‘A Complete Unknown’ Review: Timothée Chalamet’s Transformative Portrayal Elevates A Somewhat Murky James Mangold Screenplay
Timothée Chalamet is certainly coming for that Oscar
Courtesy of Macall Polay/Searchlight Pictures.
SPOILER FREE REVIEW
Synopsis: At the Newport Folk Festival in 1965, a young Bob Dylan shakes up his act on the folk music scene by going electric and siring rock as the voice of a generation - defining one of the most transformative moments in 20th century music.
James Mangold’s ‘A Complete Unknown’ is an immersive exploration of Bob Dylan’s meteoric rise during the early 1960s Greenwich Village folk scene.
Anchored by Timothée Chalamet’s transformative portrayal of the legendary singer-songwriter, the film paints a textured portrait of an enigmatic artist while delving into the era’s cultural and musical revolution. It’s a deeply evocative film that thrives on its lived-in performances, attention to period detail, and electrifying musical sequences, even as it leaves the man at its center somewhat unknowable.
Chalamet’s Dylan arrives in New York City as an unpolished but ambitious figure, guitar case in hand, ready to make his mark on the burgeoning folk scene. The film meticulously recreates the Village’s vibrant atmosphere—dimly lit basement venues, bustling coffeehouses, and streets brimming with young idealists. From the outset, Chalamet embodies Dylan’s restless energy, blending raw talent with a brooding, often inscrutable persona. His vocal performance, which captures Dylan’s signature nasal tone and scratchy intensity, feels like more than an impersonation. Chalamet’s Dylan exudes passion, anger, and sly wit, forging a connection to the music that transcends mere mimicry.
The film’s greatest strength lies in its depiction of Dylan’s music and the cultural milieu that shaped it. Songs like “Masters of War” and “A Hard Rain’s a-Gonna Fall” emerge organically from Dylan’s experiences and relationships, reflecting the political urgency of the time. The music sequences are among the film’s highlights, showcasing Chalamet’s ability to inhabit Dylan’s artistry. These performances feel alive, transporting audiences to a time when folk music was a vehicle for social change.
Monica Barbaro in 'A Complete Unknown'. Courtesy of Macall Polay/Searchlight Pictures
Dylan’s relationships with Joan Baez (Monica Barbaro) and Sylvie Russo (Elle Fanning) serve as emotional counterpoints to his aloof and driven nature. Barbaro’s Baez is portrayed with radiant self-possession, her angelic voice and commanding stage presence underscoring her role as both a mentor and collaborator. The dynamic between Baez and Dylan is particularly compelling: while she helps elevate his career, his emotional detachment strains their connection. A scene in which Baez calls Dylan out for his condescending attitude toward her songwriting is a sharp reminder of his abrasive personality, a recurring theme throughout the film.
Fanning’s Sylvie, based on activist and artist Suze Rotolo, offers another layer of complexity. Sylvie’s political convictions ignite Dylan’s passion for socially conscious songwriting, yet their relationship is fraught with unspoken tensions. Fanning captures Sylvie’s fragility and strength, particularly in moments where she confronts Dylan’s emotional inaccessibility. Her influence on his creative process is evident, yet the film leaves ambiguous whether Dylan ever fully acknowledged her impact.
Edward Norton shines as Pete Seeger, the folk pioneer whose warmth and generosity provide a stark contrast to Dylan’s prickly demeanor. Norton’s Seeger is a steadying presence, deeply invested in the communal spirit of folk music, even as Dylan’s meteoric rise threatens to overshadow his contributions. A poignant moment sees Seeger performing “This Land is Your Land” on courthouse steps, embodying the resilience of an artist standing firm in his principles.
Boyd Holbrook’s brief turn as Johnny Cash adds another dimension, capturing the rugged charisma and outlaw spirit of the Man in Black. Dylan’s admiration for Cash hints at a kindred connection between two artists who defied convention in pursuit of their unique sounds.
Mangold’s direction brings the 1960s to life with stunning authenticity. The production design, led by François Audouy, captures the grit and vibrancy of pre-gentrification Greenwich Village. Dylan’s messy 4th Street apartment, Baez’s bohemian Chelsea Hotel room, and the intimate music venues pulsate with life, creating an evocative backdrop for the story. Cinematographer Phedon Papamichael’s use of digital with vintage anamorphic lenses bathes the film in the rich textures and Kodachrome colors of the era, evoking the iconic imagery of Dylan’s early albums.
Courtesy of Searchlight Pictures.
The film also ventures into larger historical contexts, including Dylan’s interaction with his hero Woody Guthrie, played by Scoot McNairy. Guthrie’s scenes are deeply moving, particularly when Dylan performs heartfelt tributes like “Song for Woody” and “Blowin’ in the Wind” during visits to the ailing folk legend.
While the film excels in atmosphere and performance, its narrative structure occasionally falters. Dylan’s internal conflict—his uneasy relationship with fame and his tendency to push away those who care for him—drives the story but also limits its emotional resonance. Scenes of Dylan evading fans or brooding over his sudden stardom repeat, causing the film to lose momentum in its midsection.
The much-anticipated conflict at the 1965 Newport Folk Festival, where Dylan famously “went electric,” is treated more as a late narrative coda than a driving force. While the cultural clash between traditionalists like Seeger and Dylan’s revolutionary new sound is compelling, it doesn’t carry the dramatic weight one might expect. Instead, the film finds its emotional charge in the music itself, with Dylan’s electrified performances of “Maggie’s Farm” and “Like a Rolling Stone” sparking visceral energy.
Ultimately, ‘A Complete Unknown’ is less concerned with solving the mystery of Bob Dylan than with celebrating the transformative power of his music and the cultural forces that shaped it. The film positions Dylan as a figure both of and apart from his time, a man whose charisma and talent are as undeniable as his flaws. Chalamet’s performance captures this duality, making Dylan both magnetic and frustratingly elusive.
‘A Complete Unknown’ succeeds as a vibrant tribute to an era defined by idealism, creativity, and change. It immerses audiences in the spirit of the 1960s folk scene, offering a richly detailed portrait of a pivotal moment in music history. Fans of Dylan and lovers of the era’s music will find much to savor in this evocative and musically exhilarating film.
Our score: ★★★★
(out of 5 stars)
Robert Eggers’ ‘Nosferatu’ Is A Mesmerizing Gothic Horror, Even If It’s Not Exactly Scary
The 102-year-old classic has been revived in a new way
Courtesy of Netflix.
SPOILER FREE REVIEW
The reimagining of the 102-year-old silent German Expressionist classic ‘Nosferatu’ is finally here.
Synopsis: A gothic tale of obsession between a haunted young woman and the terrifying vampire infatuated with her, causing untold horror in its wake.
Robert Eggers' captivating reimagining of ‘Nosferatu’ begins in deliberate darkness as if Eggers himself is preparing the audience to embrace the unknown. Yet, the film that follows is bathed in a moonlit glow so vivid and dynamic that even its darkest moments feel as stark as daylight. Despite its ominous tone, this ‘Nosferatu’ interpretation is anything but hard to see — a visual clarity that underscores its thematic depth.
Eggers doesn’t just illuminate the dark; he makes the darkness itself the subject, presenting it not as mere absence but as an indomitable, primal force intrinsic to human nature. This is a shadow we all carry, concealed beneath layers of decorum and virtue.
While Eggers' version nods to F.W. Murnau’s 1922 classic, it’s not a straightforward remake. Instead, it feels like a counterpart — a lush, intensely psychosexual reflection. Where Murnau's film concluded with the iconic shadow of a vampire against a solid wall, Eggers’ tale begins by casting that shadow across the delicate curtains of Ellen Hutter’s (Lily-Rose Depp) bedroom. Her whispered midnight prayer for solace is answered not with comfort, but with a hunger that seems to awaken within her.
Courtesy of Focus Features, Universal Pictures.
Lily-Rose Depp carries the film on her shoulders and this could easily be seen as her best performance to date. The demanding lengths the actress goes to in order to encapsulate the possession and passion with Nosferatu is nothing short of extraordinary — as mentioned: the hunger that awakens within her.
This hunger, personified by Bill Skarsgård’s grotesque and primal Count Orlok, blurs the line between predator and prey. Orlok’s repugnant decay contrasts with the unsettling allure he holds over Ellen, whose terror stems less from his monstrosity than from the part of her that yearns for him. This duality fuels the narrative, as Ellen’s struggle with her desires takes center stage, overshadowing even Orlok himself.
Eggers’ ‘Nosferatu’ shifts its focus from the vampire to Ellen, exploring her repression and awakening in a patriarchal society that vilifies female desire. The film juxtaposes the external horror of Orlok with Ellen’s internal battle, portraying her as a woman trapped by societal expectations yet brimming with untamed vitality. Depp’s performance is transformative, capturing Ellen’s turbulent inner world with raw intensity and grace.
The film’s aesthetic is both modern and meticulously period-accurate, blending Eggers’ signature style with gothic opulence. Like ‘The Witch,’ it treats sin with existential weight. Like ‘The Northman,’ it channels primal energy into a rich tapestry of folklore. And like ‘The Lighthouse,’ it revels in the absurd, anchored by Willem Dafoe’s wonderfully eccentric turn as a pipe-smoking academic obsessed with the Count, and who Eggers himself describes as “a crazy vampire hunter.”
Another name worth mentioning is Nicholas Hoult as Ellen’s husband Thomas Hutter. As any performance he gives, Hoult always delivers 110%. As an inspired young estate agent journeying to the spooky and moonlit Carpathians on business, he successfully complements Depp with his own moments of captivating performance.
Courtesy of Focus Features, Universal Pictures.
