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Category: Thriller

  • What Ever Happened to Baby Jane? (1962)

    What Ever Happened to Baby Jane? (1962)

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    In 1960, Henry Farrell’s novel, What Ever Happened to Baby Jane?, was published by Rinehart & Company. Just a few weeks later, producer Richard Rush tried to acquire the film rights, but without success. Instead, the rights went to producer/director Robert Aldrich, who secured financing through Seven Arts Productions and Warner Bros. For the leads, the studio hired veteran actresses Bette Davis and Joan Crawford, both of whom wanted to work together. Filming began in July 1962 on an initial budget of $600,000, which quickly rose to slightly over $1 million. Rumors began circulating of an intense feud between Davis and Crawford, despite their denials of one in interviews. Still, the general public knew of their mutual hatred, which the studio played up for marketing purposes. Despite these issues, What Ever Happened to Baby Jane? premiered in Cincinnati in October 1962 before moving across the country.

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    Synopsis

    As children, “Baby Jane” Hudson (Julie Allred) was a big star, while her sister, Blanche (Gina Gillespie), was sidelined. However, as they get older, Jane begins to lose relevance and succumbs to alcoholism, while Blanche rises to stardom. Unfortunately, things come crumbling down when Blanche gets into a car accident that leaves her paralyzed. Years later, Blanche (Joan Crawford), now in a wheelchair, lives in a mansion with Jane (Bette Davis) tending to her. Now that they’ve reversed roles again, Jane asserts her dominance over Blanche and constantly abuses and gaslights her. Jane tries to reclaim her fame by hiring pianist, Edwin Flagg (Victor Buono), while Blanche desperately cries out for help. After learning that Blanche plans to sell the house, Jane restrains and locks her away while going about her day. Will Jane manage to reclaim her former stardom, or will her innumerable crimes come to a head?

     

    Review

    Upon its initial release, What Ever Happened to Baby Jane? received mixed reviews from critics. However, over the years, people have recognized that the film is more nuanced and brilliant than was initially thought. The movie explores themes of jealousy, mental illness, rivalry, delusion, and wanting to cling to the past. Sure, nothing presented here is subtle in the slightest, but the lack of subtlety makes the film much more powerful. Given when this movie came out, it was pretty progressive in its portrayal of how Hollywood discards women over time. Especially back then, actresses would lose work because of their age or because people thought they were irrelevant. This film shows what happens when someone who was once famous loses her star power and spirals into depression. Plus, the movie also shows how their decline can affect those close to them, including family and friends.

    It goes without saying that Bette Davis earned her Oscar nomination for her portrayal of “Baby” Jane Hudson. From her exaggerated makeup to the worn-out dresses she wears, she’s trying desperately to cling to her childhood fame. That said, the movie shows that underneath the frilly dresses and cutesy songs, Jane is cruel, mean-spirited, and bellicose. She acts like a spoiled child who never grew up, always needing to get her way despite what others say. By contrast, Joan Crawford gives a quiet, restrained performance as Blanche, a once-famous actress who uses a wheelchair. While Jane lost her stardom due to irrelevance, Blanche had hers taken away, which makes her more sympathetic. Seeing Davis and Crawford together makes the film more thrilling and tense, especially knowing their real-life rivalry. Also, the ending is brilliant in how it makes you question the dynamic between the two sisters.

    Aside from Davis and Crawford, another standout is Victor Buono as the outsider dragged into the madness. He acts as the audience surrogate, witnessing the chaos and reacting as anyone would, but with a sardonic attitude. Robert Aldrich’s direction, though minimal, adds to the feeling of claustrophobia through his use of tight angles and long shots. The black-and-white photography heightens the sense of dread, making even something as pleasant as a beach feel eerie. Granted, many of these creative choices, including a few locations, were limited by budget, yet still work. At just slightly over two hours, a few parts drag, but it’s never dull or feels like padding. While some moments might come off as campy, the film as a whole is both frightening and tragic. Overall, What Ever Happened to Baby Jane? is a classic psychological thriller bolstered by two incredible performances.

     

    Buy What Ever Happened to Baby Jane? from Amazon: https://amzn.to/4rW69hU.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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    Where to watch What Ever Happened to Baby Jane? (1962)

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  • Wake Up Dead Man: A Knives Out Mystery (2025)

    Wake Up Dead Man: A Knives Out Mystery (2025)

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    As mentioned in my Glass Onion review, Netflix purchased the rights to produce two sequels to Knives Out. Thankfully, the first sequel received similar critical acclaim and netted Rian Johnson another Oscar nomination for Best Adapted Screenplay. For the next installment, Johnson again drew inspiration from Agatha Christie, plus Edgar Allen Poe and John Dickson Carr. He also drew on his own experiences of being raised in Evangelism, though he chose to focus on Catholicism. Along with the returning Daniel Craig, the cast included Josh O’Connor, Josh Brolin, Glenn Close, Cailee Spaeny, and Andrew Scott. Jeremy Renner also joined the cast, making this his first feature role since his near-fatal accident in 2023. Filming began in early 2024 around London, with additional filming in New York later that year. After premiering at the Toronto International Film Festival, Wake Up Dead Man: A Knives Out Mystery opened in late 2025.

