persuasions. The thought of a 14-year-old child actor old uttering lines like, “Your mother sucks c*cks in hell” was plain unthinkable just a few years prior. It’s also pretty unthinkable today. Read More

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‘THE CREATOR’ Updates Humanity With Technically Brilliant Original Sci-Fi

Good science fiction straddles the line between grappling with contemporary anxieties and reflecting on the essence of humanity, often through non-human characters. Movies such as Blade Runner, Ex Machina, Her, and even Terminator 2 explore the notion that our innate humanity transcends mere flesh and blood. Any truly meaningful exploration of humanity tends to exceed the boundaries of pure science and biology, delving into the metaphysical realms of the soul. Qualities like empathy, love, or even the ability to crack a good joke are as fundamentally human as opposable thumbs or the capacity to biologically reproduce. In one pivotal scene in Gareth Edwards’ stark and striking science fiction film The Creator, the best original sci-fi film in years, a group of American soldiers descend upon a village to extract the location of a concealed weapon. One of the soldier threatens to execute the dog of a trembling little girl unless she gives up information. It’s a stark reminder that humanity often eludes those who are, ostensibly, human themselves. Read More

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Nolan’s Three-Hour Biopic Opus ‘Oppenheimer’ is Not Da Bomb

Christopher Nolan, the revered father figure of Film Twitter Bros the world over, has made his Mank (or his JFK, depending on who you ask.) Much like David Fincher’s polarizing and 10-time Oscar-nominated biopic, Oppenheimer offers a sprawling and contemplative portrayal of technology that reshaped the world, all while navigating the invasive presence of McCarthyism in America. It presents a sprawling, intricately layered narrative reminiscent of a Russian Nesting Doll, with stories within stories and a dynamic interplay of multiple timelines, including both colorized and black-and-white sequences, complemented by an ensemble cast of A-list actors. Those who caught early screening have already flocked to Twitter to lob terms like “masterpiece” and “best of the century” at Nolan’s three-hour biopic about the Father of the Atom Bomb but, much like Mank, Oppenheimer sees a celebrated filmmaker delivers a work seemingly tailored for awards recognition, though very clearly near and dear to him, yet ultimately fails to ignite the explosive impact it promises. Read More

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Only Tom Cruise Can Stop Dastardly A.I. in ‘MISSION: IMPOSSIBLE – DEAD RECKONING PART ONE’

A lesser Mission Impossible movie is still better than 90% of the dreck that passes for big budget blockbusters these days. Unfortunately, though, Mission: Impossible – Dead Reckoning Part One is lesser Mission Impossible. A handful of the choices made by writer-director Christopher McQuarrie in his third effort behind the camera for this franchise just didn’t quite work for me. The array of villains are undercooked and ill-conceived, particularly the introduction of a sinister mystery man from Ethan’s past who falls mostly flat by virtue of his story feeling either one-dimensional or incomplete; the attempt to capitalize on AI (2023’s buzziest buzzword) as the ultimate baddie didn’t quite feel in step with the franchise; a decision to remove a particular character (in a weirdly blatant attempt to “make room” for another younger version) irked me; as did the bifurcation of this film into two halves, leaving this particular installment hanging as if Tom Cruise himself dangling from a precarious cliff face. A lot of complaints, I know, but there’s also plenty to love here. Read More

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Chilling ‘THE BOOGEYMAN’ Rekindles Fear of the Dark

A family reeling from the sudden death of their wife and mother. A creature that feeds on grief and weakness. Crippling fear of the dark. These are well-worn horror movie tropes through and through but they are executed to impressive effect by filmmaker Rob Savage in his first traditional feature, The Boogeyman. Savage takes these overcooked conventions and tosses them in a wicked blender of terror and tension to make for a wicked fright fest that could well fling you out of your seat. Read More

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‘FAST X’ Accelerates the Tired Franchise Into a Wall of Absurdity

Death has been tamed in the realm of the Fast and the Furious, a universe where mortality is less of a concrete reality and more of a minor inconvenience. Explosions, vehicular disasters, bullets, and even cosmic escapades seem to have lost their lethal touch. Notably, Paul Walker’s Brian O’Conner, who we mourned back in 2013, has somehow cheated death’s finality to make posthumous cameos in four subsequent films. It’s an impressive work ethic that redefines the very essence of ‘life after death’. Why die when resurrection is but as plot contrivance away? Read More

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Kinky ‘Sanctuary’ an Intoxicating Two-Hander That Dominates Audience

It all starts in a hotel room. Hal (Christopher Abbott) orders room service and waits. Enter Rebecca (Margaret Qualley), a whip-smart dominatrix. Qualley, who you may remember from her standout performances in Maid and Once Upon a Time in Hollywood, first poses as a lawyer there to “gather information, verify it, and write up a report.” Although it’s all part of a CEO/powerbroker role play, meticulously scripted to the last detail, it’s actually not that far from the truth. This is Sanctuary, a kinky, mentalist dom-sub rom-com, and it’s the stage for Qualley and Abbott’s most intoxicating performances yet. Read More