By David Baldwin
If you hear the name Stormy Daniels, what do you think of? Her career as an adult entertainer in front of and behind the camera, or her involvement in a legal shitstorm with the former President of the United States? STORMY demystifies the woman behind those headlines, and chronicles the immediate fallout from her “hush money” payment becoming international news, the on-going legal saga she remains intrinsically attached to and the turmoil and toll it has taken on her personal life.
Whether you know all the facts or not, watching STORMY is a riveting and sobering experience – not just because of how aggravating it is, but by how harrowing and emotional it quickly becomes. Daniels is a give-no-fucks firecracker at the start and by the end, she is a visibly strained, shell of a woman who has gone through hell and fears for her safety.
Though Daniels is refreshingly candid and holds nothing back, the Documentary spends most of its time focusing on the legal shenanigans and sparring and not enough on who she is as an Entertainer and more to the point, as a person. We get glimpses into her dance tours, television appearances, her love for horses and her private life. They all feel fleeting though, especially when so many of the talking head interviews are journalists just speaking about what happened because of the payment details going public. What they discuss and what is shown is interesting and vital, but the Film is called STORMY and needed to be more about her and a whole lot less about him.
Stormy screens at SXSW’24:
Mar 8 at 5:15PM at Stateside Theatre
Mar 13 at 11:45AM at Alamo Lamar 5
By David Baldwin
Ronnie Lipsick (Jackie van Beek) longs for the glory days, back when she was a talented soap star and not Mother to selfishly entitled Audrey (Josephine Blazier) and Norah (Hannah Diviney), who always comes last and is confined to a wheelchair. Her loveless relationship with her husband Cormack (Jeremy Lindsay Taylor) is not much better. But a freak accident that lands Audrey in a coma may just turn things around for Ronnie and her family, even if it leads to a plethora of cascading lies and embellishments.
Though that certainly sounds bleak, AUDREY is actually laugh-out-loud funny. The dark humour permeates through the entire picture, yet never comes in front of the ridiculously odd situations this family finds themselves in at every turn. There is a whole lot of escalating cringe – mostly of a sexually depraved nature – and just as much charm and heart. You really feel for Ronnie’s plight and even if some of the things her family does are questionable at best, you want to see them succeed. Kudos to the core Cast for making this family so likeable, and to Blazier for doing such a good job portraying the narcissistic brat of a titular character.
As a debut feature from both Director Natalie Bailey and Writer Lou Sanz, it shows a lot of promise for future projects. And while I was not much of a fan of a third act shift from Comedy to Horror, I had a good time watching AUDREY otherwise. Maybe just avoid watching it with your parents.
Audrey screens at SXSW ’24:
Mar 10 at 2:30PM at Alamo Lamar 4
Mar 11 at 5:15PM at Alamo Lamar 8
Mar 11 at 5:45PM at Alamo Lamar 7
Mar 15 at 2:15PM at Alamo Lamar 6
By David Baldwin
Nina (Nahéma Ricci) just wants to go home. Stranded in the far North, she ends up at an isolated cabin in the woods with five guys celebrating a bachelor party. They are initially against her arrival, but gradually warm up to her. When a mysterious drifter ends up at the party, things take a sharp turn for the worst.
Saying any more than that would ruin the visceral nightmare HUNTING DAZE quickly becomes. The breathless intensity rarely dissipates over the course of its brief 79-minute running time. Instead, first time feature Director Annick Blanc just keeps ratcheting up the tension to unbearable heights. And nearly every moment outside of that is spent examining and basking in the sheer toxicity this group of men communicate and act within. Blanc deliberately frames the headstrong, gives-no-fucks Nina as being smaller and inferior to this bachelor party, and delights in using her to tear down stereotypes and any of your expectations.
The small Cast are good in their roles, with Ricci as the clear standout. I just kind of wish the film around them did not feel so drawn out. I understand Blanc’s intention of making the audience feel genuinely uncomfortable (why else would you have so many extreme facial close-ups?), but feel like the endlessness of some scenes could have been better reigned in. I watched HUNTING DAZE alone though. You might feel a bit different watching it in a big group, all collectively holding your breath and terrified of what comes next.
