Author Archives: filmtoppings

07.15.24
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Twisters

Kate Cooper, a retired tornado-chaser and meteorologist, is persuaded by her former colleague Javi to return to work with a new team and new technologies to stop deadly new tornadoes from wreaking havoc on central Oklahoma.

Twisters is a film that takes a vastly similar premise to the original, and a genre that’s been tired and torn since that first film’s release — a few good-looking movie stars trying to survive a deadly natural disaster — but winds up being better and more engaging than that first film in just about every way. The stars’ endless charm is the film’s secret weapon. Often in a modern effects-centric disaster film, one might find themselves either bored to death by the human scenes or yelling at their dumb decisions. The characters here aren’t just compelling, they’re also so much darn fun to watch. Daisy Edgar-Jones (of Normal People, Fresh, and Where the Crawdads Sing fame) is one of the reasons the film is so interesting to watch, and Kate’s intelligence, empathy, and passion for making a difference through science make for an emotional lead. If Hit Man hadn’t already proved that Glen Powell was a superstar here to stay, he’s again awesome here as a scientifically smart, behaviorally dumb Internet-famous tornado chaser whose group and approaches clash with Kate’s. His character genuinely feels layered, in addition to the funny cowboy side we first meet, and his chemistry with Edgar-Jones is irresistible. Not many actors have the charm Anthony Ramos has given every film he graces, and his presence in the film isn’t taken for granted. A few great actors like Brandon Perea and Sasha Lane could’ve been given a little more to do, though.

In addition to genuinely wanting to watch these characters interact and survive, the tornado action and destruction are a blast. The effects look like a great blend of that Amblin Spielbergian practical look and some large CGI set pieces. They all come together seamlessly with the booming sound effects to create an edge-of-your-seat experience. But director Lee Isaac Chung’s style is never only about big effects and havoc. The characters, science, and even the editing are always key to the story and pace here — not to mention, the soundtrack adds a terrific lot to the film. This new take on a familiar story meshes the old and the new with plenty of genuine thrills that I haven’t felt in many franchise films this year. But none of it matters without its stars’ infectious charisma, which, together with the tornado action, will put a big smile on your face and prove one of the year’s strongest blockbuster sequels that undoubtedly tops the first.

07.13.24
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Fly Me to the Moon

Marketing specialist Kelly Jones and launch director Cole Davis cross paths at the Kennedy Space Center and sell America the race to put a man on the moon. But things get truly complicated when NASA orders Jones to come up with a contingency plan to mankind’s greatest achievement.

Scarlett Johansson and Channing Tatum shine in this romantic star vehicle set in the backdrop of the space race, but the film flourishes most when focused on its playful interactions with history and period mood. Tatum is particularly strong as a character whose authority is thrown into messy situations, and Jim Rash is a hilarious standout as a director friend of Johansson’s character. Ray Romano also gives potentially his most delightful performance since The Big Sick as a NASA scientist who gets some of the film’s most touching dialogue. The $100 million budget also pays off as you feel the grand scale of NASA’s sites and activity, as well as the gravity (no pun intended) of this place and its happenings for the world and human possibility. Some scenes may fall into the shadow of First Man due to some of the same events being covered, but it’s not really fair to compare any film to that one technically. The film work’s best when embracing this ambition alongside it’s bright, comedic tone, and this energy creates an engaging watch, even when the film is low on substance — or the substance to the lead characters just isn’t that memorable. Still, Johansson and Tatum’s performances are enough to entice the audience and though the editing is a bit aggressive at times, and the film doesn’t leave you with as much food for that as it does toying around with history, it brings its 60s time period — and the wonder that came with NASA at the time — to life with enough flare to induce smiles, laughs, and a nice trip to the movies for all.

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.

05.25.24
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Furiosa: A Mad Max Saga

As the world fell, young Furiosa is snatched from the Green Place and falls into the hands of a great Biker Horde led by the Warlord Dementus. Sweeping through the Wasteland, Furiosa must survive many trials as she puts together the means to find her way home.

Action movies have lost the rare beauty of the aesthetic of Fury Road, and its prequel nine years later now. To revisit the Wasteland is a reminder of George Miller’s impeccable vision, true to his Australian roots, and imaginative and demented at every turn. The beauty of this post-apocalyptic warzone where mankind runs wild, destroying each other for resources, is captured with a canvas-like flare that pops out in every second. Perhaps only the Mad Max franchise can so seamlessly ditch its main character without any concern from audiences, yet Anya Taylor-Joy seamlessly adds to the rich lore of the titular character that Charlize Theron already made so legendary. Her silent pain and rage still never overshadows the character’s likability, but Taylor-Joy always feels perfectly placed in this big and mad world. Speaking of mad, Chris Hemsworth’s dive into villainy makes you ask why he hasn’t taken on more psychopaths before (shoutout to Bad Times at the El Royale). His twisted heartlessness and unleashed behavior makes his character is evil as he is delightful, and the actor nails the long batches of dialogue the character has. Tom Burke is also excellent as Praetorian Jack, a character who will certainly stick out for audiences as an anchor of sorts, whether in a haunting or affectionate way.