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    Synopsis

    After punching out a deacon, former boxer-turned-priest Rev. Jud Duplenticy (Josh O’Connor) gets reassigned to upstate New York. He goes to Our Lady of Perpetual Fortune, run by Msgr. Jefferson Wicks (Josh Brolin), who preaches gloom and doom. During a Good Friday service, Hicks unexpectedly dies from a backstabbing, making Jud a prime suspect. To help with the investigation, police chief Geraldine Scott (Mila Kunis) hires world-renowned detective Benoit Blanc (Daniel Craig). Other suspects include Wicks’ assistant, Martha Delacroix (Glenn Close), Dr. Nat Sharp (Jeremy Renner), and lawyer Vera Draven (Kerry Washington). There’s also author Lee Ross (Andrew Scott), cellist Simone Vivane (Cailee Spaeny), and groundskeeper Samson Holt (Thomas Haden Church). As the investigation continues, more is learned about the church’s history and how Wicks’ family ties into it. Just who is responsible for Wicks’ death, and is Jud guilty, or is there something more going on?

     

    Review

    Compared to the last installment, Wake Up Dead Man is a marked improvement in many ways. For one, the pacing is much better, sprinkling in the flashbacks rather than derailing halfway through, as before. The flashbacks feel more woven into the narrative and help slowly reveal more information as the film goes on. Also, while the bright, tropical style of Glass Onion was nice, I prefer the darker edge of this installment. From the church’s Gothic architecture to its minimal lighting, there’s a macabre mood that draws you deeper into the mystery. Interestingly, Rian Johnson claims to have drawn inspiration from Francis Ford Coppola’s Dracula, which makes sense. Both movies have a strikingly dark vibe in their production design and cinematography, which lend themselves well to the material. Admittedly, this is more subjective than objective, so your mileage may vary based on your tastes.

    As with the previous two installments, Daniel Craig turns in another stellar performance as Benoit Blanc. Interestingly, we see a different side of Blanc, one that questions his faith and doubts his methods. Alongside him, Josh O’Connor excels as a priest torn between his violent past and his desire to do good. Cailee Spaeny, who shone in last year’s Civil War and Alien: Romulus, once again delivers as a broken cellist. Josh Brolin works as an incendiary priest, and Glenn Close shines as Wicks’s sycophantic assistant, giving an all-star performance. Washington delivers a subtle charm, Renner and Scott are entertaining, and Church makes the most of his limited screentime. Speaking of, Jeffrey Wright steals his scenes as a quiet priest who’s unafraid to speak his mind, even if vulgar. Mila Kunis is good, if slightly out of place, in her role, and Noah Segen returns as a friendly bartender.

    Like Glass Onion, this film takes a satirical jab at aspects of today’s culture, including conspiracy theories and cancel culture. For instance, there’s a great gag about Lee Ross finding success but not with the audience he wanted. The movie also explores faith and religion, though it never feels like the filmmakers are condemning people for their beliefs. Instead, it’s more of a commentary about how some religious figures can use their power for nefarious purposes. For instance, while Jud tries to welcome people in, Wicks is content preaching fire and brimstone to drive them away. Admittedly, the film takes some leaps in logic to make the mystery work, but so do many other movies. Plus, at roughly two hours and twenty minutes, parts feel slow, but not enough to ruin the experience. Overall, Wake Up Dead Man: A Knives Out Mystery is another great mystery thriller worth investigating.

     

    Wake Up Dead Man: A Knives Out Mystery is in theaters.

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    Where to watch Wake Up Dead Man: A Knives Out Mystery (2025)

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  • Glass Onion: A Knives Out Mystery (2022)

    Glass Onion: A Knives Out Mystery (2022)

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    On a $40 million budget, Knives Out grossed over $312 million worldwide and earned universal critical praise. Daniel Craig and Ana de Armas earned Golden Globe nominations, while Rian Johnson got a Best Original Screenplay Oscar nomination. With its success, Lionsgate greenlit a sequel in 2020, but Netflix bought the rights in 2021 for $469 million. Johnson, his producing partner Ram Bergman, and Craig all returned to make two sequels for roughly $100 million. Aside from Craig, none of the original actors returned, as Johnson wanted a standalone sequel over a direct follow-up. Filming started in June 2021 on the Greek island of Spetses, with additional filming in Belgrade. The movie premiered at the Toronto International Film Festival in 2022, followed by screenings in London, Miami, and Los Angeles. Glass Onion: A Knives Out Story had a limited theatrical run in November before premiering on Netflix that December.

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    Synopsis

    Feeling isolated due to the pandemic, tech billionaire Miles Bron (Edward Norton) invites his friends, the “Disruptors”, to a party. There’s scientist Lionel Toussaint (Leslie Odom Jr.), governor Claire Debella (Kathryn Hahn), and model-turned-designer Birdie Jay (Kate Hudson). Along with her assistant, Peg (Jessica Henwick), there’s alpha male streamer Duke (Dave Bautista) and his girlfriend, Whiskey (Madelyn Cline). However, two guests arrive who complicate things: Miles’ ex-partner, Andi (Janelle Monáe), and renowned detective Benoit Blanc (Daniel Craig). Miles invites everyone to a murder mystery, which Blanc solves easily, but things escalate quickly as the night goes on. It turns out that everyone on the island has a motive to either keep Miles alive or have him killed. Soon, we learn that not everything is as it seems, or rather, people aren’t who they say they are. All of this and more will be revealed after peeling the Glass Onion.