Hunting Daze screens at SXSW ’24:
Mar 9 at 10PM at Alamo Lamar 4
Mar 11 at 7PM at Alamo Lamar 4
Mar 14 at 9PM at Violet Crown Cinema 1
Mar 14 at 9:30PM at Violet Crown Cinema 3
SXSW ’24 kicks off tomorrow, running March 8 through 16, 2024 in Austin, Texas! This Film and TV Festival is comprised of 115 features including 89 World Premieres, 3 International Premieres, 6 North American Premieres, 4 U.S. Premieres, 13 Texas Premieres + 80 Short Films including 19 Music Videos. The TV program includes 7 TV Premieres, 8 TV Spotlight World Premieres and 6 Independent TV Pilots. The XR Experience program includes 38 projects.
Highlighting this year’s Film & TV Festival are some high-profile titles like Monkey Man, the directorial debut from Oscar® nominee Dev Patel. Kyle Mooney also makes his directorial debut with New Year’s Eve disaster comedy Y2K, and Sydney Sweeney stars in Michael Mohan‘s psychological horror Immaculate.
Speakers at SXSW this year include a star-studded bunch like Pamela Adlon, Samantha Bee, Danny Brown, Michael Dell, Colman Domingo, Kirsten Dunst, Ilana Glazer, Selena Gomez, Nick Kroll, Conan O’Brien, Lilly Singh, Sydney Sweeney, Margrethe Vestager and more. Meghan Markle, The Duchess of Sussex, will headline a keynote panel alongside Katie Couric and Brooke Shields, kicking off SXSW’ 24 as well.
The Films & TV Awards will take place on Wednesday, March 13, 2024 at 7:30pm CT at the Paramount Theatre.
The Team will be covering the Festival virtually this year and here are our top picks at SXSW ’24!
Arcadian
Hunting Daze
Grand Theft Hamlet
Monkey Man
Stormy
I love the eclectic style of SXSW and its emphasis on genre. Other festivals would go one way or another, but SXSW hits it right down the centre between sincere and weird — with a large helping of WTF sprinkled in for good measure. There are a solid mix of titles at this year’s fest, including a few that have been seen already (I dug Backspot and Smugglers, and our dear friend George Kozera was a big fan of Sing Sing) and plenty that have not just yet (Immaculate, Civil War, The Fall Guy — all can’t miss titles we will have access to in a few weeks). For my Top Five picks, I checked off the immediate titles that jumped off the page. A new Nic Cage joint? A French Canadian cabin in the woods thriller? An adaptation of Hamlet that takes place entirely in Grand Theft Auto? Dev Patel‘s directorial debut, which looks truly bad ass? A Documentary about Stormy Daniels, a young woman who you had to pretend to not recognize prior to her making the worldwide news? Like, what other Festival do you know of that would play in such a wide variety of places and genres, without the undercurrent of awards season coursing through its veins? It’s going to be a lot of fun, and I cannot wait to see how these titles all play out.
Civil War
Babes
Monkey Man
Cuckoo
Omni Loop
This year’s SXSW has a stacked lineup. These are my most anticipated titles due to the talent attached, both behind and in front of the camera. I’m always excited to see what Alex Garland delivers next and Civil War‘s trailer had me on the edge of my seat. I loved Pamela Adlon‘s autobiographical TV series Better Things and can’t wait to see her feature Babes. Dev Patel is making his big directorial debut at SXSW with Monkey Man. That trailer is loaded with full-octane action. Hunter Schafer has had me locked onto her career since the first season of Euphoria, so can’t wait to see her in Cuckoo. And the talents, hilarious and captivating Ayo Edebiri stars alongside Mary Louise Parker in Omni Loop…need I say more?
I’ve heard nothing but phenomental feedback about ROAD HOUSE, a re-imagining of the 1989 film of the same name.. but with an MMA twist! We’ve missed Jake Gyllenhaal and he rarely misses the mark. Should be exciting. Could things be going any better for Sydney Sweeney? IMMACULATE promises to be a thrilling ride and even outside the Festival, we’d be pumped to see this theatrically. Everything we’ve seen about Dev Patel‘s directorial debut MONKEY MAN has looked so intriguing and with Jordan Peele backing, we know we’re set-up for success. CIVIL WAR we’re sure is on everyone’s must-watch list – what a huge get for SXSW! And we are in it for fun, and Pamela Adlon‘s BABES certainly looks that. We can’t get enough Michelle Buteau after her first season of popular Netflix series Survival of the Thickest!
Festival schedule is here.
Happy SXSW ’24!
