Review by David Baldwin for Mr. Will Wong
Earth has hit her breaking point and humanity faces extinction. The solution? Voluntary euthanasia and leaving behind your loved ones with a sizeable cheque from the government. Wealthy retired newsman Charles York (Peter Gallagher) has volunteered, and has brought together his four adult children for dinner to tell them his plans for later that evening. They are obviously distraught by this revelation and things get even worse when they find out that one of them is going to be forced to volunteer as well.
What follows in the feature debut of Director Caitlin Cronenberg (the daughter of the legendary Canadian filmmaker) is an absolutely chaotic house-bound Thriller where relationships are tested, secrets are uncovered and the only thing on everyone’s mind is survival. It’s a fun premise that leads to a few laughs (some unintentional) and vicious violence (which should be obvious given Caitlin’s last name). The creepy, sprawling manor chosen for the majority of the proceedings – a real castle in Hamilton, Ontario – lends itself well to the Film’s grim aesthetic, practically acting as a character itself in many scenes.
Where HUMANE runs into issues is in its non-existent tonal structure. The Film cannot decide if it wants to be a gritty Thriller, a campy Horror Comedy, a biting Social Satire or a prescient glimpse into future dystopia. It tries to meld all of these ideas together over its 94-minute running time and the result is totally unwieldly and completely unsure of itself. Worse, it packs the Film with a number of unlikeable characters and does not really give much of a reason for the audience to root for them, much less see them survive. None of this would be an issue if the Film was inherently gleeful and knowingly winking at the audience, letting them know the comical outrageousness is purposeful. But it never comes across this way; rather, it feels deadly serious almost the entire time.
The Cast that Cronenberg has assembled here does the best they can with the material. Jay Baruchel gets a handful of solid character moments playing against type as an inhumanly sarcastic prick, and Emily Hampshire stealthily adds some genuine emotion into the Film’s most ridiculous moments. Gallagher is strong, albeit underutilized, the young Sirena Gulamgaus makes a lasting impression in her few scenes and Enrico Colantoni is having the time of his life playing Bob, the Film’s de facto villain. He is keenly aware of what the Film’s tone should be and is deliberately over-the-top from start to finish. I just wish he did not feel so out of place in so many of his scenes.
There are some good ideas scattered throughout HUMANE and the terrifying idea of voluntary euthanasia is captivating. But the execution is less than stellar and leaves the Film feeling more than a little disappointing. Had the tone been better structured, this could have been a knockout debut.
Elevation Pictures release HUMANE in theatres on Friday, April 26, 2024.
Review by David Baldwin for Mr. Will Wong
It is the near future – or at least an alternate universe present-day – and the US is at war with itself. Multiple multi-state rebel factions have emerged in the midst of a third term Presidential dictatorship, with untold numbers of citizens dead. Hearing that the President may surrender in just under a few days, a group of journalists set out to interview him and hope they reach him before the warring factions do.
That is the dystopic elevator pitch for CIVIL WAR, the road trip movie from hell conceived by Writer/Director Alex Garland. He previously gifted filmgoers with Annihilation and the Oscar-winning Ex Machina, and trades in their nightmarish sci-fi/horror elements for a brutal war picture that plays out like an all too real documentary thriller. Coupled with Rob Hardy’s stark and bold Cinematography and Glenn Fremantle’s impeccable sound design (both frequent Garland collaborators), it makes for an overwhelming experience that is inherently controversial and graphically unsettling. It starts off with a literal explosion and then never lets up as this group of journalists march through the war-torn remains of the US countryside on their journey toward the White House. The discourse on social media is already proving to be a lightning rod for good and bad faith observations, and they will only get stronger once the film is released wide this weekend.
But Garland knew what he was getting into creating and releasing CIVIL WAR mere months before the real-life US Presidential Election this coming November. He does what he can to remain as neutral and unbiased as the journalists photographing and reporting on the utter chaos that has destroyed the country, never depicting one side as any more heroic than another. This deliberately apolitical stance works in some instances and feels frustratingly tone deaf in others (especially when the façades over the real-world allegories are translucent at best). It is no doubt what is triggering the divisive reactions to the film, alongside Garland’s inability to really say anything new beyond the typical “war is hell” and “nobody wins” messages that are the beating heart of every anti-war film.
That may sound like a pan, but I do not fault Garland for sidestepping picking a side and for not trying to preach an answer on how to avoid making CIVIL WAR a reality. There is no way he could have pleased everyone and by setting the pace of the Film at a hair below absolutely relentless, he does not really allow for much reflection, introspection or depth beyond the brief moments between each stop the journalists’ caravan makes. You are bound to be disappointed if you stop to think and unpack the madness you are witnessing, and you go against Garland’s primary intention of making a film that is an experience or more to the point, an edge-of-your-seat thrill ride.
All of this would be meaningless and rendered moot without the stellar Cast Garland has assembled here. While I wanted a bit more from the admittedly pretty great Wagner Moura and was constantly delighted by character actor Stephen McKinley Henderson (who gets the Film’s only real stand up and cheer moment), CIVIL WAR belongs to the powerhouse performances from Kirsten Dunst and Cailee Spaeny. They play the hardened war photographer and the ingénue respectively, and both turn in some of their best work to date. We learn precious few details about either character, instead learning everything from their wordless facial expressions and raw emotions – many of which are shot in extreme close-ups. We hang on their looks of horror and disgust, and feel the stressful tremors coursing through their bodies every time they survive another encounter that should have killed them. It would be difficult to suggest one being better than the other; they are the antithesis of each other and effortlessly carry the movie from beginning to end.
And yes, Jesse Plemons delivers in his extended pressure cooker of a scene. He drops in like a nuclear bomb decked out with an enormous rifle and the most ridiculously red sunglasses you have ever seen and leaves a wide swath of devastation in his wake. He is only in the one scene, but it is the most memorable of the Film by far and will leave you paralyzed with fear, entirely too frightened to take your eyes off him.
Controversy be damned, CIVIL WAR is a relentless experience that kept me on my toes and practically dry heaving. It is an assault on the senses that explodes out of the gate and stays with you right through the devastating end credits. I have some qualms and contentions with some elements, and understand entirely why the film is so divisive. Yet I cannot help but admire what Alex Garland has created and would definitely recommend everyone see it on the most immersive screen they can find. It is one of the best films of the year so far and I have a feeling we are going to be talking about it for many months to come.
Elevation Pictures releases CIVIL WAR in theatres on Friday, April 12, 2024.
Our Interview with Garland here.
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.
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