     

    Review

    Knives Out was one of my favorite films of 2019, so I was excited about the follow-up, Glass Onion. While it’s not as good as the original, this is still a solid thriller with some comedy sprinkled in. For one, the cast is incredible, featuring some of the best actors in recent memory. Along with Craig, you’ve got Edward Norton, Kate Hudson, Leslie Odom Jr., Kathryn Hahn, Dave Bautista, and Janelle Monáe. Everyone gives a terrific performance, with Craig again taking charge as the enigmatic and eccentric Benoit Blanc. Norton fits the egotistical but clueless tech CEO perfectly, and Hudson is fun as the vapid socialite. Hahn and Odom Jr. work well as the voices of reason, and Bautista works as the blockheaded alt-right streamer. However, Monáe steals the show with her femme fatale performance and cold, conniving line deliveries. Also, Noah Segan is fun as the slacker Derol.

    Rian Johnson’s direction is once again on point, taking full advantage of the Greek island locales. He also makes excellent use of shadows, low lighting, and sweeping camera angles to elevate the atmosphere. This style is primarily thanks to Johnson’s frequent cinematographer, Steve Yedlin, who knows how to frame a shot expertly. Also, Rian’s cousin, Nathan Johnson, who scored his past few movies, returns to deliver another thrilling score. Like the last film, this does a great job of leaving just enough hints without giving away the entire mystery. It makes for a fun second viewing, looking back on certain moments and seeing how they tie into the revelations. Additionally, the movie is an entertaining satire of modern society, particularly cancel culture, privileged lifestyles, and egotistical CEOs. You could easily see comparisons between Miles Bron and people like Elon Musk, Mark Zuckerberg, and Jeff Bezos.

    However, while most of the movie works, several issues prevent it from matching its predecessor. The original sprinkled in flashbacks here and there to advance the story without feeling intrusive. But here, the movie stops dead about halfway through to deliver one extended flashback before catching back up. Not only does this wreck the film’s pacing, but so much information is thrown at you all at once. I’m not saying there’s anything wrong with nonlinear storytelling, but it needs to make sense in context to what’s happening. Also, while the ending is satisfying, it doesn’t feel like solving the mystery had anything to do with the resolution. Even if it doesn’t match the original’s quality, this remains a solid follow-up that mystery thriller fans will enjoy. Overall, Glass Onion: A Knives Out Mystery is an entertaining thriller that, while not perfect, still delivers where it counts.

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    Where to watch Glass Onion: A Knives Out Mystery (2022)

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  • One Battle After Another (2025)

    One Battle After Another (2025)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]For years, writer-director Paul Thomas Anderson wanted to adapt Thomas Pynchon’s 1990 novel, Vineland, but struggled to figure out how. Instead, he wrote a series of short stories inspired by Pynchon’s novel that incorporated a father-daughter dynamic. Warner Bros. acquired distribution in 2023, and reports circulated that the studio had greenlit the film for $140 million. Under the working title BC Project, filming began in January 2024 in and around Humboldt County, before relocating to Sacramento. Throughout the year, filming locations moved to Anza-Borrego Desert State Park, Borrego Springs, and El Paso before wrapping in July. Despite not doing test screenings since Boogie Nights, Anderson agreed to them in early 2025, which helped him with editing. The studio initially planned an August release before delaying it to be eligible for the awards season. After premiering at Grauman’s Chinese Theater, One Battle After Another hit theaters in September 2025.

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    Synopsis

    Far-left revolutionaries Pat Calhoun (Leonardo DiCaprio) and Perfidia Beverly Hills (Teyana Taylor) fall in love while disrupting the system. Things change once Perfidia gives birth to a daughter, which she refuses to raise despite Pat’s pleas. Unfortunately, she enters a plea deal with Col. Steven J. Lockjaw (Sean Penn) that gets her comrades killed. While Perfidia flees to Mexico, Pat and their daughter go into hiding under the new names Bob and Willa Ferguson. Sixteen years later, Pat has become a drug addict while his daughter, Charlene (Chase Infiniti), takes care of herself. Lockjaw catches wind that they’re in hiding and uses his military connections to hunt them down. When Charlene goes missing, Pat frantically runs to her karate instructor, Sergio St. Carlos (Benicio del Toro), for help. Little does Pat know that there’s more going on besides an old enemy coming back for him and his daughter.

     

    Review

    One Battle After Another is one of the most innovative and entertaining action thrillers I’ve seen in quite some time. From the opening scene up to the finale, the movie moves at a breakneck pace that never lets up. What sets it apart from similar thrillers is its biting satire of modern politics and societal norms. Thankfully, the satirical elements never contrast with the action, making it more accessible to general audiences. That said, it never feels like the film is talking down to the audience. Instead, Paul Thomas Anderson understands his audience and gives just enough information to let the audience fill in the gaps. Anderson expertly crafts epic action sequences, from shootouts and escapes to one of the greatest car chases ever. Michael Bauman’s cinematography and Jonny Greenwood’s score add to the absurdity and chaotic nature that keep the action enthralling.

    Leonardo DiCaprio delivers another outstanding performance as a burned-out revolutionary struggling to be there for his daughter. Seeing him try to navigate through the chaos while strung out is captivating, and he keeps everything grounded. Sean Penn gives one of the best performances of his career as the hotheaded Col. Lockjaw. He manages to be bombastic and over-the-top without going into camp and still be a credible threat. Del Toro is also fun as the even-tempered sensei whose calm demeanor perfectly contrasts with DiCaprio’s hazy paranoia. Regina Hall and Teyana Taylor are also excellent, and relative newcomer Chase Infiniti shows tons of promise here. She has fantastic chemistry with DiCaprio, and she more than holds her own against Penn’s shouting demeanor. Also worth highlighting are Eric Schweig and Tony Goldwyn, who steal the show despite their limited screentime. All in all, every cast member delivers tenfold and deserves their accolades.