The one thing Furiosa lacks that made Mad Max: Fury Road the defining action movie is that pitch-perfect pace, and Furiosa‘s slow build across the character’s life’s events is a stark contrast to that lightning speed. Though the buildup may last long, the action is well worth it, and the structure does anything but play it safe afterwards, making this film more heartbreaking and intimate than the last. The sound is also booming and the body count is joyously high, with the best of Miller’s witty editing and inspired scenarios involving vehicles and large battle settings. There’s not a lot of suspense with certain characters knowing where Fury Road picks up, but it also contextualizes Furiosa’s journey to redemption in the aforementioned film, and is a welcome return to the spectacular world-building that we already love Miller and this franchise for.

05.11.24
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Kingdom of the Planet of the Apes

Set several generations in the future following Caesar’s reign, apes are the dominant species living harmoniously and humans have been regressed to a feral state. One young ape undertakes a harrowing journey that will cause him to question all that he has known about the past and to make choices that will define a future for apes and humans alike.

More Apes after the conclusion of the incredible Caesar trilogy with War for the Planet of the Apes sounded too cash-grabby and too soon. What was wise on the filmmakers’ behalf was to treat this installment not as a direct sequel or reboot, but a slight reset of sorts as we pick up 300 years later, focusing on the legacy of the apocalypse and Caesar’s leadership. Apes are no longer living in fear of humans, rather Earth has become their planet, which creates an intriguing new setting that still doesn’t quite undo the finality of the last film. Ever present is the amazing dedication to the visuals and world-building. The motion-capture technology used to transform the actors into chimps, and the performances themselves, are impressive and make you forget for the entire 2 hour and 25 minute runtime that you’re watching performers rather than real apes in this world. Though Andy Serkis as Caesar was an iconic leading character that’s impossible to top, Owen Teague gives a sympathetic performance as Noa who strongly takes us on this adventure in this new era for the planet. Peter Macon also stand out as the wise Raka, and Freya Allan is especially expressive in her deep performance as human character Mae, though the script missteps in where to take her path later on. Kevin Durand gives such a committed presence to the villainous and tyrannical Proximus, a more charismatic version of the manipulative and sadistic Koba from Dawn. Proximus’ dialogue and physicality dominates whatever else is in the screen and truly terrifies, and his objective is quite menacing as well. However, his motivations, compared to Koba (who many ranked as one of the 2010s’ best villains), leave less room for moral grey area and rather feel like “pure evil”; there’s no layer or nuance to the terror Proximus wants to inflict or how he got there, though I can’t complain as to how well Durand brings the character to life.

Kingdom is most interesting when focusing on the apes’ new ways and how Caesar’s legacy impacts the sects of apes in different ways. But gone is the intrigue of the human-ape conflict and its undertones for human nature, though the film doesn’t understand this and often dwells too much in conflicts that War had ended with such finality, instead of embracing its other themes as its strengths. There’s also a character played by a recognizable Oscar nominee who’s entire being there felt unnecessary and simply complicates the logic of the world building further. The film isn’t short on great action and visuals in this imaginative, lively, post-apocalyptic world. It’s just that when you have two practically perfect films in the franchise preceding it, as Matt Reeves helmed them, it’s harder for this film to escape that shadow especially when the last one ended so definitively and didn’t beg for any sort of ambiguity or continuation. Kingdom of the Planet of the Apes is an engaging ride that should probably be seen on a large screen, even when it stumbles in justifying its existence and polishing its character motivations. Not to mention, it may have just been to soon for this inevitable continuation to a perfect ending, and the film’s final minutes raise more unnecessary questions that undo what we just saw than exciting invitations for more.

05.01.24
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Challengers

Tashi, a former tennis prodigy turned coach, turned her husband Art into a champion. But to overcome a losing streak, he needs to face his ex-best friend, Patrick, who’s also Tashi’s ex-boyfriend.

One thing that’s thrilling about Challengers is that it never gives you easy answers. Is it about devotion? Manipulation? Triumph? Doom? All of them? One thing’s for sure: it’s a film about passion. Raw physical and emotional passion between humans for one another, and for the kick they get doing the one thing they can’t live without — in this case, playing tennis. And for all the right reasons, Luca Guadagnino is at his most maximalist stylistically to convey this raw passion these characters feel and bring us into the world, from exciting editing and some experimental cinematography to the synth, almost Run Lola Run-esque score from Trent Reznor and Atticus Ross. It’s the polar opposite to his more naturalistic, minimalist approach to the intimacy of Call Me By Your Name, and an upping of the ante of the wilder style of Bones and All. Zendaya gives one of her heaviest performance, portraying Tashi perfectly over a long span of time, through fascination, ambition, longing, control, and deceit. Josh O’Connor and Mike Faist are also great, particularly Faist, whose charm entrances the screen. The West Side Story star announces himself as a powerhouse whose apparent harmlessness you can’t help but feel for. Their friendship established in the opening minutes of the film sets the stage for everything to come, and makes you care for how the rest may unfold or fall apart.