While Eggers’ ‘Nosferatu’ is steeped in atmospheric detail and shadowy dread, it’s also deeply human, exploring the universal fear of confronting one’s own darkness. Ellen’s journey, juxtaposed with the societal constraints of 1838 Germany, offers a poignant critique of repression. Her marriage to the well-meaning but oblivious Thomas Hutter (Nicholas Hoult) only deepens her isolation, as her desires and anxieties remain unspoken and unaddressed.
The film unfolds with deliberate pacing, stretching its narrative across 132 richly atmospheric minutes. Eggers employs masterful cinematography by Jarin Blaschke, capturing every moment in desaturated, haunting beauty. From Hutter’s eerie journey to Orlok’s castle to the claustrophobic streets of Wisborg, every frame brims with a sense of foreboding and otherworldly allure.
Eggers’ ‘Nosferatu’ may lack the sociopolitical subtext of Murnau’s original but replaces it with a more personal and psychological exploration. Skarsgård’s Orlok is less a standalone figure than a shadow of Ellen’s suppressed desires, a manifestation of her internal struggle. His grotesque presence, enhanced by unsettling prosthetics and a chilling voice, underscores the film’s focus on appetite and repression. The decision to leave out the appearance of Bill Skarsgård’s distorted presence in the trailers and marketing campaign certainly holds a greater impact of mystique and shock when you witness the reveal front of the big screen.
Ultimately, ‘Nosferatu’ is a meditation on the darkness within — the parts of ourselves we fear to confront but must. Eggers’ richly textured storytelling, moody cinematography, combined with mesmerizing performances and an evocative score, delivers a film that doesn’t just revive a classic but redefines it, cementing its place as a haunting and thought-provoking masterpiece.
Our score: ★★★★★
(out of 5 stars)
‘Arcane’ Season 2 Is A Mind-Bending Animation Masterpiece Conclusion To The Popular Netflix Series
See our review for the animated spectacle that is ‘Arcane’ season 2
Courtesy of Netflix.
SPOILER FREE REVIEW
The long-awaited second season has closed out Netflix’s popular animated series, adapted from ‘League Of Legends’ characters and lore.
Synopsis: The series tells the story of two League of Legends champions, sisters Vi and Jinx, and the war between their cities, as they face off as rivals.
Where do we truly even begin? In just two seasons, the creators of ‘Arcane’ have done the impossible, and ended an extremely popular story before it dragged on for many, many seasons.
At the end of season one, audience were left with a cliffhanger at the moment of impact from Jinx’s Hextech missile blast toward the capital — an extraordinarily tragic ending to the first season. In season two, we carry on immediately as we left off. All the council members have died except two: Jayce and Mel. This begs the immediate question, how did they survive from a point-blank attack?
We’re also thrusted back into the core and beating heart of this complex story: the sisters, Vi and Jinx.
Jinx is in hiding in the underbelly city of Zaun after the attack, grieving the loss of her adopted (and manipulative) father-figure Silco, and deeply wounded by her sister’s “betrayal.” It’s here that a young “apprentice” known as Isha (a crucial character to Jinx’s story), finds herself running into Jinx’s protection. Jinx’s schizophrenic hallucinations have all but calmed in this season (though they flair up at certain moments), as she goes through further identity crises, questioning what “Jinx” really means. Her actions from season one, as unhinged and monstrous as it seems, sparked a movement in Zaun, with people being inspired by Jinx’s uprising and rebelling against the higher city of Piltover.
Meanwhile, Vi finds herself in Caitlyn’s company, joining plans of going after Jinx. Vi, like Jinx, is hurting after seeing her sister turn into a monster. She’s testing her belief that Powder (Jinx’s prior and younger self) is still buried deep in Jinx’s core, though all directions point to giving up this notion. Could Powder truly be dead? This is the pivotal question Vi coninues to ask herself and be bombarded with by her companion Caitlyn.
Both characters enter season two with trauma, grief, and a rising sense of new purpose in their respective cities.
Like our two leads, other characters (who take a good chunk of screen time) such as Mel, Jayce, Viktor, Ambessa, Caitlyn, and Ekko, all have pivotal arcs than help shape the story’s overall theme — hammered home by Vi and Jinx.
Jayce continues to uncover the dangers of Arcane magic while Viktor is fully consumed by its power, leading to elevated stakes throughout each episode, all the way to the grand finale where it all comes together.
Within this complex narrative, the animators of ‘Arcane’ have truly turned in another masterpiece. Oftentimes, it’s easy for the animation to underwhelm the performances given by a lack of facial movement. The animators for ‘Arcane’ pull no punches, as you’d be convinced of seeing each muscle strain and twitch — whether a character is in shock, crying, smiling, or weeping.
This is a strong statement to make, but a fair one at that: this is the best an animated show has ever looked. By the way, there are tons of “blink and you miss it” moments this season has to offer, which will likely result in multiple viewings for hardcore fans of the show.
Voice work across the cast is once again flawless in season two. Of course, much of the credit goes to the astonishing and heartbreaking performances by Ella Purnell who plays Jinx, and Hailee Steinfeld who plays Vi.
Jinx ‘Arcane’ Season 2, Courtesy of Netflix.
Purnell has pushed her chaotic and captivating vocals further than ever in season two, while Steinfeld provides a raw, unfiltered performance throughout — both hitting the highs and lows of their characters to perfection. Both actors elevate the story to new heights, and easily stand-out as main attractions in this complex world.
Vi and Jinx have developed throughout these two seasons of ‘Arcane’ as two of the most well-written characters ever placed on the small screen. Both characters are put on journeys that challenge themselves, each other, and world around them — with positive and negative implications on the people they indirectly bring into their lives. We want nothing more than to see them together again, but we also feel the tension of their probable violent interactions when they do — two worlds with two morally different ideas. Corruption and guilt.
Vi ‘Arcane’ Season 2, Courtesy of Netflix.
Much like the first season, ‘Arcane’ season two follows the three-act storyline, where each act is divided into 3 episodes.
The second season writing by Amanda Overton, Nick Luddington, Henry Jones, Graham McNeill, Kristina Felske, Giovanna Sarquis, Alex Yee, Christian Linke is nothing but intriguingly complex and relatively flawless throughout all nine episodes. One could claim the story feels rushed during the season’s third-act, and that would be valid if the writing wasn’t up to par. As an immersed audience member, it would be easy to watch another three episodes in a fourth act. Then again, this kind of work takes time. Riot Games CEO Nicolo Laurent said it took six years to make the first season of ‘Arcane’ (2021) with the second season releasing three years later (2024).
One of the standout and unexpected points in the show was episode seven (season two). No spoilers here, but we get a very well thought-out “what if” episode involving Ekko and Jinx (Powder). Perhaps the most heartbreaking episode in the series, and something that has proven quite difficult to shake off — driving Jinx’s character into deeper development.
‘Arcane’ expands the lore, world, and characters in the second and final instalment of the series, all while doing something vastly unique than it’s predecessor (and yet staying familiar).
The voice work is some of the best you’ll ever experience, backed by masterful animation to tie everything together. This show is one of the highest rated shows in streaming and TV history for a good reasons. A complex narrative, moral dilemmas, and characters you can’t help but love (even in their villainy), create a stunning conclusion to the Netflix animated spectacle.
Do we want more of our beloved ‘Arcane’ characters? Absolutely! Do we need a third season? Of course not. Ending the series in two seasons is a bold move for something so acclaimed and popular, and one that has certainly paid off. Everyone involved with ‘Arcane’ should be proud of what they’ve accomplished — a satisfying ending worthy of 9 episodes.
We’re sad to see ‘Arcane’ end, but grateful that it’s gone out on the highest note possible.
Our score: ★★★★★
(out of 5 stars)
‘Gladiator II’ Boasts Ridley Scott’s Eye For Action, With A Stunning Performance From Paul Mescal, Reminiscent Of 1950s Hollywood Stars
See our review for Ridley Scott’s twisty sequel
Courtesy of Paramount Pictures.
SPOILER FREE REVIEW
The long-awaited sequel to Ridley Scott’s 2000 masterpiece is here.
Synopsis: Years after witnessing the death of Maximus at the hands of his uncle, Lucius must enter the Colosseum after the powerful emperors of Rome conquer his home. With rage in his heart and the future of the empire at stake, he looks to the past to find the strength and honor needed to return the glory of Rome to its people.
Following up on a beloved film that won Best Picture and grossed nearly half a billion dollars worldwide is a monumental task, but director Ridley Scott, now in the twilight of his career, shows yet again that age is no barrier to creating cinematic magic.
Audiences can almost return to the world of ancient Rome with ‘Gladiator II,’ nearly 25 years in the making. Ridley Scott has crafted a sequel that runs on the legacy of the first film legacy of the original, and there’s some debate if the film justifies its own existence beyond the obvious financial appeal.
Scott, known for his epic scale and scope within the confines of a battle sequences (six in ‘Napoleon’ alone). ‘Gladiator II’ is now exception, and is the film’s strongest asset — though a few shots of glaring CGI are impossible to miss.
The emotional elements on the film are carried by our protagonist Lucius played by Paul Mescal; a young man haunted by anger and loss, whose journey leads him from battling Roman forces to becoming a star gladiator in the Colosseum. He’s pitted against the twisted twin emperors, Caracalla and Geta, played with deliciously wicked energy by Fred Hechinger and Joseph Quinn. The public's unhinged appetite for violence drives the film's core, reflecting a society spiraling into chaos — which can be seen as a social commentary aspect.
Set 15 years after Maximus’ death, ‘Gladiator II’ introduces a new kind of hero in Lucius. Where Maximus was a soldier-turned-gladiator fighting for Rome, Lucius is a barbarian seeking personal vengeance. His world is turned upside down when the Roman army invades his homeland, Numidia, killing his wife in an attack led by the ruthless General Acacius (Pedro Pascal). This sets the stage for a gripping revenge tale, as Lucius is captured and taken to Rome, where his fate is bound to the vicious gladiatorial games.