    If I had any complaints, my biggest one would be that the film takes some time to find its footing. For the first half hour or so, I wasn’t sure what tone the movie was going for. It didn’t help that several tones clashed with one another early on, shifting from severe to silly. That said, after getting past the first third, the film found its rhythm, and I understood what it’s aiming for. At its heart, the movie is about a father trying to make amends to his daughter despite his past actions. Much like Pat, we feel disillusioned with the world around us, and we’re trying to make sense of the senseless. At two hours and forty-one minutes, the film never feels long, and you almost wish it were longer. Overall, One Battle After Another is proof once again that original ideas still exist in Hollywood.

     

    Buy One Battle After Another from Amazon: https://amzn.to/4prBSFe.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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    Where to watch One Battle After Another

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  • Deliverance (1972)

    Deliverance (1972)

    [et_pb_section fb_built=”1″ fullwidth=”on” _builder_version=”4.16″ _module_preset=”default” custom_margin=”||||false|false” global_colors_info=”{}”][et_pb_fullwidth_header title=”Special Review” subhead=”This review is a special request from Patreon supporter BodaciousCNO. If you’d like to support me on Patreon, click the button below.” text_orientation=”center” button_one_text=”Visit Patreon” button_one_url=”https://www.patreon.com/filmnerd” background_overlay_color=”#f96854″ _builder_version=”4.27.4″ _module_preset=”default” title_level=”h2″ background_color=”#f96854″ custom_button_one=”on” button_one_bg_color=”#052d49″ custom_margin=”||||false|false” custom_padding=”25px||25px||false|false” global_colors_info=”{}”][/et_pb_fullwidth_header][/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]After publishing a series of poems in the 50s and 60s, James Dickey published his first novel, Deliverance, in 1970. The book became a massive critical and commercial success, leading to Warner Bros. acquiring the film rights. They hired John Boorman to direct, who had previously helmed the films Point Blank and Hell in the Pacific. Despite acquiring the rights, Warner Bros. had little faith in the project, offering only a $2 million budget. While Boorman wanted to cast Marlon Brando and Jack Nicholson, he ultimately had to settle for lesser-known or unknown actors. Filming took place primarily in northeastern Georgia and parts of South Carolina between May and August 1971. Despite the studio’s efforts to kill the project, Boorman and company forged ahead, even with many actors getting hurt. After numerous broken bones, fistfights, and near close calls, John Boorman’s Deliverance hit theaters in July 1972.

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    Synopsis

    Longtime friends Lewis (Burt Reynolds), Ed (Jon Voight), Bobby (Ned Beatty), and Drew (Ronny Cox) embark on a canoe trip. Being an outdoorsman, Lewis leads the group, and Ed lacks his courage, while the other guys are newcomers. Along the way, the guys mingle with some locals, with Drew engaging in a banjo duel with a young kid. Eventually, the guys reach their canoes and travel in pairs, but they end up getting separated. Ed and Bobby get ambushed by some mountain men, who tie Ed to a tree and rape Bobby at gunpoint. Thankfully, Lewis sneakily kills the rapist while Drew grabs the shotgun from the lone mountain man before he flees. Given the situation, the guys decide to bury the body and continue like nothing happened, only for things to worsen. With one injured and another lost, the remaining survivors must fight to stay alive.

     

    Review

    Deliverance is considered a landmark in American cinema, and it deserves that status for its raw visceral energy. The way the movie is filmed, along with the absence of a soundtrack, contributes to its sense of realism. Vilmos Zsigmond, who won an Oscar for Close Encounters of the Third Kind, shows why he was a legendary cinematographer. He perfectly captures the feeling of isolation that the guys feel as they canoe their way along the river. Adding to this is the absence of a traditional soundtrack, although the Dueling Banjos scene remains memorable. Like many thrillers from the 1970s, the film moves at a slow pace, which might put modern audiences off. However, the pacing adds to the tension that builds throughout as the adventure from hell worsens for our heroes. You could probably shave a few minutes off, but the film only runs at slightly less than two hours.

    Though it’s weird seeing him without a mustache, Burt Reynolds shows why he became such a big star. He exudes charisma and gives off a strong presence that makes him stand out from the other cast members. Jon Voight, who earned an Oscar nomination years earlier for Midnight Cowboy, is also excellent. You see him transform from a meek middle-class worker to a hardened survivor as the film progresses. Given that this was the debut of both Ned Beatty and Ronny Cox, they certainly went through a lot. It’s interesting to see Cox, best known for his role in RoboCop, play a free-spirited guitar player. Beatty does a good job as a trauma-ridden rape victim who remains quiet and reserved throughout the film. While many of the mountain men blend in with each other, Billy Redden is memorable as Cox’s banjo-playing rival.

    Considering the movie’s legacy, audiences who are familiar with it but haven’t seen it might find the film tame. While Beatty’s rape scene is disturbing, it lacks the visceral quality of The Last House on the Left. It doesn’t help that Craven’s film spent time with its villains, whereas the mountain men here appear briefly. That said, I’d probably rank Boorman’s film higher, as it has a more consistent tone and doesn’t have comedic relief. Also, kudos to the actors for doing many of their stunts, which adds a sense of danger. That aspect also makes the story feel more relatable since almost everyone has ventured somewhere they shouldn’t have. Even if the numerous parodies and references have diminished the film’s impact, it remains a cultural milestone for a reason. Overall, Deliverance is a solid thriller, featuring some great performances and a subtle sense of dread that pervades throughout.