Review by David Baldwin for Mr. Will Wong
The people of House Atreides have been wiped out on the spice mining planet of Arrakis. Survivors Paul (Timothée Chalamet) and his pregnant Mother Lady Jessica (Rebecca Ferguson) are now living amongst the native Fremen. Paul is intent on learning their ways and how they use the desert to their advantage, while also getting closer to the literal woman of his dreams, Chani (Zendaya). He is also looking for revenge against competing House Harkonnen and those involved in the deaths of his people.
This is the basis for DUNE: PART TWO, which picks up almost immediately from where its predecessor leaves off. The acclaim, hyperbole and hype have been off the charts for this second half of Canadian Co-Writer/Director Denis Villeneuve’s iteration of Frank Herbert’s legendary book, and I do not wish to feed into it.
But how else can I respond after watching this visually stunning piece of Cinema?
What Villeneuve and his creative team have crafted is nothing short of astounding. Everything you have heard is true and then some. The Film works both as a continuation and on its own, and is the kind of spectacle that hits on every single one of your senses (watching on an IMAX screen definitely helps, especially for the eextraordinary Sound Design). Every element working together makes for a uniquely sensuous feast. I was practically floored by the visual language and architecture Villeneuve uses alongside Cinematographer Grieg Fraser and the entirety of the Production Design and Visual Effects teams. Their level of precision and care is impeccable, creating some scenes that are instant all-timers and others that imbue the kind of artistry that belongs in a museum. Their use of such a wide and brilliantly expressive variety of bold, bright colours – or in one scene’s case, a stark monochromatic scheme – in a blockbuster like this is celebration worthy alone. Right from the jump, you know you are in the hands of visual geniuses and that feeling never dissipates.
And if you thought Hans Zimmer’s Oscar-winning Score from Part One was magnificent, prepare for this Score to blow it completely out of the water. The legendary composer has already earned his place amongst the best in the game, and his work here may be the finest of his entire career. It is almost as riveting and show stopping as the Film itself.
As for the lava hot Cast, they are all phenomenal. Everyone gets a chance to showcase their impeccable talents, no matter the length of their part. Chalamet is aces again as Paul, expertly conveying his ever shifting idealism and the sheer wonder behind his actions and discoveries. Zendaya delivers some of her most emotional and intimate work to date, really elevating Chani from a mysterious figure in a dream to a powerful warrior you would hesitate to cross even in your worst nightmare. The other key standout is Elvis himself, Austin Butler, who soars as the unhinged and monstrously maniacal Feyd-Rautha. He arrives nearly halfway through and leaves scorched earth (or scorched sand as it were) in his wake. Butler’s performance is terrifying and all-consuming, and if you had any doubts of whether he was the real deal or not, his vicious take on Feyd-Rautha should put them all to rest.
If I have any quibbles with DUNE: PART TWO, it is in some of the narrative choices in the second half. I have not read the Book yet can fully appreciate the mammoth undertaking Villeneuve and Co-Writer Jon Spaihts went through crafting the Film into a cohesive narrative that works, complements and continues from its first part. But in truncating some moments, adjusting and updating others, and excising even more, the pair end up removing some of the narrative tissue needed to make certain decisions feel fully formed. Instead, these moments feel baffling or worse, unearned and inexplicable. Some characters suffer because of simply needing to be there (removing one specific actor would have virtually no effect on the plot other than to speed things up), while others are frustratingly one note because they are undercut and underutilized. The relentless pacing leaves little time for introspection, and the deeper ideas revolving around the likes of religious fanaticism, faith, political ambition and war are only able to be given surface level depth.
Would my understanding of the characters, their ideals and many of their actions be improved had I read the book? Probably. Would I be a little annoyed by some of the drastic changes Villeneuve and Spaihts make if I was a major Herbert fan? Most likely. Does any of this affect what an incredible achievement DUNE: PART TWO is? Not really. It remains a stunning, monumental picture no matter which way you look at it; I just feel I could have enjoyed Paul’s journey even more if there was some additional narrative finessing.
All of that said, it is a real challenge to identify DUNE: PART TWO as anything less than an absolute masterwork and the first must-see film of 2024. It solidifies Villeneuve as one of our generation’s greatest Visual Artists and Storytellers, and sets an incredibly high bar for any and all science fiction/fantasy films to come. The pure visual splendour on display here is breathtaking, as are the top notch performances from Chalamet, Zendaya and Butler. Seeing the Film projected on an enormous IMAX screen is an experience I will not soon forget. I was riveted. I was left breathless. I could not even consider looking away. DUNE: PART TWO is the reason why we go to the movies.