Once in Rome, Lucius' path crosses with Acacius, who is married to Lucilla (Connie Nielsen), the daughter of Emperor Marcus Aurelius and sister to the treacherous Commodus, both key figures from the first film. Lucilla navigates the political madness engulfing Rome, serving as both a link to the past and a potential key to its future. In the gladiator stable, Lucius falls under the control of Macrinus played by the charismatic Denzel Washington; a former slave turned businessman. Washington’s portrayal of Macrinus is electric, embodying a man who craves power at any cost, that never quite reveals his true plans. His dynamic with Lucius is one of manipulation and ambition, and it’s clear that Washington had a blast filming every moment of this morally complex character.
David Scarpa’s script, co-written with Peter Craig, weaves in twists and emotional depth that assist the film beyond just its action sequences. Without giving too much away, the narrative takes unexpected choices, pushing its characters to an unpredictable brink and leaving the audience emotionally invested in their fates.
Paul Mescal, a main attraction in Hollywood after his Oscar-nominated performance in ‘Aftersun,’ steps into the gladiator ring with fierce physicality and raw humanity, making him a worthy successor to Russell Crowe’s Maximus. At times, he evokes the spirit of classic Hollywood heroes like Kirk Douglas in ‘Spartacus,’ embodying the restless energy of a new generation.
Nielsen wonderfully encapsulates grace and courage as the anchor to the story with her portrayal of Lucilla, while Pascal masterfully navigates the tension between duty and personal conscience.
A fan favorite coming off the initial viewing is evidently going to be Hechinger and Quinn as the deranged twin emperors, stealing every scene and bringing a bone-chilling menace to their roles.
Scott reassembles much of his original creative team for the sequel, including Oscar-nominated production designer Arthur Max, cinematographer John Mathieson, and costume designer Janty Yates. The attention to detail is impeccable, and the immersive visuals transport the audience back to ancient Rome in all its gritty glory.
‘Gladiator’ (2000) set the bar impossibly high, but Ridley Scott proves that he still has worthy stories left to tell on the big screen.
‘Gladiator II’ delivers on action and spectacle, while sprinkling suitable emotional beats in between, making it a worthy successor and one of the must-see cinematic experience of 2024.
Our score: ★★★★
(out of 5 stars)
FILM: ‘GLADIATOR II’
CREW: Director: Ridley Scott | Screenplay: David Scarpa | Cinematography: John Mathieson | Editor: Claire Simpson, Sam Restivo | Music: Harry Gregson-Williams.
STARRING: Paul Mescal, Denzel Washington, Pedro Pascal, Connie Nielsen, Joseph Quinn, Fred Hechinger, Derek Jacobi, Lior Raz.
PRODUCTION: Paramount Pictures.
SPECS: 2024 - Action/Adventure - 2 hrs 28 min
RELEASE: November 14, 2024 (Australia and New Zealand), November 15, 2024 (United Kingdom), November 22, 2024 (United States).
‘The Penguin’ Review: Cristin Milioti Shines In A Somewhat Wonky ‘Sopranos’ Rip-Off
Our review for HBO's 'The Penguin'
Courtesy of HBO / DC.
SPOILER FREE REVIEW
The long-awaited spin-off series to Matt Reeves’ hit 2022 film ‘The Batman’ is finally here. ‘The Penguin’ is a crime-tale limited series that takes massive inspiration from the likes of the Sopranos and Scarface… perhaps too much.
Synopsis: Directly following the events of The Batman (2022), Oswald Cobblepot, a.k.a. the Penguin, makes a play to seize the reins of the crime world in Gotham.
‘The Penguin’ is helmed by Lauren LeFranc as showrunner and executive produced by Matt Reeves, Dylan Clark, and Colin Farrell. The show stars Colin Farrell as the title role, Cristin Milioti as Sofia Falcone, and Rhenzy Feliz as Victor Aguilar.
‘The Penguin,’ first and foremost, is a culmination of many better works of film and television. The show tries to assemble as much as it can as fast as it can and never truly reaches its potential, nor makes the headache worth it.
‘The Batman’ introduced us masterfully to ‘Oz’ just as he was on the search for power while being undermined by his peers. His rise to power in the series is a justified story, but the tackling of Oz as a character treads far too much on the like of The Sopranos’ storytelling — even Colin Farrell attempts to do a botched James Gandolfini impression at times. This urges the question: was this series necessary to continue the tale of The Batman universe? Or, could we just skip this story all-together and find Oz on the criminal throne at the start of ‘The Batman: Part II?’
In the series, we get a Penguin rooted in trauma, again harkening back to similarities with the Sopranos, and feels like the overall story lacks in originality in almost every aspect.
A far, far better Penguin origin story was already done in CW’s ‘Gotham.’ In the case of ‘The Penguin,’ the title character has more fascination as a mysterious figure whom we only see a hand full of times (such in ‘The Batman’) rather than a lead role which dilutes the intrigue.
The best this show has to offer is the character of Sofia Falcone, played by Cristin Milioti. She’s essentially a scene-stealer, tinkering with calm, sporadic, and frightening emotional beats on a whim — the perfect unstable antagonist on her hunt for revenge and control of Gotham after the death of her father Carmine Falcone (played by John Turturro in ‘The Batman’).
Sofia seems to be the only one who realizes Oz’s potential as a criminal mastermind. Funny enough, Oz used to work for her as her father’s driver. Now, Sofia’s been released from Arkham Asylum, using her past persona as a serial killer known as The Hangman to spread fear and descend chaos among the city. Things get ugly, and somehow Robert Pattinson’s Batman is never mentioned or seen. Some may say that Sofia’s arc is too familiar, as a woman whose intense path is directly caused by the undermining of the patriarchy against her. However, this is the one character of all that you learn to care about, and Milioti’s performance keeps you hooked all the way through the series.
Courtesy of HBO / DC.
The set-design and city aesthetics are still gloomy and submerged in a bleak noir atmosphere, keeping similar tones to Matt Reeves’ ‘The Batman.’ This is of course accompanied by the cinematography by Darran Tiernan, who does his best to mask the fact that we’re just looking at New York City with a few removed buildings and new ones added with glaring CGI.
Sometimes, ‘The Penguin’ wants to show off its heavy budget but more often than not showcases cheap shots that feels like you’ve just turned on a new, less visually impressive show.
Where the series really struggles is in the fleshing-out of story and characters (a.k.a, the writing). Everything feels fast but not so fluid. We sprint through the 8-episode series that jarringly gives us (what feels like) multiple seasons of heavy plot. Considering this is a limited series, a more focused narrative was the way to go. They gave us 8 seasons of Game Of Thrones and 6 seasons of The Sopranos all at once, generating a confused and muddy slop.
The show introduces more and more villains throughout each episode, all in which offer the same threats, all in which fail in similar ways. It’s redundant and boring. This also leads to wooden character interactions — even with Sofia and Oz. Unfortunately, this series is not fully thought-out and becomes predictable from episode one.
The makeup effects are solid for Colin Farrell’s Penguin, but only falter occasionally when exposed to brighter lighting as the prosthetics indeed look like prosthetics and not facial features part of a unique character. At least Farrell is able to emote with his full facial range. The actor does a lot with his eyes, in which of course, the makeup leaves untouched.
Overall, ‘The Penguin’ doesn’t think outside the box, and is a hack-job of far better crime shows.
‘The Penguin’ releases September 19, 2024.
Our score: ★★
(out of 5 stars)
TIFF REVIEW: ‘My Fathers' Daughter’ Is A Delightful Debut Feature From Egil Pedersen
Our review of TIFF's Norwegian film ‘My Fathers' Daughter’
Written by Nik Mohan
Courtesy of Pluto Film / TIFF.
SPOILER FREE REVIEW
The Norwegian Sámi-language original film tells the story of Elvira, a troubled teenager conflicted with her identity and purpose.
Synopsis: Raised by her single mother in the coastal Sámi village of Unjárga in the far north of Norway, Elvira has never known her father. Misled to believe she was conceived in Copenhagen, the teenager holds on to a childhood fantasy that her father is the Danish acting legend Nikolaj Coster-Waldau, the star of the hit series Game of Thrones. When her mother, Beate (Ingá Elisá Påve Idivuoma), announces that her new girlfriend is moving in, a frustrated Elvira holds firm to her belief that her half-Danish ancestry will soon mean an escape from small-town life and all its trappings (TIFF description by JASON RYLE, 2024).
Egil Pedersen wrote and directed the feature which was produced by Mathis Ståle Mathisen, Pål Røed and Aleksander Olai Korsnes. The cast includes the electric Sarah Olaussen Eira as Elvira, Ingá Elisá Påve Idivuoma as Beate, Aslat Máhtte Gaup as Terje, Amund Lode, Ánne Mággá Wigelius, Sara Sofia Mienna and Nikolaj Coster-Waldau as himself.
Filming took place between Unjárga and Čáhcesuolu in mid-2023
Let’s dive in:
The film takes place in the isolated north of Norway in a village called Unjárga. It’s here where we meet a very foolishly-optimistic teenager Elvira, who believes her father is Danish-born actor Nikolaj Coster-Waldau, and that she must one day venture away from her small, lifeless village to find him — a promising adventure awaits! … or so she thinks.
She imagines Coster-Waldau teaching her fatherly lessons and seems to have sense of belonging with him. After all, at one point in the film, Elvira says Sámi mentality is “boring,” relying on her fantasy-inducing father as solace.
