Tag Archives: a24

12.25.24
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Babygirl

It’s so easy for erotic thrillers to fall too far into camp, or take themselves too seriously, which has caused many, such as Unfaithful or Basic Instinct, to fall into either melodrama or laughability. Babygirl not only succeeds because of its layered themes, but also because of its irony. It feels like a film that has to be made today. Only Halina Reijn behind the camera could’ve made Babygirl feel as audacious as it is without the moral discomfort taking over. The direction, cinematography, editing, and score pack surprises and evolve with the film as the story descends into murkiness and the situation gets increasingly out of hand. 

Nicole Kidman gives her most daring performance in years, a character that on the page seems like many others she’s played, but is ultimately anything but. The script explores Romy’s inability to recognize her freedom to choose after an awful decision, as she throws herself into a situation she suddenly can’t escape. The film dives into power and gender dynamics, workplace standards, and the murky idea of submission. Is power the ability to lie? To be reckless? To screw up, or even give that power up? Are those powers and luxuries different for women, even today?

While Kidman is incredible, Harris Dickinson is equally magnetic. He’s equal parts silly and brutish, and the tough masculinity bursts out of his awkward softness, indicating a desire to pin down and control. Their dynamic is fascinating, but the movie brilliantly leans into camp humor during some of the more cringey scenes, without it overshadowing the mature undertones. Antonio Banderas also has plenty of strong moments, playing Kidman’s husband, a complex, empathetic character in his own right. Sophie Wilde shines as well, and her scenes are brilliantly played and key to the film’s themes.

The film’s thrills come in this fusion of feelings we have towards these characters, and how easily it all escalates. Reijn is clearly having fun with it all, whether the shots of corporate Manhattan, the mirror she holds to these characters, or the remarkable soundtrack choices. The runtime is enticing and you never quite know what you’re about to get. There’s nuance to unpack and never provides easy answers to its questions about its workplace and familial settings, but it all feels so effortless that you never feel like the movie’s working too hard to make you think, laugh, or have fun.

Babygirl - Wikipedia
11.06.24
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Heretic

When two Mormon missionaries arrive at Mr. Reed’s house attempting to convert them, they find themselves stuck there in a game of wits, fighting for their lives.

When two Mormon missionaries arrive at Mr. Reed’s house attempting to convert them, they find themselves stuck there, fighting for their lives.

Heretic doesn’t play out with the typical levels of jump scares and macabre we’re used to from horror films these days — rather it’s a battle of wits in which the characters contemplate belief, religion, and faith… oh, and an adult man is terrorizing two young women as they’re held captive in his house, which becomes a maze of puzzles related to his disdain for their faith. Hugh Grant is rather terrifying as Mr. Reed here, but he’s clearly having such a delightful time in the character’s skin. He’s as threatening as you can imagine a mysterious man in his 60s alone in a large house but also has plenty of outlandish and hilarious dialogue. Some viewers simply looking for an intellectual dark comedy could most definitely find satisfaction in watching Heretic. You also genuinely care about our two protagonists. Sophie Thatcher and Chloe East both bring cleverness to the film, a willingness to challenge their captor, and not break down and quit. Thatcher brings a rebellious sense of mystery to Sister Barnes, while Chloe East is heartfelt and capable as Sister Paxton.

Though Heretic takes some time for the uniqueness and thrills to set in, it stands out from other recent horror films thanks to its restraint on its scares, as well as its smart screenplay and chilling villain. The three performances are integral and lift up the film’s shocking fun, and may even make you think about some big ideas all while you’re enjoying this dark ride.

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.

07.21.23
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Past Lives

Nora and Hae Sung, two deeply connected childhood friends, are wrested apart after Nora’s family emigrates from South Korea. Twenty years later, they are reunited for one fateful week as they confront notions of love and destiny.

Though stories about “what if” romances are not alien for audiences, director Celine Song introduces herself to the mainstream with a magnificent film that’s beautifully told through her gentle eye and script. The style is filled with meditative melancholy, exploring the beauty of fate and what does and doesn’t come out of it, and that happiness and destiny can also mean loss and regret — this is heavily indicated through Greta Lee, who’s lovely performance inhabits lots of emotions but with great restraint in her profoundly kind and poignant expression of the character. Teo Yoo is also excellent as Hae Sung, and John Magaro is delightful as Nora’s husband who deals with this interesting situation for him with patience, understanding, and goodness.

The beautiful wide shots that linger on the characters express the energy they feel within the space they inhabit, and the calming score is simply unforgettable. Within moments of the film, the simplistic yet intimate style pulls you into the love, pain, and reflection these characters experience. It’s one of the most enchanting, touching movies about love and connection I’ve ever seen, deserving a mention in the same breath as Her and Before Sunrise. Yet this one may not just make you reflect on romance, but about those special people in your life who may come in and out but change your life forever. It’s one of those films that digs to the deepest points of your heart and never leaves and may leave you as filled up as heartbroken, and may end up being a defining film for 2023.