Challengers is the rare film that transports you into its world in a case where there are only 3 characters who really bear any significance. There’s a scene between the three main characters that happens early on chronologically that enchants you and sucks you into the close, complicated intimacy they inhabit in this space, and the film never lets you go once this scene happens until the credits roll. It’s an experience that’s dynamic, unpredictable, and darkly human, with three riveting leading performances at its center, and sets the bar the rest of what’s to come in Guadagnino’s directorial career.

04.27.24
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The Fall Guy

Colt Seavers, a down-and-out stuntman, must find the missing star of a new blockbuster film he’s doubling on, while (hopefully) winning the director (and his ex-girlfriend)’s affection back.

David Leitch continues to be a leading voice in action movies with his creative and passionate voice for action and comedy that often turns out star-studded and visually appealing. Much of the film’s charm comes from Ryan Gosling’s brilliant turn as Colt. Like his Oscar-nominated Ken in Barbie, Colt is a sad shell of a “cool guy” who’s too evidently madly in love. Gosling’s comedic timing is at the lightning speed of his Ken, or Holland March from The Nice Guys, and his big personality infuses Colt with a foolishly endearing heart. Emily Blunt also gives one of her most entertaining performances of late as the romantic lead, and Winston Duke is also loads of fun as Colt’s best friend and the film-within-a-film’s stunt coordinator, while Aaron Taylor-Johnson, Hannah Waddingham, and Stephanie Hsu also round out the stellar cast. Waddingham in particular is very extravagant but delightful as Gail, the producer of the film Colt’s working on.

The most clever and thrilling part of The Fall Guy is that Leitch makes the movie stunt-filming scenes as high-stakes and exciting as the actual action scenes of the film. The great scale, dedication, and sound effects make shooting an action movie stunt feel like the incredible, hard-achieved feat that it really is. Additionally, the lightspeed humor feels effortless thanks to the writing, editing, and the cast’s delivery. The lively soundtrack does have a few generic and overused selections, but it’s not enough to sink this smooth romantic action comedy where all the different genre pieces play off each other pitch-perfectly. The director’s career as a stunt coordinator is made evident by the love and tribute to the stunts community here, in this blockbuster that’s hilariously pleasing and greatly worth the big screen price of admission.

04.24.24
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Civil War

A journey across a dystopian future America, following a team of military-embedded journalists as they race against time to reach DC before rebel factions descend upon the White House.

Alex Garland is often not one to shy away from dark images as they unfold, but there’s something particular about the violence in Civil War, as if you’re peeking at something you’re not supposed to, only it’s happening in your own yard. Garland seems to have something to say with the “action” here that’s proven itself in reality too much not to struck a chord when it’s depicted way — Americans being just a few disagreements (and arms) away from completely tearing each other apart. What began this second civil war in America is none of our concern, rather the ease at which we’ve turned on the very fabric of democracy. Bloodthirsty militias and anarchists seem too familiar a sight, though we’re following this dystopian war through a group of journalists. Kirsten Dunst gives a powerful performance, as she reveals the most about her character in the quietest of moments. Wagner Moura also gives the film a lot with his charismatic, knowledgeable, and authoritative presence among the protagonists. Cailee Spaeny is notably wonderful as the ambitious younger photographer on the journey who’s horrified responses to what unfolds in front of her are probably how we’d react to, let’s face it. Stephen McKinley Henderson is a fantastic presence as well who adds a lot with his wisdom and charm to each of Garland’s projects that he’s in.

Though Civil War is minimal on exposition as to the larger politics of this war — rather we get an idea of the state of the nation through smaller moments and remarks — the action is incredibly harrowing and graphic. The sounds of gunfire and combat roar through the speakers, and blood is a “loud” reality and consequence. It all plays out without the “cool” sort of filter many Hollywood action movies have, rather it’s an unfolding of sheer chaos and carnage through intentionally amassed manpower, in the way that Children of Men and Sicario throw you into uncontained, senseless warfare. Best of all, the climactic battle at the center of the third act is exhilarating and ends in the most Alex Garland rug-pulling way possible for a film with this subject matter. Fans of Garland’s daring and mature work be interested in the punch he packs here, but for anyone who’s simply looking for an action film — this one’s singular and profound but does not hold back, and when it’s untamed, it’s at its most engrossing.