Elvira’s naivety and ignorance of her own people cause her to fluctuate between identity crisis and disbelief — once she finds out her father is in fact a Norwegian-born man who just finished a prison sentence. This causes her to spiral out of control in a fight against her own self and purpose.
The trial and tribulation aspect of Elvira’s personality works incredibly well. She rebels against her people as a minority, in hopes of a saviour somewhere far away from her land. On top of this, everyone around Elvira is changing — especially with her mom now dating another woman (coming out as queer), and Elvira resenting this change.
With teenage angst and a full-blown identity meltdown, Elvira tries her best to fit-in, and even finds her peers/classmates trying to leverage Elvira’s minority aspect for their own personal gain, using her Sámi heritage, lesbian mom, and questionable father as talking points.
Lead actress Sarah Olaussen Eira navigates and delivers every emotional beat of Elvira’s journey to perfection, elevating the film to a higher standard. Eira is able to craft a complex character with confidence, making you believe that she’ll do what it takes to be cool and fit-in. It’s hard to believe this is her first feature performance. Eira has a fantastic career ahead of her.
Of course, the backbone here is the screenplay and direction by Egil Pedersen, who crafts a humorous take on identity among serious social themes. Never once does the tone feel out of place or flat, but rather satirical, which offers more wiggle room for off-beat situations.
A fantastic element of Pedersen’s writing was making each character around Elvira struggle in some way with their own identity issues. For instance, Elvira’s best friend is always reading, dissecting, and quoting Karl Marx. Elvira’s mother is now dating a woman and is unsure about how to make Elvira comfortable with this change, and her father seemingly comes out of nowhere to complicate things even further, while proving to be a crucial piece of the identity crises puzzle for our protagonist. Pedersen has Elvira’s arc fluid, fleshed out and appropriately complex.
Pedersen’s fun direction compliments his writing abilities, adding a certain spark to this coming-of-age-story. When Elvira learns to accept herself and others around her, clarity of vision comes to her and by that point in the film, it feels like we’ve seen a rejuvenated and justified Elvira.
This is a film that not only minorities can identity with, but everyone — especially teenagers. It’s about; where do you fit in, will you accept your heritage, will you stop looking outside of yourself to find acceptance, all within the moral dilemmas of a teenager in an identity shamble.
This feature debut from Egil Pedersen is nothing short of an excellent start to (what we’re sure will be) a captivating career.
‘My Fathers’ Daughter’ launched at TIFF on September 9, 2024 and opens September 27, 2024 in Norway.
Above: Director Egil Pederson and actress Sarah Olaussen Eira at the world premiere of ‘My Fathers’ Daughter’ at TIFF 2024.
Courtesy of Egil Pederson and the International Sámi Film Institute.
Our score: ★★★★
(out of 5 stars)
‘Joker: Folie à Deux’ Review: A Frustrating Musical With Great Performances Among A Flustered Story
‘Joker: Folie à Deux’ is finally here
Courtesy Of Warner Bros. / DC Studios.
SPOILER FREE REVIEW
The ‘Joker’ sequel that has been 5 years in the making has premiered at the 2024 Venice Film Festival.
Synopsis: Failed comedian Arthur Fleck meets the love of his life, Harley Quinn, while incarcerated at Arkham State Hospital. Upon his release, the two of them embark on a doomed romantic misadventure.
‘Joker: Folie à Deux’ (2024) is directed by Todd Phillips (who helmed the first film) from a screenplay co-written by Scott Silver. Returning cast includes Joaquin Phoenix as the title role and Zazie Beetz. New additions include Lady Gaga as Lee Quinzel, Brendan Gleeson, Catherine Keener, and Harry Lawtey as Harvey Dent.
Let’s dive in:
‘Joker’ (2019) was a surprise hit at the box office, drawing in over $1 billion. The film also garnered attention from the Academy at the 92nd Academy Awards, earnings 11 nominations, the most of any film at the ceremony of that year, and won Best Actor (Phoenix) and Best Original Score (Hildur Guðnadóttir).
In the sequel, Arthur Fleck has been locked up at Arkham awaiting trial for his horrific crimes in the first film. In fact, he’s been there for some time. Most of the film either takes place at Arkham Asylum or the court room, with a taste of the outside world toward the end. It’s in the prison that Arthur finds himself moping along without thought or purpose until he meets Lee Quinzel (Gaga), Phillips’ version of Harley Quinn.
It’s in these locations that Arthur’s fantasy musical numbers come to fruition, imagining the person that he believes himself to be. Arthur’s inner music was teased in the first film multiple times, and on full display during the now-iconic staircase dance sequence.
The musical numbers are certainly interesting, but nowhere near the sinister elements you’d expect from the Joker/Harley Quinn characters, and it somewhat feels redundant without purpose. Not to mention the musical sequences end up damaging the film’s overall tone and pace. However, Lady Gaga absolutely delivers a masterclass in vocal belting while Phoenix offers slightly more contorted and nuanced renditions.
Considering this is a comic book movie musical (the first of its kind), it was expected that director Todd Phillips would go crazy with musical numbers that terrify rather than drag out. They don’t further the plot, but they’re sure pretty to look at.
Phillips keeps the grim neo-noir aesthetic of 1970s/80s Gotham from the first film. This is aided to a massive degree by returning cinematographer Lawrence Sher, that proves yet again why he’s a master of color poetry and framing. The grand wide shots certainly deliver on spectacle, elevating the musical numbers.
To no surprise, every technical aspect of this film from production design to wardrobe is phenomenal.
Another returning member from the first film is composer Hildur Guðnadóttir, who won the Academy Award for Best Original Score for ‘Joker’ (2019). Her musical compositions do the job yet again, with haunting renditions of her past work with new tracks that serve as ambience during intimate moments between Fleck and Quinzel.
Joaquin Phoenix is of course brilliant as Arthur Fleck/Joker — zero surprise there. The major fault with his character comes from the writing stage, as after watching the sequel, we still know the same amount of information about Fleck that the first film gave us. The sequel never reveals anything new or exciting about the character, nor does he learn much in the process. Arthur is thinly laid out and poorly structured.
Gaga’s Lee Quinzel falls on the same page as receives very little attention to detail and flat development. However, as an audience member, you can never quite tell what’s going on inside Lee’s head, and you’re begging to know more. That’s the mark of a great actress. In fact, this film would’ve worked better if it focused on Lee Quinzel in her own story, manipulating Arthur Fleck as a vice of freedom.
The film is narratively flat but has an incredible visual palette that just might be worth the price of admission.
‘Joker: Folie à Deux’ releases on October 4, 2024.
Our score: ★★★
(out of 5 stars)
‘Beetlejuice Beetlejuice’ Review: Tim Burton Delivers Clever Sequences And Fun Fan Service
'Beetlejuice Beetlejuice' is certainly an entertaining ride
Courtesy Of Parisa Taghizadeh/Warner Bros.
SPOILER FREE REVIEW
Tim Burton’s long awaited sequel ‘Beetlejuice Beetlejuice’ has arrived.
Synopsis: Three generations of the Deetz family return home to Winter River after an unexpected family tragedy. Still haunted by Beetlejuice, Lydia's life soon gets turned upside down when her rebellious teenage daughter discovers a mysterious portal to the afterlife. When someone says Beetlejuice's name three times, the mischievous demon gleefully returns to unleash his very own brand of mayhem.
‘Beetlejuice Beetlejuice’ (2024) is directed by Tim Burton from a screenplay penned by Alfred Gough and Miles Millar. The film stars Jenna Ortega as the daughter of Lydia Deetz, with Winona Ryder, Michael Keaton, and Katherine O'Hara all returning to their original roles.
The film currently sits at 78% on Rotten Tomatoes by critics.
Let’s dive in:
If there’s something to truly admire about ‘Beetlejuice Beetlejuice,’ it’s that Tim Burton manages to throw everyone back to 1988 as he recaptures the magic, wit, and charm of the first feature ‘Beetlejuice.’ In an era of prequels, sequels, and remakes: that’s rare.
Burton gets highly courageous and bold with his work in the film; giving us fantastic (and surprising) set pieces that are either slightly off-beat or utilizing extreme juxtaposition. By doing so, he manages the accomplish the gothic horror-comedy elements from the height of his career in the late 1980s. The scene that makes it work right off the bat involves Monica Bellucci’s character Delores, a ghost who’s body has been chopped into several pieces and laying in different boxes. And to the tune of ‘Tragedy’ by the Bee Gees, Delores pulls herself together, stapling her body as her limbs rejoin.
There’s a lot of fan service with this sequel, with some fun callbacks to the original and others feeling slightly forced. This also happens with a majority of our characters, as they’re introduced as quickly as possible to keep the runtime below 2 hours. Though the characters could feel a bit stale in the beginning, the story unfolds well enough to allow their arcs to flourish and fully flesh out their purposes.
Ryder’s iconic character Lydia Deetz continues her familiar style from the 80s, and now a widowed mother turned famous for hosting a reality show titled ‘Ghost House.’ Lydia also has a rough relationship with her teenage daughter, Astrid (portrayed by Jenna Ortega), who resents her mother and prefers spending a majority of her time with the dead, while finding it difficult to talk about her late father Richard (Santiago Cabrera).
Throughout the film, Lydia and Astrid are forced to grow alongside each other, melding their torn relationship at the stakes of taking down something far more sinister.
Ortega, much like Ryder, is casted to perfection in a role that feels like an extension of her own real-life personality. Much like Ortega’s hit show ‘Wednesday’ (Netflix), she plays a cold, stoic, and spiteful character that knows how to provoke and push all the right buttons — and some of the wrong ones too.
