Monthly Archives: June 2024

06.29.24
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A Quiet Place: Day One

Though A Quiet Place worked best due to its minimal cast and remote settings, this prequel works strongly by embracing the chaos of a Manhattan monster invasion, and the desolation left behind, with that large scale terror that made Cloverfield such a cultural stamp. Michael Sarnoski, who directed the excellent Nicolas Cage drama Pig, effortlessly manages to replicate the beautiful tension and almost melodic sound design that John Krasinski distinguished this franchise with in the first two films. Though this film isn’t as heart-racing and emotionally fine-tuned, it’s still got a fantastic protagonist and captivating thrills. Though it’s very well-filmed when focusing tightly on its lead characters, there are a few unnecessary cuts to wide shots that do harm that tension, even if just for a moment. If any actress can command an audience and emote in a way as brilliantly as Emily Blunt — well, that would clearly be Lupita Nyong’o. It’s impossible to look away when she’s on the screen, as her character expresses instability yet empathy that carries the viewer with her from the film’s very first shot to its last. Joseph Quinn also shines, delivering an inconsolable fear to his character that’s also aligned with his courage and generosity.

The film’s real experience comes from use of sound — the amplification and implications of certain sounds compared to others in the mix takes you on a ride of sorts and keeps you on the very edge of your seat. It cleverly paces itself and uses its wider settings, but never sacrifices the mystery that made this franchise great: that all of civilization and hope might just be lost to these deadly creatures beyond what we see. It’s different enough from its predecessors to justify its existence as a spin-off prequel, and conceptually similar enough to continue playing with the idea of sound-hunting monsters and near-silent human leads in exciting and satisfying ways.

06.25.24
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The Bikeriders

After a chance encounter, headstrong Kathy is drawn to Benny, member of Midwestern motorcycle club the Vandals. As the club transforms into a dangerous underworld of violence, Benny must choose between Kathy and his loyalty to the club.

The Bikeriders may be trying to capture that star-powered crime film that Scorsese’s Mean Streets and Goodfellas may have popularized, but it’s also got director Jeff Nichols doing what he does best — intimate, mid-budget character dramas with a rougher edge. The movie’s also very much focused on its stars, with Austin Butler attempting to induce as much swoon as usual, but also delivering a soft shame underneath his stoicism. Though Jodie Comer’s accent takes a scene or two to get used to, she’s an excellent lead here, continuing to prove her range and likability across genres. Tom Hardy is in particular brilliant — even without the appealing 60s aesthetic and dynamics between said “macho men”, the film would still work as a showcase for his talent. Though his character is a bad man and often uses violence and intimidation to get what he wants, he’s not a full-on antagonist to the audience like you’d say about his character in The Revenant. Hardy gives the character of Johnny an outcast side, a man who’s built everything he knows to run from the dejection that used to surround him, and deep down longs for brotherhood beneath all the motorbike gang dynamics. It’s so inviting to see Hardy completely throw himself into the most subtle, sympathetic, and gruesome parts of the character.

Though the style and cast often elevate this film into a great one, the story may prove predictable for some. However, Nichols’ approach to its characters and setting feels attractive and gritty, and what it lacks in emotional punch, it certainly makes up for with performance, as well as the production value, sound editing, and development of the gang culture that surrounds the film.

06.13.24
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Inside Out 2

Riley has just turned 13 and has finished middle school, and Joy, Sadness, Fear, Anger, and Disgust are continuing to guide her through the ups and downs of growing up — if only things didn’t get so complicated when Anxiety arrives with a new wave of emotions to take over.

Inside Out 2 certainly doesn’t reinvent what it inherited from its predecessor, but it certainly expands on it — and when your predecessor is one of the most brilliant animated movies in Pixar’s history, who are we to complain? The beautiful animation builds the corners of the world (or should I say, Riley’s brain) with an endless captivation. The visual look and feel of the first film was a huge part of what made it so magical and immediately timeless, and this movie captures that with a new breath of life. The world-building is also filled with clever puns and fun corners that we may often relate to. Amy Poehler again commands the ship as captain of this film’s cast of emotions, and newcomer Maya Hawke is terrific as Anxiety, who shakes things up for Riley and the emotions in a frustratingly messy way. Who would’ve thought? Ayo Edebiri also shines as Envy, as does Adèle Exarchopoulos as Boredom.

Seeing the emotions come into conflict and/or work together to act and react in the best ways for Riley is entertaining, but the film never loses the first movie’s relentless humor as well. There’s a clear agelessness that comes with the story and themes of the film. In the nine years since Inside Out was released, I feel no less that Inside Out 2 is aimed for me than when I watched the first one on the big screen. The universality of anxiety and unconditional self-love can be deeply felt by any audience member of any demographic, and start meaningful conversations between anyone. With that, we’re reminded of the purpose of some of Pixar’s greatest hits. Though watching Inside Out in 2015 was a magical experience that maybe no film will ever replicate, this sequel hits all the right notes in the best way we could wish for. It’s a funny, cheeky, gorgeous, and profound emotional release and Pixar’s best film since Soul.