So if you are considering a trip to Arakkis in your future, rest assured that you will not be disappointed. And if you are not, then adjust your plans immediately. This is the type of once-in-a-generation picture you cannot afford to miss.
Warner Bros. Pictures Canada release DUNE: PART TWO on Friday, March 1, 2024.
Review by David Baldwin for Mr. Will Wong
Lisa (Kathryn Newton) is a Goth introvert who spends her free time doodling in an abandoned graveyard. She does not get along with her new family and a freak storm has just re-animated a Corpse (Cole Sprouse) she may have been crushing on.
This is the set-up for LISA FRANKENSTEIN, a movie that takes place in 1989 and gleefully homages the decade’s eternally popular coming-of-age, self discovery genre by way of Tim Burton’s brand of macabre. The pastels, the outrageous outfits and hairdos, the power ballads, the gee-whiz artificiality of a small town still pretending it is the 1950’s; every element you can imagine is here for better or worse, with many of the Film’s best jokes leaning into the inherent ridiculousness that comes alongside that cultural baggage. Visually speaking, the style is pretty stellar.
Unfortunately, the Film around that style is compromised by Oscar-winning Writer Diablo Cody’s Screenplay. It is a mess, plain and simple. Ideas are introduced and dropped rapidly, a plethora of characters are either underutilized or useless, subplots are left unresolved, and the Film’s core romance between Lisa and the “The Creature” (as he is referred to in the Credits) does not come together nearly as eloquently as it should. Worse, the entire Third Act feels too rushed and cobbled together. Cody does sprinkle a few fun moments into LISA FRANKENSTEIN, but it lacks the subversiveness Feminist edge it wants to achieve and is missing the sharpness of her previous Scripts like Juno and Jennifer’s Body. There is a chance that some material was removed in order to achieve a PG-13 rating – at least that may be why one pivotal moment involving an axe late in the Film feels so hacked to pieces – but that does not explain all of its messiness.
Thankfully, the trio of performances from Newton, Sprouse and Hollywood newcomer Liza Soberano (who plays Lisa’s stepsister Taffy), do a terrific job making up for the script’s shortcomings.
Newton continues her streak of commanding performances, sinking her teeth into Lisa and transforming her into the Goth queen she deserves to be. She jumps headfirst into the chaos, alternating between the Comedy and the Drama with wonderful precision. Newton benefits the most from Cody’s sarcastic wit and carries the Film fearlessly. Sprouse is equally delightful in a mostly wordless, almost entirely physical performance as The Creature. His comic timing is impeccable and the way he conveys emotion through grunts and movements is exceptional. I was consistently impressed by how captivating Sprouse is here, and his ease of being able to create palpably mute chemistry with Newton.
Soberano is LISA FRANKENSTEIN’s secret weapon however, and is the beating heart of the Film. Her entire arc is being the preppy cheerleader focusing on everyone else’s happiness (especially for her outspoken stepsister) and she practically soars in the role. She comes in and out often, yet always brings a warmth and understanding that offsets the Film’s most absurdist moments. You can genuinely feel how missed her presence is whenever she is not on screen.
I really dug the look and feel of LISA FRANKENSTEIN, just as much as I liked the performances from Newton, Sprouse and especially Soberano. They all deserved a stronger Script to work from rather than the convoluted one here. If Cody’s writing was a bit better streamlined and cleaner, the Film could have been the wild coming-of-age film you were expecting, rather than the disappointing genre pic it is all too content being.
Universal Pictures Canada unearth LISA FRANKENSTEIN on Friday, February 9, 2024.
Review by David Baldwin for Mr. Will Wong
The Von Erichs are a family of professional wrestlers and athletes. Patriarch Fritz (Holt McCallany) never won a world title but knows in his bones that one of his sons will. He pushes them to their limits and keeps on top of them, “encouraging” them to be the best. Is it any wonder why people thought they were cursed?
Whether you know the true story or not, Writer/Director Sean Durkin’s THE IRON CLAW is a grueling, emotional and often devastating journey tracking the ups and downs of this incredibly gifted family. He frames the Film as being “inspired by” the true story, taking liberties with the timelines and eliminating multiple people (mostly female) who were involved in this tragic tale. Durkin even goes so far as to remove one of the real life Von Erich children altogether and refers to another mainly in passing. It goes a long way to streamline the story he wants to tell – mainly revolving around Kevin (played by Zac Efron) – and wisely avoids sensationalizing some of the grittier, more salacious details.