Willem Dafoe joins the cast this time around as Wolf Jackson; a ghost detective who used to be an action movie star when he was alive. Dafoe offers plenty of enthusiasm and laughs, and we can’t help but want to see more of him every time he’s on screen.
Michael Keaton once again is flawless in this role, managing to reel himself back to 1988 as he unlocks the Beetlejuice we all know and love with manic-hilarity. He elevates the film ten-fold, and appears to have not aged a day.
The film certainly falters at the writing stage, with the screenplay offering the actors plenty to do but not all of it seems cathartic or deserved. Why did that character just do that thing? Oh, because it happened in the original so I guess it needed to happen in this one!
At least we have Danny Elfman coming to the rescue with his off-beat and quirky original score with a few really great new tracks.
The films works overall, but struggles to reach its full potential by focusing on cheap callbacks to the much better original feature. However, the magic of the franchise still remains strong.
‘Beetlejuice Beetlejuice’ releases on September 6, 2024.
Our score: ★★★
(out of 5 stars)
‘The Crow’ Review: Great Ideas Muddled By Frustrating And Nonsensical Storytelling
Our review for Rupert Sanders modern retelling
Courtesy of Lionsgate.
SPOILER FREE REVIEW
‘The Crow’ reboot has landed… and so has our review.
Synopsis: Soulmates Eric and Shelly are brutally murdered. Given a chance to save the love of his life, Eric must sacrifice himself and traverse the worlds of the living and the dead, seeking revenge.
‘The Crow’ (2024) is directed by Rupert Sanders by a screenplay penned by Zach Baylin and William Schneider. The film stars Bill Skarsgård as the title role of Eric Draven (The Crow) and FKA Twigs as Shelly. The film currently sits at a staggering 19% on Rotten Tomatoes by critics and a far higher (and more appropriate) 64% by audiences.
First and foremost, comparing a modern re-imagining of the beloved ‘The Crow’ (1994) with Brandon Lee would not be fair to anyone involved in the new version. Let’s dissect it for what it is, first and foremost; a comic book movie adaption.
The movie kicks off with Eric and Shelly in a rehab center for drug users, and it’s here where we get to see them grow and evolve into a romantics. However, this entire segment almost feels like a Harley Quinn and Joker knock-off situation, while feeling overtly forced with actions that appear too simple to be logical. For instance; need to escape the confines of a secured facility? Just hop out the window and jump over the fence! These little idiocracies are present throughout the entire runtime of the film and one of the leading frustrations that deters us from caring about the characters.
The direction from Sanders is vivid and imaginative, but sometimes goes too far with his ideas. For instance, when Shelly is inevitably killed, she shows up in flashbacks and memories of Eric’s throughout the runtime. Surely, Sanders intended that to feel as if we’re longing for someone, and yet, it makes us feel as if she’s still there. It doesn’t help that the script felt like a quick second draft of a story that could’ve used five or six.
A highlight here is the cinematography by Steve Annis. Sometimes we get glorious wides that feel like something from a Tarkovsky film, or center-framed shots matched with color grading that borderlines the visual style of ‘The King’s Speech’ from cinematographer Danny Cohen. The gothic aesthetic remains, in a rather neo-noir style — reminiscent of ‘John Wick’ or ‘Drive.’
The overall story should’ve and could’ve been enhanced by the score, which never felt prominent. We get loads of amazing songs from Joy Division and Gary Numan, and yet they never feel “in-place” with the context of what’s happening on screen. Though the song choices are dark, the film would’ve been elevated by a powerful original score. Considering composer Volker Bertelmann won the Academy Award for ‘All Quiet On The Western Front’ (2022), the expectation was high, only to find it missing all together. Perhaps this was the fault of the editing, which feels jarring with its musical/song timing, reactions, and intercuts. All this combined makes us not care about our two leads and leaves us wanting to skip right to the action in hopes of staying attentive.
The chemistry between actors Skarsgård and Twigs is certainly there, but the rushed script doesn’t allow their relationship to flourish naturally or in an engaging way. However, when Shelly is killed, we certainly feel it and maybe that’s when it begins to click together as the story finds its feet.
Let’s face it, Skarsgård is perfect in everything and this is no exception. If there were ever anyone to follow in the footsteps of Brandon Lee, it’s Skarsgård. He does his absolute best with the material he’s given and never feels a touch out of place. When he’s throwing down, you feel it. When he’s tormented, you feel it. You’re rooting for the protagonist and that’s a good sign… considering the editing felt as if it was working against him.
Courtesy of Lionsgate.
Does the movie work? The ideas are there but the execution is off. Way off. But the worst way to see the film is by giving it the ‘death by comparison’ treatment. The Joker has been done multiple times after Heath Ledger tragically moved on, so why can’t ‘The Crow?’ Not seeing this film due to nostalgia bias is not a strong argument.
Go see the movie if it’s something that looks like a decent time at the theatre, because it is.
‘The Crow’ released on August 23, 2024.
Our score: ★★
(out of 5 stars)
‘Alien: Romulus’ Review: Cailee Spaeny Is Electric In This Anxiety-Induced And Flawed Homage To The Original Film
Our review has landed
Courtesy of 20th Century Studios.
SPOILER FREE REVIEW
The seventh instalment in the Alien franchise has arrived.
Synopsis: While scavenging the deep ends of a derelict space station, a group of young space colonizers come face to face with the most terrifying life form in the universe.
‘Alien: Romulus’ is helmed by director and co-writer Fede Álvarez, who’s other works include ‘Evil Dead’ (2013), ‘Don’t Breathe’ (2016), and ‘Texas Chainsaw Massacre’ (2022). Cailee Spaeny leads the film, alongside co-stars Isabela Merced, David Jonsson, Archie Renaux, Spike Fearn and Aileen Wu.
The film is set between Ridley Scott’s ‘Alien’ (1979) and James Cameron’s sequel ‘Aliens’ (1986).
Álvarez has done something that previous instalments have failed to do: return the franchise back to its horror roots. He seems to understand very well about how and when to jerk the audience one way and then keep submerged in tension until a climactic beat (or lingering cool-down, which keeps a small feeling of anxiety resting in your chest — just long enough for the next scare).
Sometimes, Álvarez pays almost “too-much” homage to the original 1979 film, rendering scenes as an identical copy. One could be convinced that ‘Romulus’ is almost an unofficial remake of the original.
Álvarez’s love for his horror roots and sci-fi elements that the Alien franchise popularized is evident throughout the 1h 59mins of runntime. The visuals here are stunning, whether it be CGI wide shots of a vessel floating through space, practical facehuggers leaping through obstacles to snatch their prey, or horrified close-ups of the characters being terrorized by the Xenomorph.
The claustrophobic set design among color-grading elements also help keep an immersive lense throughout, all crafted to make the task of survival as difficult as possible for our characters.
The practical effects seemingly pop off the screen, and are as convincingly real as the first time we saw them in the original Ridley Scott directed movie. Pulling back from the CGI elements have benefitted the realism of ‘Romulus’ enormously and are used sparingly in epic shots of space and planetary stratospheres.
It would be a mistake to not mention the cast of course. Some of the side characters, mostly Tyler played by Archie Renaux, felt bland and relatively unnecessary to the progression of the plot and protagonist. There could have been simplified work arounds, but then we wouldn’t get a story in the first place.
Cailee Spaeny on the other hand feels like a perfect new Ellen Ripley and noticeably carries that mantle with pride. She plays Rain Carradine in ‘Romulus,’ and showcases her abilities as a survivalist with strategic capabilities that help guide her when the monster is unleashed. Spaeny conveys quite a bit of emotion here, becoming vulnerable, which helps us empathize and sympathize with Rain, as her development is rather rushed — and maybe that’s the point? After all, the film is rapidly paced, only leaving time for true moments of suspense (and suspense we spend with the characters).
At the finale stage, like Álvarez’s other flicks, falls into the quantity segment by showcasing bombastic imagery that is sure to make some squeal. Even during the somewhat clunky third act, to where the complexity fizzles and it becomes heavy on visual surprise, maintains a sense of dread and uncertainty with which direction our protagonist is headed.
‘Alien: Romulus’ has returned the franchise back to its former heights, and we can only hope that Álvarez returns on the next instalment.
‘Alien: Romulus’ releases August 16, 2024.
Our score: ★★★ ½
(out of 5 stars)
‘Deadpool And Wolverine’ Is A Passionate Energy-Fueled Action That Revives The Marvel Cinematic Universe, But Fluffs Any Real Stakes
Our review for ‘Deadpool 3’
Courtesy of Marvel Studios.
SPOILER FREE REVIEW
It’s finally here.
After years and years of speculation and studio changes, ‘Deadpool And Wolverine’ has landed — but not entirely on its feet.
Synopsis: Wolverine is recovering from his injuries when he crosses paths with the loudmouth Deadpool. They team up to defeat a common enemy.
The film, much like its predecessors, is a self-aware action/comedy thrill ride. It’s entertainment value is still going strong and that’s mostly thanks to performances from Ryan Reynolds and Hugh Jackman. Their dynamic is (for the lack of better words) perfect, and they play off each other continuously throughout the film’s short 2 hour runtime.
We begin with a depressed Wade Wilson, who wants so desperately to join the Avengers. Wilson is recruited by Briton Paradox (Matthew Macfadyen) in an attempt to lead a secret project with the aid of Logan (Wolverine).
Of course, things go wrong and they wind up in a wasteland full of banished superbeings, ruled by the telekinetic Cassandra Nova (Emma Corrin) who is perhaps the most underutilized character in the movie.