     

    Buy Deliverance from Amazon: https://amzn.to/3S2qKQM.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost to you, I will earn a commission if you click through the link and make a purchase.

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    Where to watch Deliverance (1972)

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  • Body Double (1984)

    Body Double (1984)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]Filmmaker Brian De Palma became a household name due to the success of CarrieDressed to Kill, and Scarface. In response, Columbia Pictures signed him to a three-picture deal, granting him complete creative freedom. Reflecting on his experience with Angie Dickinson’s body doubles in Dressed to Kill, he used that as a basis. De Palma hired Robert J. Avrech to cowrite the script after being impressed with his 1980 outing, Blood Bride. Initially, De Palma wanted to hire adult film actress Annette Haven, but the studio rejected her due to her work. After actresses like Linda Hamilton, Jamie Lee Curtis, and Carrie Fisher turned it down, Melanie Griffith took the part. Filming took place in early 1984 around Los Angeles with a $10 million budget, though Columbia had their doubts. After a lengthy battle with the MPAA and a less-than-stellar pre-screening, Body Double hit theaters in October 1984.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”85″ bar_bg_color=”#7CDA24″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    After losing a leading role and catching his girlfriend cheating, struggling actor Jake Scully (Craig Wasson) is down and out. Scully meets fellow actor Sam Bouchard (Gregg Henry) at a class, who offers him a unique opportunity. Sam asks Jake to housesit . Jake becomes fascinated with the neighbor, Gloria Revelle (Deborah Shelton), but soon discovers a stranger stalking and abusing her. Scully pursues her further, learning that a disfigured “Indian” has been threatening her life, and they fall in love. Unfortunately, the Indian breaks into Gloria’s home and kills her with a drill before Jake can save her. Feeling guilty, Jake watches a porno channel featuring Holly Body (Melanie Griffith) dancing similar to Gloria. He decides to enter the adult industry to meet Holly and figure out how she factors into Gloria’s death. What Jake discovers as he investigates further will change his life forever.

     

    Review

    Body Double is a solidly entertaining erotic thriller that could only come out in the 1980s. It’s common knowledge that Brian De Palma took inspiration from Alfred Hitchcock, and you can see that here. Plotwise, the film takes elements from Rear Window with the voyeurism and Vertigo with the lead’s crippling fear and obsession. Like Hitchcock, De Palma uses rear projection, split diopter, and continuous takes to establish mood and atmosphere. Thankfully, De Palma uses these techniques as more of an homage than a straight rip-off of Hitchcock. The movie explores illusion, voyeurism, artificiality, and the line between fantasy and reality while delivering an exhilarating thriller. Admittedly, the film takes a while to get going, but after the first act, things pick up quickly. There are so many twists, surprises, and reveals you won’t see coming, which can almost be overwhelming. Still, it’s a fun ride worth taking.

    Craig Wasson does a great job playing the handsome yet flawed lead who finds himself in over his head. Seeing him go deeper down the rabbit hole as he tries to solve the mystery is fascinating. Gregg Henry is also fun as Scully’s new friend Sam, coming off as lighthearted, sociable, and supportive. With her stunning looks and demure nature, Deborah Shelton works perfectly as the femme fatale, even if she’s dubbed. However, the stand-out performance is Melanie Griffth as the confident and self-assured Holly Boyd, who works perfectly off Wasson. Even though she doesn’t show up until halfway in, she dominates the screen with her sexuality and charisma. De Palma regular Dennis Franz is fun as the loud-mouthed director of the vampire movie Wasson stars in. Also, B-movie fans will get a kick from seeing Barbara Crampton in her debut feature film.

    As I alluded to earlier, there are some slow scenes towards the beginning as we get to know Jake Scully. The buildup to Jake going to the modern home goes for longer than it should and could’ve been shortened. Still, there are some fantastic set pieces, notably the music video segment featuring Frankie Goes to Hollywood’s “Relax.” It’s filmed in one continuous take with no cuts, and every action is perfectly choreographed to the song. The excellent camerawork is courtesy of Stephen Burum, who earned an Oscar nomination for Hoffa. Speaking of music, Pino Donaggio’s score is phenomenal, seamlessly going from soft and swelling to loud and bombastic. While the nods to Hitchcock might be derivative, and the first act is slow, this is still an entertaining thriller. Overall, Body Double is a sexually charged neo-noir thriller with great cinematography, solid performances, and memorable music.