And while Durkin and his Crew do an impeccable job composing the action inside of the ring and making each fight more exciting than the last, he falters in the way he frames his timeline. The Film moves efficiently through the late 1960s and into the early 1980s, stopping along the way to spend time with the boys in front of the crowd or chilling at home. Once it gets deeper into the ’80s however, which not so coincidentally happens at the start of the Third Act, Durkin throws away his pacing for something a little more frantic and unclear. Things just sort of happen without much in the way of explanation or introspection, and many ideas are introduced and then never resolved. One character is done completely dirty by the lack of information, leading to two gut-wrenching moments that do not feel nearly as earned as they should. The Film is a touch too long as it is, yet I feel like adding a scene or three would make some choice revelations in that last Act hit as poignantly as they should rather than leaving you to just parse together what happens.
The terrific Ensemble thankfully makes up for this, with each member of the main cast delivering top-notch performances. Harris Dickinson, coming off his scorching hot 2022 output, is wonderfully intense, relative unknown Stanley Simons is quietly memorable and Maura Tierney and Lilly James add a much-needed feminine warmth to the proceedings. McCallany, who you will recognize from his vast array of supporting roles, delivers standout work as Fritz. He is the very definition of Toxic Masculinity and does all too well embodying the kind of diabolical scumbag you loathe for burrowing so deep under your skin.
Speaking of standouts, Jeremy Allen White is rock solid as Kerry Von Erich and Efron is positively electric as Kevin. They both bring their A-games here, imbuing every moment with a mix of charisma, emotion and ferocity. I knew White had it in him to play this type of character (and wish Durkin used him more often), but Efron’s work here is practically revelatory. This is easily his finest work ever and the way he captures and carries the Film on his shoulders will make you instantly forget he is the pretty boy from High School Musical. I was only able to look away from his smouldering, magnificent performance once – and that was just because I did not want to ugly cry through the Film’s ending.
Wonky timeline aside, Sean Durkin has gifted us with a riveting and gripping portrait of a real-life wresting dynasty unlike any other. And while he has assembled an absolutely stellar ensemble, it is Efron’s performance that is going to stick with you long after the Credits roll. Pack many tissues.
Elevation Pictures release THE IRON CLAW on Friday, December 22, 2023.
Review by David Baldwin for Mr. Will Wong
Bella Baxter (Emma Stone) has been brought back from the dead by eccentric Scientist Godwin “God” Baxter (Willem Dafoe). Knowing there may be a lot of questions, Godwin keeps her hidden despite her desire to learn and explore the world around her. And once lawyer Duncan Wedderburn (Mark Ruffalo) enters the picture, Bella will never be the same again.
What follows is the kind of journey only a genuine madman like Director Yorgos Lanthimos can deliver. This certifiably insane Auteur is responsible for the likes of The Favourite (also starring Stone), The Killing of a Sacred Deer and The Lobster (along with a few nuttier films he did in his native Greece). If you were a fan of any of those, then you will be right at home watching POOR THINGS. If you would describe one or all three of those pictures as being absolutely revolting or worse, then you should probably look elsewhere for your holiday entertainment. The Film hits the ground running right from the jump; so you will have very little time to run for the hills if you are feeling uneasy.
I am hyperbolic on purpose here because I do not want to mince words – POOR THINGS is an otherworldly masterpiece and one of the year’s very best films. Period. Full stop. Pencils down. There is simply no other way to describe it. I had a huge smile on my face watching this Movie more than a month ago and have been itching for it to be blasted into my eyeballs again ever since. It is a work of art that transcends the medium, easily becoming Lanthimos’ most accomplished picture and provides the kind of communal theatrical experience that very few films have offered post-2020.
While it is all too easy to read Writer Tony McNamara’s (who wrote The Favourite and Cruella) adaptation of Alasdair Gray’s Novel as a not-so-subtly feminist take on Frankenstein, it is so much more than that. It tackles themes of sexual and bodily autonomy, (mainly white) male fragility, and the sheer concept of what makes us human in a beautifully moving and perversely depraved way. In other words, it is the kind of wild tale that Lanthimos has built his career on. Some on social are already boiling down the film’s complexities and spoiling the sexual politics at play, alongside some of the more fantastical science fiction elements that drive the Film. Those bad faith arguments feel rather reductionary, and do a disservice to what a powerful film POOR THINGS becomes over the course of its 141-minute running time. While I do not want to spoil key details of Bella’s adventure – which the marketing has done an exquisite job of hiding – I do think it bears noting again that if this does not sound like your idea of fun, you are not going to enjoy watching this.