From there, we certainly go on an exciting adventure — riddled with hilarity. However, a lot of the jokes quickly become redundant and pull you out of the movie instead of feeling authentic or earned. Even for a jokester like Deadpool, it’s overkill, as the fourth wall breaks could be described as ‘annoying.’ Throwing 10,000 jokes at the screen within 2 hours hoping one or two might land is exhausting. Reynolds could’ve practiced more restraint during certain moments, and Deadpool 1 and 2 showcase the perfect balance between comedy and stakes (it doesn’t help that Deadpool and Wolverine are practically invisible).
The story is elevated by the characters — which is the most crucial part of any movie. Hugh Jackman is utter brilliance in every role he accompanies and this is no different. Any kind of character depth we see is usually through his performance when he’s not shirtless or giving us brutally exhilarating action. Any one would be lying if they said it’s not a thrill to see him back as Wolverine.
Director Shawn Levy knows exactly what he’s going for in regards to tone. The film has a rapid pace with a lot crammed inside a short runtime, but it somehow works.
Is it the best Marvel movie? No. Is it the best Deadpool movie? Maybe not. Is it damn good entertainment? Yes. Is it worthy of being experienced in a packed theatre full of excited Marvel fans? Absolutely.
Watch the trailer for ‘Deadpool And Wolverine’ below:
‘Deadpool And Wolverine’ releases July 25, 2024.
Our score: ★★★ ½
(out of 5 stars)
‘Longlegs’ Is A Dread-Inducing Occult Horror That Festers Into The Depths Of Your Psyche With Satanic Terror
Read Our Review of ‘Ripley’ (2024)
Courtesy of Neon.
SPOILER FREE REVIEW (as vague as the trailers to maintain the suspense):
An original, mind-bending, anxiety-inducing, terror-attacking horror?
Everyone seems to be well aware of phenomenal marketing campaign for Neon’s ‘Longlegs,’ which started off with vague, untitled, and non-explained teaser trailers that terrified audiences around the world. Throughout the build-up to the film’s release, hype and anticipation has been mounting. The question is, did it live up to expectations? Without a doubt: exceeded them.
Let’s start off by saying this: if you love horror films for a fun ride with constant jabs of the violin upon cheap jump scars, this film may not be for you. But if you love patiently crafted, detailed crime thrillers infused with the unfolding unknowns of supernatural dread, then read on.
Writer/director Osgood Perkins’ serial killer horror takes huge inspiration from ‘The Silence of the Lambs’ with its tale of a young female rookie agent hoisted into the FBI to conduct a serial killer manhunt. However, the line between thriller and horror is a fine line, as ‘Longlegs’ is not only a deeply disturbing experience, but echoes with a lingering satanic undertone, and a sense of dread from its opening scene until the last.
RELATED: ‘Longlegs’ Hits $100 Million Globally, The Highest-Grossing Indie Release Of 2024
The plot unfolds in a moody Pacific Northwest town that is hit with a series of murders, with pre-existing psychological terrors lead by our FBI rookie protagonist Lee Harker, played by Maika Monroe.
Monroe delivers an increasingly brave yet horrified performance as Harker, as the character feeds into her deep-rooted trauma when it comes to investigating the serial killer Longlegs (Nicolas Cage).
The opening scene in itself is something that takes you by the neck and throws you into this dreadful world, and the events that continue to unfold seep under your skin for the entirety of the film’s 1hr 41min runtime. The film opens with a 4:3 aspect ratio with rounded corners — an aesthetic that conveys focus and claustrophobia — perfect for showing our killer waiting for his victim. Directo Osgood Perkins only gives the audience specific glimpses of Longlegs without being able to see a full picture of what Nicolas Cage’s terrifying killer looks like — and the grim prosthetics and makeup that turn him into a monster.
The movie then launches us into the presence of Lee Harker and her FBI partner Agent Fisk (Dakota Daulby) on their first day in the field, searching for a house they believe is connected to the murders. Just with a glance, Harker is certain of the house they need to investigate, and the bureau’s psych evaluation discovers Harker to have heightened intuitive abilities, which leads to her being a key member of the investigative team.
The team investigates the mystery of husbands killing their families before taking their own lives, using weapons that were already in the house with are no signs of forced entry. Only a note is left behind, written in code that can be seen in all the trailers and simply signed “Longlegs.”
Harker’s heavily medicated mother begs her child to say her prayers to protect her from evil. It’s suggested that the family has a long history with mental illness, which could prove to be influenced by Longlegs’ tactics.
Now, what you’ve been waiting: Nicolas Cage as Longlegs. The actor is entirely unrecognizable as the devil worshipping serial killer, and has an unpredictability with the shaking register of his voice (which can also be heard throughout all the trailers). As if his performance wasn’t captivating enough, the prosthetics and makeup turn him into something other-worldy… and not the good kind. The first reveal of his full face is during a scene in which Harker goes in to interrogate him, and we feel everything she conveys: dread, fear, and the feeling of looking away — but we don’t dare. Nic Cage gives one of the most terrifying performances ever put to screen, and elevates an already masterful film to new heights not yet seen in modern horror (apart from the likes of Hereditary).
From a technical standpoint, the film is audio-visual perfection. The cinematography by Andrés Arochi places you in the action every time — whether that is emotional or physical, and the shot choices leave you guessing what lingers around every corner. This ties into the very specific sound design that is just as batsh*t crazy as the trailers suggested. There are some truly jarring moments where the sound kicks in, but instead of giving you a jump scare, it renders you with a captivating terror that submerges you in this bleak hellscape.
Director Oz Perkins has gone down the horror-infused road before with his 2015 feature debut ‘The Blackcoat’s Daughter’ and ‘Am the Pretty Thing That Lives in the House’ as his follow-up. His fairytale re-imagining ‘Gretel & Hansel’ showcased his creative talents pour onto the screen, with visual storytelling on full display, and directorial capabilities of leaving the audience lingering in tension throughout. The director has elevate his craft with each new project, and ‘Longlegs’ is no exception. He juggles an occult mystery, psyche manipulation, Satanic worshipping, and a crime thriller all at one in his latest film, and is his most expansive and focused film to date (not to mention his best).
Believe the hype. Go see this in theatres now.
Watch the trailer for ‘Longlegs’ below:
Our score: ★★★★★
(out of 5 stars)
‘Ripley’ Is Netflix’s Underrated Masterpiece, And Far More Interesting Than The 90s Film
Read Our Review of ‘Ripley’ (2024)
Courtesy of Netflix.
SPOILER FREE REVIEW
Another remake of a beloved film… what else is new?
This seems to be the common complaint about remake and reboots in Hollywood and streaming services in 2024. However, Netflix and Steven Zaillian’s latest project ‘Ripley’ — a television adaption of the 1955 book by Patricia Highsmith (‘The Talented Mr. Ripley’), is nothing short of breathtaking, and can easily be defined as a technical and creative masterpiece.
The highly acclaimed ‘The Talented Mr. Ripley’ from 1999 that contained a beloved all-star cast was a great adaption of the book — how could it possibly get any better? Observe.
Synopsis: A grifter named Ripley living in New York during the 1960s is hired by a wealthy man to bring his vagabond son home from Italy.
To begin, the 2024 show has something that 99.9% of shows and films don’t have: stunning cinematography. Robert Elswit, cinematographer, creatively showcases the beauty of Atrani, Italy and it’s surrounding regions with expert manipulation of light and shadow. Every frame is rendered a renaissance painting, and this should serve as a study-piece for photography scholars.
Here’s a bold but warranted statement: ‘Ripley’ is perhaps one of, if not the, best looking show ever made.
Whether Elswit changes the wides to a close-up or a brightly lit sky with blown-out highlights to the sinister dark of Ripley’s room, all of it has it’s place as it correlates with the ever-changing uncertainty of the character’s headspace.
Robert Elswit won an Academy Award for cinematography in 2008 for his work on ‘There Will Be Blood.’
Courtesy of Netflix.
The cast includes Andrew Scott as Ripley, Dakota Fanning as Marge, Johnny Flynn as Dickie, Eliot Sumner as Freddie, and the ever-captivating Maurizio Lombardi as Inspector Pietro Ravini. All of them are nothing short of the top of their game.
Andrew Scott is wonderfully cast in a role where he shows so much restraint, and gives a rather nuanced performance as Tom Ripley, yet, you know by looking at him that there is something far more sinister going on under the surface.
Something the show does better over the film adaption is showcasing the truly psychotic and sociopathic nature of Ripley’s character. For instance, in the film, Tom Ripley does bad things by accident, showing remorse, then regretfully proceeds with them in order to cover his tracks. But in the show, Ripley does everything intentionally because he wants to — and with little to no remorse. This is also presented in a nuanced fashion.
A standout performance among the cast was Maurizio Lombardi as Inspector Pietro Ravini. It felt authentic, genuine, and felt like you were truly watching a detective trying to put this complex puzzle together as Ripley tricks and sways his motives from the outside.
Fanning and Flynn in ‘Ripley,’ Courtesy of Netlix.
Through the narrow corridors and never-ending stairs of Atrani to the open waters of the sea, director and writer Steven Zaillian lingers on our characters for a very long time, allowing us to read their thoughts the more we observe their stillness — and in Ripley’s case, sitting with him long after a murder. We get to witness what happens in the aftermath of murderous horror — something that is almost never shown — and something that rattles you to the core.
Eliot Sumner as Freddie Miles in ‘Ripley,’ Courtesy of Netflix.
If there were any show to binge-watch in a single day, it would be ‘Ripley.’ It’s intellectual, visually gorgeous, intense, and drenched in subtle terror and on-edge uncertainty.
So much care and craft went into this production and it’s all laid out on screen. This is how to do a TV show. It’s up there with Netflix’s elite; which would include the likes of ‘Mindhunter.’