     

    Buy Body Double from Amazon: https://amzn.to/3WN1zo3.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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  • Blue Velvet (1986)

    Blue Velvet (1986)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]After finding success with 1980’s The Elephant Man, director David Lynch was contemplating what to make next. He met with producer Richard Roth to discuss a screenplay called Ronnie Rocket, which Roth passed due to its abstractness. Still intrigued, Roth asked Lynch for other ideas, and Lynch talked about voyeurism, severed ears, and a Bobby Vinton song. After working and reworking the script, Lynch had trouble finding a studio due to the violent nature of the story. On top of that, 1984’s Dune was such a critical and commercial failure that producers actively avoided Lynch. Thankfully, producer Dino De Laurentiis saw potential and agreed to offer a $6 million budget and total artistic freedom. Filming lasted from August to November 1985 in Wilmington, North Carolina, with a cast of relatively unknown actors. After premiering at the Montréal World Film Festival, Blue Velvet hit theater screens in September 1986.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”95″ bar_bg_color=”#7CDA24″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    After his dad suffers a stroke, college student Jeffrey Beaumont (Kyle MacLachlan) comes home to help his family. While walking home from the hospital, Jeffrey finds a severed ear and takes it to Detective Williams (George Dickerson). Jeffrey meets Williams’s daughter Sandy (Laura Dern), who tells him the ear may relate to a local lounge singer. After seeing a performance by the singer Dorothy Vallens (Isabella Rossellini), Jeffrey becomes intrigued and sneaks into her apartment. Unfortunately, this act of voyeurism leads him to the psychotic Frank Booth (Dennis Hopper), who tortures and abuses Dorothy. Jeffrey develops a sadomasochistic relationship with Dorothy through this connection while also fostering a romance with Sandy. As he continues going down the rabbit hole, Jeffrey discovers a grand conspiracy involving drug dealers, corrupt cops, and kidnapping. How far is Jeffrey willing to go to solve this mystery, and will he do the right thing?

     

    Review

    Blue Velvet is one of the most beautifully crafted yet viscerally raw films ever made, and that says a lot. Every shot feels so fine-tuned and exact that you can imagine what David Lynch was thinking. You feel like you’re peeking into Lynch’s brain and seeing what lies inside like Jeffrey uncovering the secret underworld. This film subverts the image of suburban America and explores film noir conventions, including the femme fatale and flawed hero. Dorothy is a complex woman but isn’t manipulative, while Jeffrey is the good guy but isn’t without flaws. The tone goes from horrifying to humorous in a way that feels like whiplash, but Lynch makes it work. You get the sense that Lynch is challenging how you see things, much like Jeffrey’s changing worldview. Admittedly, the heavy-handed symbolism can appear pretentious, but the film still works as a gripping thriller.

    Kyle MacLachlan excels as the complex yet endearing hero navigating the dark world he discovers. Witnessing his transformation from a shy college student to a shattered man is captivating, and MacLachlan embodies this change brilliantly. Isabella Rossellini shines as Dorothy Vallens, a stunning woman ensnared by darkness, longing for escape. Meanwhile, Laura Dern impresses as Sandy Williams, a naive young woman who offers a ray of hope to Jeffrey. Dennis Hopper delivers arguably the finest performance of his career as the twisted Frank Booth, one of cinema’s greatest villains. He oscillates between humor and charm, then shifts to madness and terror, making him wholly unpredictable. The supporting cast also shines, featuring talents like Hope Lange, Priscilla Pointer, Frances Bay, Brad Dourif, and Jack Nance. Even Dean Stockwell makes the most of his one scene, memorably lip-synching a Roy Orbison song.

    Like many of David Lynch’s films, this one has mixed opinions – some love it, while others hate it. The subject is dark and uncomfortable, and the weird tonal changes can be off-putting to some viewers. However, if you’re willing to take in everything on screen for what it is, you’ll find a thought-provoking and well-made movie. Frederick Elmes’ cinematography is gorgeous and haunting, while Angelo Badalamenti’s beautiful score seamlessly transitions from romantic to horrifying. Some might scoff at the slow pacing, but it purposefully adds a false sense of security before the shocking scenes. At around two hours long, the movie never overstays its welcome or feels like it’s dragging to the end. If you’ve never seen a David Lynch movie and want an introduction, I’d recommend this as a starting point. Overall, Blue Velvet deserves its status as an American thriller classic and is arguably David Lynch’s best film.

     

    Buy Blue Velvet from Amazon: https://amzn.to/3Wkq4bZ.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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    Where to watch Blue Velvet (1986)

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    This review is dedicated to the memory of legendary filmmaker David Lynch, who passed away on January 15, 2025, at 78.

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  • Joker: Folie à Deux (2024)

    Joker: Folie à Deux (2024)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”]

    2019’s Joker grossed over $1 billion worldwide against a $55 million budget, becoming the sixth highest-grossing film of the year. The film also earned widespread acclaim, winning Oscars for Best Actor and Best Original Score on top of nine nominations. While writer/director Todd Phillips intended the movie to be standalone, Warner Bros. pushed for a sequel. Phillips and Joaquin Phoenix initially conceived of a Broadway sequel show, but they scrapped those plans due to COVID-19. In 2022, Phillips announced a sequel was in development, with a script written by him and Scott Silver. That summer, Lady Gaga announced her casting as Harley Quinn, along with Brendan Gleeson, Catherine Keener, and Jacob Lofland joining. Filming lasted from December 2022 to April 2023 in New York and Los Angeles with a substantial $200 million budget. After premiering at the Venice International Film Festival, Joker: Folie à Deux opened worldwide in October 2024.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”55″ bar_bg_color=”#EDF000″ _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    Two years after the last film, Arthur Fleck (Joaquin Phoenix) is locked away in Arkham State Hospital awaiting trial. While everyone believes that he’s guilty, his lawyer, Maryanne Stewart (Catherine Keener), believes he suffers from a split personality. One day, Arthur meets fellow patient Harleen “Lee” Quinzel (Lady Gaga), and the two fall head-over-heels for each other. Though Maryanne pleads for Arthur’s mental instability, Lee wants him to embrace his Joker personality and take charge. At the trial, Assistant District Attorney Harvey Dent (Harry Lawtey) doesn’t believe Arthur is mentally unwell but is fully aware. The trial becomes a media frenzy, with one side seeking the death penalty and the other making Arthur a hero. As Maryanne argues to try helping Arthur, Lee pulls him further and further into embracing who he truly is: Joker. The outcome of this trial will forever change Gotham City as we know it.