All of that said, the Film itself looks spectacular. It starts in a stark black and white before exploding into a vivid colour scheme that will leave you mesmerized. The Production Design by Shona Heath and James Price is gothic and very steampunk-like, bearing more than a few passing similarities to the Bioshock video game series. The look feels very in-tune with its science fiction underpinnings, creating a world that feels simultaneously both familiar and unfamiliar. The sumptuous Costume Design work by Holly Waddington is gorgeous, and Robbie Ryan’s (another returning member of The Favourite crew) Cinematography is magnificent. And yes, he finds ample opportunities to incorporate the fish-eye lens Lanthimos adores so much.
That high praise would be meaningless however if not for the incredible Ensemble Lanthimos has assembled. Ruffalo and Dafoe (barely recognizable behind some truly hideous makeup) are equally hilarious and tragic, each delivering some of the best work of their careers. Ramy Youssef is wonderfully naïve and charismatic, and smaller turns from Margaret Qualley, Suzy Bemba, Kathryn Hunter and future Wolf Man star Christopher Abbott are all terrific and truly memorable. I would be remiss to not highlight Jerrod Carmichael specifically, who is delightfully nihilistic and nearly steals the Film away from everyone around him.
And Stone?
Well, she is absolutely breathtaking and captivating in every single second of every single one of her scenes. It is the kind of ferocious and absolutely fearless performance that few actors are able to match and most actors can only dream of giving. She leaps into every scene with reckless precision, no matter what often outrageous thing is asked of her. The emotion she gives to every line and action is tremendous, and the way she lands every deadpan joke is unbelievably hysterical. I would go so far as to say her work here is flawless and arguably the best performance she has ever given, her Oscar-winning work in La La Land included.
I know I may have convinced some of you to steer clear of POOR THINGS. And while I respect your decision, it comes at the cost of missing out on a truly monumental piece of cinematic brilliance that only a truly deranged mind like Yorgos Lanthimos could deliver. It is a masterpiece through and through, anchored by an unforgettable all-timer performance from Emma Stone. When Martin Scorsese talks about Cinema, films like POOR THINGS are what he is talking about, even if he would never be bold enough to drop a reference to “furious jumping” in any of his upcoming projects.
Searchlight Pictures Canada release POOR THINGS exclusively in Toronto, Vancouver and Montreal on Friday, December 15, 2023, and across Canada on Friday, December 22, 2023.
Review by David Baldwin for Mr. Will Wong
Marie Antoinette has just been beheaded in the town square for all to witness, including a young man named Napoleon Bonaparte (Joaquin Phoenix). In just a few short years, he will go from nobody to the Emperor of France, with an incredible battle record to boot.
Director Ridley Scott chronicles the rise and fall of this legendary ruler and military genius alongside the relationship he shared with his future wife, Joséphine (Vanessa Kirby). While he does not shy away from the controversies Napoleon found himself in the middle of, Scott hones-in specifically on a small number of battles this larger-than-life character had instrumental involvement in.
And historical accuracy be damned, if that sounds like a good time at the movies, then stop reading and rush out to watch NAPOLEON. It is the kind of epic that only a madman like Scott could create and has some of the most incredibly staged and brutally violent battle scenes I have seen in a very, very long time. A scene teased in the trailers involving Napoleon‘s men having the high ground on an army who fail to notice the icy ground beneath them is absolutely magnificent to watch. The look and feel of the ensuing chaos are among some of the finest sequences Scott has gifted us in his nearly six decades of crafting motion pictures. The spectacular Sound Design practically explodes out of the speakers and is likely why my ears are still ringing nearly a week after watching.