Watch the trailer for ‘Ripley’ below:
Our score: ★★★★★
(out of 5 stars)
‘Furiosa’ Review: A Uniquely Chaotic, Audio-Visual Overload That Stands Apart From ‘Fury Road’
Live From Cannes: Our Review For ‘Furiosa’
Courtesy of Warner Bros.
SPOILER FREE REVIEW
Synopsis: Snatched from the Green Place of Many Mothers, young Furiosa falls into the hands of a great biker horde led by the warlord Dementus. Sweeping through the Wasteland, they come across the Citadel, presided over by the Immortan Joe. As the two tyrants fight for dominance, Furiosa soon finds herself in a nonstop battle to make her way home.
The latest edition to George Miller’s epic franchise is ‘Furiosa,’ which premiered at the 77th international Cannes Film Festival last night. The film’s main cast incudes Anya Taylor-Joy and Chris Hemsworth.
Anya Taylor-Joy plays ‘Furiosa’ — taking over the mantle from Charlize Theron’s badass interpretation from Fury Road, in this younger version of the character.
First and foremost, going in expecting another ‘Fury Road’ already sets you up for failure — though it’s difficult to not compare the two. In this prequel, a young Furiosa sets out on an 18 year quest for revenge against Dementus (Chris Hemsworth), who robbed her of her childhood and mother. This is a huge leap in time scale considering it’s predecessor Fury Road took place over three days.
George Miller, even at 79 years old, has not lost his flare for dazzling imagery and hyper-sensory audio to compliment the chaos on-screen. Even in an auditorium as big as the Grand Théâtre Lumière (Cannes), you can feel each hit in your chest. That being said, some of the ‘chaos’ can grow repetitive and often drag the story. How many times can we see the same vehicle traverse the same dune? And considering we weren’t going to compare with Fury Road — here we go: at least each sequence in Fury Road was entirely unique from one another.
Furiosa’s character is at the forefront throughout, but Anya Taylor-Joy surprisingly doesn’t enter this film until a good chunk of it is already through. Because of this, it could prove to be difficult to grasp on to the older Furiosa, as the young Furiosa, played wonderfully by young actress Alyla Browne, was who we knew from the start, and who the audience latches on to for this journey. The fault here is that we spend almost ‘too much’ time with young Furiosa, which tarnishes any impact the abrupt time jump to Taylor'-Joy’s Furiosa might have had. Alyla Browne was the surprise standout here.
Alyla Browne as Young Furiosa, Courtesy Of Warner Bros.
Regardless, Anya Taylor-Joy conveys so much with her eyes — considering she only had 30 lines of dialogue, it’s essential. This is perhaps the most physical role the actress has ever had. Taylor-Joy makes every injury, wound, and emotion believable and grounded. Through this, we come to sympathize with her, but unfortunately the film runs its course as soon as we do.
Chris Hemsworth is having an absolute blast — and you can tell every time he’s on screen. He’s finally had another rare chance to showcase his talents as an actor, and he certainly excels here. Miller did an excellent job when working with Hemsworth so that his performance didn’t come off as too cartoonish. He’s the right dose of silly, menacing, and reserved.
Chris Hemsworth as Dr. Dementus, Courtesy Of Warner Bros.
An interesting angle this film takes is showing us a ‘tribe vs tribe’ story. All the bad guys want something from each other, yet can’t seem to work together, when all they want to do is survive. Furiosa finds herself caught up in the middle of it, often against her will.
The film finds its footing when Furiosa does: her will to act upon vengeance thrusts the movie into overdrive, and we receive a few wickedly cool action set pieces in the process.
This is an epic film — no question about it. However, it feels like it’s one that will age well over time, and perhaps may not be everyone’s ideal prequel to Fury Road on a first viewing.
It’s one you don’t want to miss in theatres. An audio-visual overload experience that serves as an absolute treat.
‘Furiosa: A Mad Max Saga’ screened at the Cannes film festival, and is out in Australia on May 23, and in the US and UK on May 24.
Our score: ★★★★
(out of 5 stars)
‘Kingdom Of The Planet Of The Apes’ Is A Captivating Addition To The Franchise
Our Review For ‘Kingdom of the Planet of the Apes’
Courtesy of 20th Century Studios.
SPOILER FREE REVIEW
‘Kingdom Of The Planet Of The Apes’ is the latest instalment in the revamped 'Planet Of The Apes’ franchise, which kicked off back in 2011 with ‘Rise of the Planet of the Apes.’ After completing a wildly acclaimed and box-office success of a trilogy, a brand new series of films is in the works, starting with the newly released ‘Kingdom Of The Planet Of The Apes.’
Synopsis: Many years after the reign of Caesar, a young ape goes on a journey that will lead him to question everything he's been taught about the past and make choices that will define a future for apes and humans alike.
This film had some heavy lifting to do, as the past trilogy is still fresh on our minds. Yet, director Wes Ball succeeded in taking themes from previous instalments and finding new ways of exploring old concepts. It excels in conveying the message of how history can be altered throughout several generations and used to oppress and manipulate. Caesar’s presence is felt all the way through the runtime.
We discover these realizations through the eyes of Noa, our protagonist, played by Owen Teague. His story unexpectedly turns into one of revenge, with a grand goal of learning the truth about apes and humans alike. Owen Teague is without a doubt the highlight of this film — and rightfully so as he’s our new central lead. His motion capture performance beautifully embodies every shattered belief and expression of Noa, aided by stunning CGI. The physically behind his performance is astonishing.
Mae, played by Freya Allan (‘The Witcher’), is a unique character whom we learn about quickly, and start questioning her true intentions. You can never truly predict what Mae might do to ensure the survival of humans. This character is extremely intriguing — Allan can express so much with her eyes alone. With both lead actors, we want to know where their journey will go — which is exactly what you want for the first film of a trilogy.
Kevin Durand’s performance as the antagonist Proximus is nothing short of menacing, intellectual, and comes across as a power-hungry tyrant who twists the truth for personal gain. He comes in much later in the film than one might expect, but it works. We’re with Noa, seeing the world through his eyes, so having Proximus revealed later on is warranted and by no means feels rushed.
And that’s just it. The film takes its time with setting the foundation for which it can maneuver into uncharted territory as cathartically as possible.
Freya Allan as Mae, Courtesy of 20th Century Studios.
The most important thing here is that the characters work. That being said, some movie-goers may find that the pacing drags during the first act. However, spending time with Noa before the action truly kicks off is authentic and feels earned. Through this, we can sympathize and quickly latch on to him as our new protagonist.
No matter where you might expect the story to go, it diverts and sways constantly, leaving you wondering what the film’s conclusion might be. That being said, an issue does arise from a lack of consistent tone and overall goal, which does ever-so-slightly damage the pacing of an otherwise great summer sci-fi.
Courtesy of 20th Century Studios.
Though it may not be as deep or impactful as the previous trilogy, ‘Kingdom Of The Planet Of The Apes’ stands by itself as an impressive feat of visual display and emotional drive, making it a terrific first film of the new trilogy. This is a movie that will only get better with time.
Our score: ★★★½
(out of 5 stars)
“Kingdom Of The Planet Of The Apes” specifics: Many years after the reign of Caesar, a young ape goes on a journey that will lead him to question everything he's been taught about the past and make choices that will define a future for apes and humans alike.
CREW: Director: Wes Ball | Screenplay: Josh Friedman | Cinematography: Gyula Pados | Editor: Dan Zimmerman | Music: John Paesano.
STARRING: Owen Teague, Freya Allan, Kevin Durand, Peter Macon, William H. Macy.
PRODUCTION: Oddball Entertainment, Jason T. Reed Productions.
DISTRIBUTORS: 20th Century Studios.
2024 - Action/Sci-fi - 2h 25m
‘Love Lies Bleeding’ Is A Thoroughly Thrilling Noir
‘Love Lies Bleeding’ Is A Thrill-Ride From Start To Finish
Katy O’Brian and Kristen Stewart in ‘Love Lies Bleeding’ / Courtesy of A24
Rose Glass doesn’t pull any punches with this roid-rage inducing piece of exhilarating noir cinema. Gruesomely violent, intellectual, and sexy — a deadly combo that works.
Set in the morbid and dangerous New Mexico landscape in 1989, Lou (played by Kristen Stewart) is a mopey employee — maintaining a grimy gym in which bodybuilders pump iron for peak human physiques, while Lou also cleans up their disgusting toilet disasters left behind. Her world is turned upside-down when a new gym-goer signs up; Jackie (played by Katy O’Brian). From their first interaction, the mystery of Lou and her past slowly unravels throughout this tense thriller, while complexly intertwining her newly found lover in a world of crime and trauma.
Kristen Stewart gives an all-round great performance, convincingly playing a deeply layered, anxious, nicotine addict — yet again proving what an underrated actor she is. On the other hand, Katy O’Brian plays a posing-obsessed bodybuilder who does whatever it takes to reach fame and glory with her physique. O’Brian not only looks the part, but plays the part to perfection with rage-fuelled outbursts and intense close-ups — she’s certainly the highlight of the film.
The dialogue written by Rose Glass and Weronika Tofilska feels so fluid and natural for their respective characters, enhanced by every actor on screen. Casting Ed Harris as the antagonist, Lou Sr., is a stroke of genius. His uncomfortable and tediously psychotic behaviour glues you to his presence, and the unpredictability leaves lingering tension with every scene he’s in.
In a way, this feels like ‘Drive’ mixed with ‘Breaking Bad’ as far as aesthetics go.
This film has some jarring moments, outrageous moments, and moments where you think to yourself; “what the heck did I just see?” Regardless, this is certainly a tense thrill-ride that absolutely zips past its 104 minute runtime. Masterfully directed, Rose Glass’s latest film is one to experience in theatres.