     

    Review

    You can say what you will about the original, but you can tell Todd Phillips wanted to make it. Joker: Folie à Deux wreaks of a sequel made only to capitalize off the first film’s success. This movie is such a jumbled mess of ideas that you wonder if anyone knew what they wanted to make. It’s part psychological thriller, part courtroom drama, and part musical, but none of these tones gel cohesively. While the concept of The Joker on trial has potential, it’s a thinly veiled excuse to dump tons of exposition. Whereas the original was well-paced and straightforward, this film is so all over the place that it’s hard to focus. It doesn’t help that the film is littered with many musical numbers that offer little to nothing to the story. That might’ve worked for the Broadway show, but it doesn’t translate well to film.

    To get into some of the positives, the performances across the board are good, with Joaquin Phoenix again excelling. As easy as it would’ve been to phone it in, Phoenix goes for it and commits himself to the part. Though unconventional, Lady Gaga does an excellent job as a reimagined Harley Quinn and has great chemistry with Phoenix. As out of place as the musical numbers are, Gaga is a talented singer, and Phoenix works well opposite her. Catherine Keener and Brendan Gleeson are terrific as always, and Leigh Gill has arguably the movie’s best scene. Lawrence Sher’s cinematography is excellent, Hildur Guðnadóttir’s score is as haunting as ever, and the production design is solid. The filmmakers did their best to retain the same grim and gritty feel from the previous film and succeeded. It’s too bad they didn’t devote as much time to the story.

    Discussing the story issues is challenging since they involve spoilers, but suffice it to say they’re rough. So much of this movie goes against what the first one established that it feels like an anti-sequel. As grim and nihilistic as the original was, you felt like you went on a fulfilling journey by the end. With this, you’re left with this feeling of fulfillment that makes you wonder if the trip was even worth it. I’m convinced that Warner Bros. forced Phillips to produce a sequel, and he retaliated by making this to spite them. It would explain all the scenes in the trailer that didn’t make the final cut that sell a different movie. At two hours and 18 minutes, the film is a slog to get through and not worth your time. Overall, Joker: Folie à Deux is a reminder that some movies should be left alone. 

     

    Joker: Folie à Deux is currently playing in theaters nationwide.

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  • Speak No Evil (2024)

    Speak No Evil (2024)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”]Released in 2022, Christian Tafdrup’s Speak No Evil received widespread acclaim despite underperforming at the box office. The following year, Blumhouse Productions acquired the rights to remake the film for American audiences. The studio hired James Watkins, best known for The Woman in Black and Eden Lake, to write and direct. According to Watkins, this remake is the culmination of a discussion between him and Blumhouse that lasted 16 years. For the remake, Watkins chose to have Americans visiting a British family while retaining the original’s themes. In April 2023, actors James McAvoy and Mackenzie Davis signed on to star, with Scoot McNairy joining soon after. Filming occurred in Croatia and Gloucester that May, but the SAG-AFTRA strike suspended production until November. Following its NYC premiere, James Watkins’ Speak No Evil opened in theaters worldwide on September 13, 2024.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”80″ bar_bg_color=”#7CDA24″ _builder_version=”4.27.0″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Ben and Louise Dalton (Scoot McNairy and Mackenzie Davis) are vacationing in Italy with their daughter Agnes (Alix West Lefler). While there, they meet Paddy and Ciara (James McAvoy and Aisling Franciosi) and their mute son Ant (Dan Hough). Despite some reservations, the two families build a friendship, with the Daltons agreeing to spend the weekend with them. While things initially seem pleasant at their isolated countryside home, the Daltons, particularly Louise, start noticing odd things. Paddy and Ciara are open, carefree, and wild, whereas Ben and Louise are quieter and reserved. Things worsen when the Daltons notice Paddy becoming more unhinged and violent towards Ant while Ciara lets it happen. Through nonverbal cues, Ant reveals Paddy and Ciara’s dark secret to Agnes, signaling her parents that the vacation is over. What started as a pleasant getaway soon becomes a weekend of terror!

     

    Review

    Going into this, I had no idea what to expect, especially having not seen the original film. Judging this remake of Speak No Evil on its own merits, I found it enjoyably tense but not without problems. To get right into the positives, the cast, particularly James McAvoy, do a terrific job with the roles they’re given. While Split showed how he could be sympathetic and terrifying simultaneously, McAvoy manages to outdo that performance and then some. You initially like him because he’s charming, carefree, and calm, and he delivers his lines with tons of charisma. However, as time passes, you see the cracks in his facade, and he becomes more unhinged until he finally breaks. It’s similar to Kathy Bates in Misery, where she seems lovely and pleasant, but there’s something dark beneath that smile. McAvoy’s performance alone is worth the price of admission.