Outside of these awesome battle scenes however, NAPOLEON is a bit of a boring and dragged-out mess. It hits the ground running and never lets up, introducing ideas and characters recklessly or falling into them with no frame of reference whatsoever. Worse, it moves on from many of these scenes all too quickly, leaving anyone with minimal background in all things Napoleon and 19th century French politics confused and bewildered. It feels genuinely choppy at many points and rather sloppy in comparison to the laser-like precision of the battle scenes, How this could happen when the Film is so long already is a bit of a mystery, until you hear that Scott has prepped a 4.5-hour version he plans to release once the Film hits AppleTV+. While NAPOLEON getting a Director’s Cut is completely unsurprising given Scott’s track record, it seems especially egregious in this case as it feels like he excised entire relevant sections of the Movie just so he could hit an arbitrary runtime.
Which is a real shame because both Phoenix and Kirby are terrific in their roles and have solid chemistry. That goodwill is nearly meaningless though once you notice their bad habit of coming off as completely bipolar and/or enigmatic in many of their actions and reactions. Joséphine specifically chastises Napoleon for his relationship with his mother, yet we never really see why. An entire Subplot involving Joséphine‘s affair with a younger man goes practically unresolved, even though it is plainly obvious there are missing scenes that would have better elaborated on it. Knowing that many of these issues and more will be resolved when the Director’s Cut drops is nice and all, but if your movie already feels too long and chopped to ribbons at 157 minutes, I cannot imagine adding two extra hours on top of that is really that exciting a prospect.
Sir Ridley Scott turns 86 in just over a week and the audacity and verve of making a flawed historical epic like NAPOLEON at his tenure is still worth celebrating. Just temper your expectations when it comes to anything that is not one of the outstanding battle scenes.
Sony Pictures Canada and Apple Original Films release NAPOLEON in theatres on Wednesday, November 22, 2023.
Review by David Baldwin for Mr. Will Wong
“Can you find the wolves in this picture?”
Ernest Burkhart (Leonardo DiCaprio) reads that question aloud from his book on Osage culture his Uncle William “King” Hale (Robert De Niro) asked him to study up on. Ernest is not the brightest and has come to the Osage Nation in Oklahoma after WWI to ask King’s help in finding work. Oil has made the Osage people some of the richest in the world practically overnight, and a number of White Americans have descended to try and get their hands on some of that money by any means necessary. King suggests Ernest get closer to Mollie (Lilly Gladstone), a local Osage woman with a large family and an even larger fortune. As their relationship grows, so too do King’s deadly instructions.
“Can you find the wolves in this picture?”
That phrase is delivered in an otherwise unremarkable montage, but it literally encompasses everything that transpires over the course of KILLERS OF THE FLOWER MOON, legendary Co-Writer/Director Martin Scorsese’s gargantuan 206-minute magnum opus. It is his loaded thesis statement; one that hangs over the proceedings like a hawk getting ready to pounce on its prey. Scorsese has never been one for subtlety (nor brevity), so it is clear from the outset what kind of film this is – a damning portrait of racism and perversion inflicted on the Indigenous Osage peoples by greedy White imperialists and interlopers. The fact that the Film is based on a true story and real people make the proceedings that much more unsettling.
The 206-minute running time may sound daunting on paper yet Scorsese has such a handle on the material and his core messaging that you will barely notice. His legendary go-to Editor Thelma Schoonmaker has helped him craft a film that moves with absolute precision, drawing you in close and rarely letting go. Yes, it focuses more on the White side of the story, though the way Scorsese incorporates and emphasizes elements of Osage culture as well as giving agency to so many of the Osage characters (played by Indigenous talent) is terrific and commendable, flying in the face of social media commentary claiming otherwise. He specifically sought out consultation from members of the Osage community and it shows in how he represents those characters.
Schoonmaker is not the only previous Scorsese collaborator delivering superlative work here. The way Cinematographer Rodrigo Prieto captures so much of the Film is a masterclass in itself, with multiple shots and sequences destined to be all-timers. The stirring, haunting score by the late Robbie Robertson is nothing short of incredible, bringing alive the visual elements around it. You can audibly hear the sorrow and regret in every note. Also deserving of praise are Production Designer Jack Fisk and Set Decorator Adam Willis who make every building and setting feel real and tangible. You can practically taste and smell everything you see, from the fresh wood used for the houses to the dirt and grime of the incomplete roads. With the prevalence of CGI in so many blockbusters, it is worth celebrating when so many practical effects are used instead.