Our score: ★★★★
(out of 5 stars)
“Love Lies Bleeding” specifics: Gym manager Lou falls for Jackie, a bodybuilder who is passing through town en route to a competition in Las Vegas.
CREW: Director: Rose Glass | Screenplay: Rose Glass, Weronika Tofilska | Cinematography: Ben Fordesman | Editor: Mark Towns | Music: Clint Mansell.
STARRING: Kristen Stewart, Katy O'Brian, Jena Malone, Anna Baryshnikov, Dave Franco, Ed Harris.
PRODUCTION: A24, Film4, Escape Plan, Lobo Films.
DISTRIBUTION: A24, Lionsgate.
2024 - Thriller/Crime - 1h 44m
‘Boy Kills World’ Is Absolutely Outrageous For All The Right Reasons
‘Boy Kills Word’ Is Bonkers!
Written by Nikhil Mohan
Courtesy of Lionsgate, Roadside Attractions
Produced by Sam Raimi and directed by the industry’s latest visionary Moritz Mohr, comes the most unusual, bombastic, yet sincere film of the year. For some, ‘Boy Kills World’ could be seen as almost too intoxicating to sit through. But I disagree. Though this film is filled with exhilarating, high-octane action, it also has a personal undertone that many action films seem to be missing.
Bill Skarsgård evidently got in phenomenal shape, as his character Boy is highly trained and seeks to avenge his murdered family. Straight forward, right? Not quite. The truth is, no matter how you perceive this film going in, it will subvert your expectations entirely — whether that be good or bad.
The film is carried by Skarsgård’s gripping physical performance and hilarious internal monologue, as Boy is deaf but lets his imagination run wild. His internal voice, which frequently delivers both sarcastic and hilarious comments throughout, is provided by H. Jon Benjamin — known for his animated work on TV shows such as Bob’s Burgers and Archer.
As we become infused with his headspace, we’re introduced to our antagonist’s number two; June 27, played by Jessica Rothe. She’s a perfect match in physicality and emotional range for Bill Skarsgård to play off.
The editing by Lucian Barnard is nothing short of impeccable for a complex, batshit action film. Every moment has its necessary place and the story unfolds as naturally as it should. There’s no fat on this film.
Action aside, the strongest points in this film come from the two central performances by Rothe and Skarsgård, as we come to understand both protagonist and antagonist in deeper ways than initially expected.
With strong comic book influences, Mohr’s project can best be compared to the aesthetics of ‘Scott Pilgrim vs. the World’ meets ‘Kill Bill’ meets ‘Kick-Ass.’ In other words, the movie is bonkers!
That being said, the frequent flashbacks to fill the gaps in Boy’s story could prove to be disorienting to some, though each one provides information that progresses our character in the present.
As we move into the final act, the tone shifts from a comedy-action to a drama-action, and the mood turns into a more serious outing. It feels justified due to the nature of Boy’s realizations, but others may be negatively impacted by too much of a tone swing.
This film is very much a video game, comic book, and bizzare action-fantasy come to life — and it’s entirely original.
‘Boy Kills World’ is a fantastic directorial debut by Moritz Mohr, and that’s a name to look out for in the future.
Our score: ★★★★
(out of 5 stars)
“Boy Kills World” specifics: A fever dream action film that follows Boy, a deaf person with a vibrant imagination. When his family is murdered, he is trained by a mysterious shaman to repress his childish imagination and become an instrument of death.
CREW: Director: Moritz Mohr | Screenplay: Tyler Burton Smith, Arend Remmers | Cinematography: Peter Matjasko | Editor: Lucian Barnard | Music: Ludvig Forssell.
STARRING: Bill Skarsgård, Jessica Rothe, Michelle Dockery, Famke Janssen, Sharlto Copley, Brett Gelman, Isaiah Mustafa, Andrew Koji.
PRODUCTION: Nthibah Pictures, Hammerstone Studios, Raimi Productions, Vertigo Entertainment.
2023 - Action/Thriller - 1h 51m
Daisy Ridley Shines in ‘Sometimes I Think about Dying’
Daisy Ridley Shines in This Bleak, Nuanced Piece
Courtesy of Point Productions, Saks Picture Company, Oscilloscope Laboratories
After the mixed trilogy that Daisy Ridley found herself in with Star Wars (sequels), she’s invested time in smaller budget films and honed her craft as an actress. This no more apparent than her gripping performance in ‘Sometimes I Think About Dying.’
A nuanced piece with a lot of office small-talk (everyone’s worst nightmare), Ridley’s character, Fran, struggles internally in this increasingly irritated environment, and often thinks about dying (no pun intended). The actress carries the film on her back as she quite masterfully conveys, through a nuanced performance, the complexities of human nature, human emotion, and the human condition.
The bleak landscape of Oregon combined with the claustrophobic cinematography by Dustin Lane amplifies the growing tensions our protagonist faces — especially when her world is turned upside-down with the arrival of a new colleague. This energetic and overly-friendly new colleague is played by comedian Dave Merheje, as he finds an interest in Fran and wants to develop a deeper connection with her. This is the section of the film where Daisy Ridley shines, as the power in her performance comes from her restraint.
Director Rachel Lambert puts her passion on full display with each scene; whether it’s a roaring party full of drama enthusiasts or Fran struggling to convey her thoughts to the person she desperately wants to open up to, it feels like every shot is meticulously set up to create a sense of sorrow and frustration. This makes getting into the protagonist’s psyche authentic and simple.
Something I appreciate from Lambert is not showing us the background of Fran. More often than not, filmmakers would leap into a flashback or have someone display a vomit-amount of exposition about the character’s past. But not Lambert — she knows what’s important to show, why she’s showing it, and how it’ll come across to the audience. We’re very much living in-the-moment with Fran (Daisy Ridley).
This film is a great addition to the many underrated gems of 2023 releases.
Our score: ★★★★
(out of 5 stars)
“Sometimes I Think About Dying” specifics: Fran, who likes to think about dying, makes the new guy at work laugh, which leads to dating and more. Now the only thing standing in their way is Fran herself.
CREW: Director: Rachel Lambert | Screenplay: Kevin Armento, Stefanie Abel Horowitz, Katy Wright-Mead | Cinematography: Dustin Lane | Editor: Ryan Kendrick | Music: Dabney Morris.
STARRING: Daisy Ridley, Dave Merheje, Parvesh Cheena, Marcia DeBonis, Megan Stalter.
PRODUCTION: Point Productions | Saks Picture Company | Oscilloscope Laboratories
2023 - Romance/Drama/Comedy - 1h 34m
‘Dune: Part Two’ Is What Cinema Needed
‘Dune: Part Two’ Is An Undisputed Modern Masterpiece
Courtesy of Warner Bros. Pictures and Legendary Entertainment
As a direct sequel to the first instalment, ‘Dune: Part Two’ builds on the meditative groundwork of the first film by elevating it’s themes, spectacular visuals, and delivering an awe-inspiring piece of cinema — and dare I say it; one of the best sequels ever.
Denis Villeneuve continues to prove is masterful expertise within his craft, and creates grander yet more thought-provoking films with each outing. Yes, the cinematography by Greig Fraser is his best work and provides the best visuals of the decade, but it never interferes or takes away from the story at hand — that of a boy determined to avenge his father, even if it means becoming a false profit at the demise of an entire culture.
Hans Zimmer’s score is out of this world. He, much like Villeneuve, elevates his work and explores uncharted territory with Part Two. The first film contained an ambient and sweeping soundscape integrated with an epically unique score. While Part Two includes the same, Zimmer also goes full metal, and simply does not hold back his creativity. He lets monstrous Harkonnen themes rattle the theatre while dialling it down to help convey tender moments between Paul and Chani — with a soft and more melodic (but somehow extraordinarily epic) score.
The actors flex the very heights of their abilities; from Javier Bardem’s frantic fanaticism to Rebecca Ferguson’s menacing gazes, Josh Brolin’s intensity to Florence Pugh’s softness, Zendaya’s heartbreaking expressions to Timothée Chalamet’s fierceness, Charlotte Rampling’s toughness to Austin Butler’s horrifying vulnerability — it’s simply astonishing to watch.
Greig Fraser’s cinematography takes your breath away once the extreme wide shots come into play, which help amplify the impact of the Arrakis desert. On the flip side, Giedi Prime’s artificial landscape is masterfully shot with infrared camera which successfully delivers the fake-ness of the Harkonnen world (and under the ‘glorious black sun’ no-less).
As far as a complete cinematic experience goes, this is what you want when you go to the theatre. It’s pure, unfiltered magic for the senses to behold. From the awe-inspiring visuals, powerful themes and performances, bone-shaking score, and full-scale utilization of the IMAX screen in front of you, ‘Dune: Part Two’ is nothing short of a masterpiece and will surely be considered one of the greatest achievements of filmmaking in the 21st century.
Our score: ★★★★★
(out of 5 stars)
“Dune: Part Two” specifics: Paul Atreides unites with Chani and the Fremen while seeking revenge against the conspirators who destroyed his family. Facing a choice between the love of his life and the fate of the universe, he must prevent a terrible future only he can foresee.
CREW: Director: Denis Villeneuve | Screenplay: Denis Villeneuve & Jon Spaihts | Cinematography: Greig Fraser | Editor: Joe Walker | Music: Hans Zimmer
STARRING: Timothée Chalamet, Zendaya, Rebecca Ferguson, Josh Brolin, Austin Butler, Florence Pugh, Dave Bautista, Christopher Walken, Léa Seydoux, Souheila Yacoub, Stellan Skarsgård, Charlotte Rampling, Javier Bardem.
PRODUCTION: Warner Bros. Pictures | Legendary Entertainment
2024 - Sci-fi/Adventure - 2h 46m