    Mackenzie Davis is also great as the vegetarian Louise, who quickly recognizes that things are somewhat off. She quickly takes charge of the situation and decides what to do without overshadowing her husband. Scoot McNairy as Ben is an interesting contrast to McAvoy’s Paddy, who is emasculated compared to Paddy’s take-charge attitude. While he makes some poor decisions, you see him progress to where he finally stands up and becomes a man. Aisling Franciosi works great off of McAvoy, playing up her demure quality while showing her sinister side. Dan Hough does a terrific job, especially considering his character can’t speak, relying on facial expressions and body language. As great as the cast is, many of their character arcs and progressions feel familiar and played out. It’s all handled well, but it’s nothing we haven’t seen in other movies.

    Also, the tone sometimes feels somewhat inconsistent, going from severe and tense to weirdly comedic and ludicrous. Granted, I saw it with an audience that talked back to the movie and laughed quite a bit. That said, I’m not sure if the comedic bits were supposed to be funny or if it was unintentional. Admittedly, the film has some genuinely funny dark humor, but I suspect it’s supposed to be more serious than comedic. That said, the third act is very entertaining, as our heroes hold themselves up against Paddy and Ciara. While the original supposedly had a bleaker ending, I think the more exciting finale works better for the remake. Still, this is an effective thriller that gradually builds tension until an explosive finale that keeps you hooked. Overall, Speak No Evil has issues, but the great cast and solid build-up make it worth a watch.

     

    Buy Speak No Evil from Amazon: https://amzn.to/40v6ZqL.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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  • Civil War (2024)

    Civil War (2024)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.25.0″ _module_preset=”default” global_colors_info=”{}”]Writer-director Alex Garland made a name for himself by writing the scripts for Danny Boyle’s 28 Days Later and Sunshine. He also wrote and produced 2012’s Dredd, in which he became an uncredited co-director with Pete Travis. While working on that film, Garland reexamined an idea for a movie he had in his childhood about artificial intelligence. The idea grew into Garland’s official directorial debut, 2014’s Ex Machina, which was both a critical and commercial success. He followed this up with 2018’s Annihilation, which underperformed at the box office despite earning similar critical acclaim. His next film, 2022’s Men, didn’t fare well either commercially and wasn’t as highly praised as his first two outings. That same year, A24 announced that they’d be producing Garland’s next film, which would be their most expensive to date. After premiering at SXSW, Alex Garland’s Civil War opened in theaters in April 2024.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”80″ bar_bg_color=”#7CDA24″ _builder_version=”4.25.0″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.2″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    America is in ruins as a new civil war has erupted, though The President (Nick Offerman) believes victory is assured. Meanwhile, renowned war photojournalist Lee Smith (Kirsten Dunst) is trekking to DC to interview The President. Accompanied by her colleague Joel (Wagner Moura) and mentor Sammy (Stephen McKinley Henderson), they set their sights on reaching Charlottesville. However, unbeknownst to Lee, Joel brings along a wannabe photojournalist named Jessie Cullen (Cailee Spaeny), who idolizes Lee. As the group journeys from New York to Charlottesville, they see how people are being affected by this war. Some actively stay out of it, others merely try to survive, and a few take advantage of the lawlessness. Along the way, Jessie learns what it truly means to be a photojournalist as Lee shows her the ropes. Will our heroes make the trip successfully, or will they be another casualty in this civil war?

     

    Review

    Given the political climate we’re living in, it was quite a risk for Lionsgate to release Civil War. The film doesn’t take a side one way or the other, but the conflict isn’t the central focus. Our focus is squarely on this group of journalists as they travel across a war-torn country to document what’s happening. It reminds me of World War Z (the book, not the movie), only without zombies and the conflict still happening. Like Max Brooks’ iconic book, this film explores what would happen if society crumbled and how people would respond. Some choose to ignore what’s happening, some run rampant and commit unspeakable acts, and others try to survive. Admittedly, the movie doesn’t explain what the war’s over or how the conflict started, but that’s not the point. While I don’t want to dissuade anyone from seeing this, you should know what you’re getting into.

    Kirsten Dunst does a great job playing a somewhat disgruntled photojournalist who’s almost lost hope. You feel that she’s seen a lot in her day and is numb to everything that’s going on around her. Conversely, you have Cailee Spaeny as the young, ambitious, wannabe photojournalist who wants to live up to her idol. While she’s certainly seen quite a bit, she isn’t as exposed to the horrors of war as Dunst’s character. By the end, she goes through quite a character arc and becomes as despondent and almost unfeeling as Dunst. Wagner Moura and Stephen McKinley Henderson help balance things out and provide some good back-and-forths with Dunst and Spaeny. Since we’re following these four the most, it helps that they’re engaging and likable enough that we don’t mind. Also, a special mention goes to Jesse Plemons, who steals the show during his short screen time.

    Like with his other movies, Alex Garland’s direction is solid, perfectly capturing a sense of chaos and dreariness. Whether it’s a long tracking shot or through the use of handheld cameras, he makes you feel like you’re there. Unlike many filmmakers who rely heavily on shaky cam, he uses it just enough to intensify the action. Also, the movie is violent but never gratuitous, which helps sell the point without going too far. Admittedly, the thought of California and Texas allying isn’t very realistic, which throws a wrench in the film’s credibility. Still, this film is a compelling cautionary tale of how easy it is for the US to fall into chaos. You may disagree with what’s shown, but it’s still thought-provoking and worth watching at least once. Overall, Civil War has some fantastic direction and excellent performances, but some might find its message divisive or controversial.

     

    Buy Civil War from Amazon: https://amzn.to/4f9FO98.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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