Being a Scorsese movie, KILLERS does not shy away from the violence inflicted on the Osage peoples and their allies. Scenes get incredibly bloody and are often quite challenging to watch. Unlike other Scorsese films however, the violence feels more restrained and more purposeful when it occurs. It is nowhere near as brutal as many of his other pictures (minus one scene that finds trouble balancing the aftermath of despicable violence with the bleakest of humour), yet the lasting impact of many of the death scenes are often more disturbing than anything Scorsese has ever previously committed to celluloid. You feel the weight and the agony of each death; harkening back to his thesis statement and the reflections he is clearly hoping are brought to fruition. It is very heavy material and ideas that just hit differently with the way Scorsese has framed the story, allowing them to become all the more horrifying as a result.
KILLERS marks the tenth feature collaboration between Scorsese and De Niro, the sixth feature collaboration between Scorsese and DiCaprio and the very first time all three of these legendary Oscar-winners are working together on the same feature. They are clearly two of Scorsese’s most beloved muses, and he brings out some of the best work either of these two titanic performers have ever delivered.
DiCaprio gives a tremendous performance as Ernest, frequently missing the point of what he is being told and just as frequently not letting on about the inner feelings and turmoil he is going through. He loves Mollie and the family they have built together – but he is still capable of going through with unforgiveable plans. It is nuanced work from DiCaprio, avoiding his more expressive tendencies for something a bit quieter and more enigmatic. I enjoyed the romantic elements DiCaprio brings to the role as well but feel he could have used a bit more motivation for how his character acts and reacts in the third act. It does not necessarily ring false so much as it feels like an additional scene or two would have helped immensely.
De Niro fires on all cylinders as King, the fun and supportive individual who is hiding a more insidious nature just under the surface. The way his expressions change so slightly depending on who he is talking to is a thing of beauty, as is the convincing tone he gives King whenever he is asking for something terrible to be done (or on the flipside, reacting to something terrible happening). King is all-knowing, pulling the strings and controlling just about everyone in his proximity. It is the kind of performance De Niro could have done in his sleep for decades yet can barely muster any enthusiasm to give now. It will make you instantly forget much of the dreck you have sat through of late because he was starring in it.
Supporting turns from just about everyone are spectacular, no matter their length of time on-screen. Actors you will recognize like Canada’s Tantoo Cardinal, John Lithgow, Brendan Fraser and Jesse Plemons (playing one of J. Edgar Hoover’s first G-Men) are amazing, as are lesser-known Actors like Cara Jade Myers, William Belleau, Louis Cancelmi and Scott Shepherd. I would even go so far as to say the likes of Myers and Belleau are running circles around the rest of the Supporting Cast, delivering powerful and profound performances that will stick with you long after the credits end.
They all pale in comparison however to Gladstone’s towering, mesmerizing turn as Mollie. She is a revelation here, casting a big shadow over the Supporting Cast and more than holding her own against the cinematic heavyweights. Gladstone is luminous from the very moment she first enters the frame, bringing warmth to everyone around her. Scorsese asks a lot of her in every scene, gradually building up the physicality of the role as well as embodying the grief and anger the Osage peoples are feeling over the course of the Film. She balances the emotions Mollie has masterfully and has a spectacular sense of being able to say everything and nothing at the same time. I was not familiar with Gladstone’s prior work, but after KILLERS, you can bet I will not soon forget her name.
And just because I have not managed to fit it in anywhere else, I also need to give special mention to the Film’s ending which eschews the typical written acknowledgements of what happens next in favour of something more filmic. It threw me for a loop when it started but after realizing what motif Scorsese was going for, I have not been able to stop thinking about it. It is a simple touch – one that includes a cameo from someone you will instantly recognize – yet feels like anything but.
KILLERS OF THE FLOWER MOON is a magnificent film through and through, easily earning its place amongst Maestro Martin Scorsese’s upper echelon of pictures. The man is about to turn 81 and is still churning out unforgettable films that will stand the test of time.
Alongside his behind-the-scenes team, Scorsese has taken a relatively unknown story and turned it into a must-see film containing some of the best acting you will see this year, or any other year for that matter. The 206-minute running time may give you pause, as will the way some key moments in the Film are presented (namely the inhumane, racist violence inflicted on members of the Osage community). The uneasiness you are feeling reading that is by design; you are supposed to be uncomfortable and unsettled by the horrifying things you see. It is a deliberate and provocative move, but one Scorsese has never denied making. He is a master Craftsman at the top of his game and skipping out on one of his best films is a mistake you cannot afford to make.
Apple Original Films and Paramount Pictures Canada release KILLERS OF THE FLOWER MOON in theatres Friday, October 20, 2023.
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