NEW THIS WEEK NOVEMBER 29, 2024 (IN THEATERS AND ON HOME VIDEO)
BUG--Before "The French Connection" and "The Exorcist" made him one of the hottest directors in Hollywood, William Friedkin was primarily known for two nonpareil stage-to-screen adaptations: "The Birthday Party" (1968) and "The Boys in the Band" (1970). After a string of high-profile bombs like "Jade" and "The Hunted," Friedkin returned to his roots with this unapologetically gnarly 2007 movie based on a play by Chicago wunderkind Tracy ("August: Osage County") Letts. The film also provided Ashley Judd with a welcome break from the godawful cop movies ("Twisted," "Double Jeopardy," et al) that had become her bread and butter after bursting onto the scene with a breakout performance in 1993's "Ruby in Paradise." Judd's Aggie is a divorced Oklahoma waitress living in a shabby desert motel who makes an unexpected soul connection with enigmatic Gulf War vet Peter (Michael Shannon). Peter fervently believes that bugs have been implanted in his blood cells by the government as some kind of crackpot military experiment, and Aggie soon begins to share his paranoid delusion. Judd's climactic monologue is utterly devastating, and Shannon matches her in his unwavering commitment to a supremely difficult role. Rather than attempt to disguise the movie's theatrical origins, Friedkin wisely embraces them. Mostly confined to a one-room setting, it's a deliberately (and effectively) claustrophobic chamber piece. Buoyed by the artistic rejuvenation he experienced by directing "Bug," Friedkin would go on to adapt another Letts play (the equally good "Killer Joe" starring Matthew McConaughey) four years later. The KL Studio Classics Blu-Ray includes Friedkin's audio commentary; the featurette, "'Bug:' An Introduction;" a discussion with Friedkin; and the original theatrical trailer. (A MINUS.) https://youtu.be/QMRljLE8gQA?si=RLY6h1KSDh_x8kRH
THE CRITIC--In his juiciest screen role since 1998's "Gods and Monsters" in which he played gay "Frankenstein" auteur James Whale, Ian McKellan slips effortlessly under the skin of egomaniacal British theater critic Jimmy Erskine, a monster who thinks he's god. Worried that his barely-closeted homosexuality will cost him his job with the newspaper's stiff-upper-lip owner (Mark Strong), Jimmy hatches a diabolical blackmail scheme. He recruits aspiring West End ingenue Nina (Gemma Arterton) to seduce his married boss, planning to use the (well-documented) indiscretion to give him the leverage he needs to hold onto his job. In return, Jimmy promises Nina rave reviews to help boost her nascent stage career. Naturally it all comes crashing down in the most disastrous--but wickedly amusing--fashion. Patrick ("Closer") McCabe's acerbic screenplay is smoothly directed by Anand ("Hilary and Jackie," "Shopgirl") Tucker who clearly relishes every ounce of Jimmy's vitriol, and does a smashing job of recreating the 1934 London setting. Arterton, Strong and Alfred Enoch as Jimmy's live-in secretary/boy toy all deliver terrifically accomplished performances, but it's the Oscar-worthy McKellan's movie from start to finish. The Greenwich/Kino Lorber DVD includes an entertaining behind-the-scenes featurette. (A MINUS.)
https://youtu.be/ai8mPOjoSHA?si=-t121xM7q-fMOeiE
DAYTIME REVOLUTION--The title of director Erik Nelson's fascinating documentary refers to the week in February 1972 when John Lennon and Yoko Ono guest-hosted Mike Douglas' syndicated daytime talkshow. Because Douglas' program was broadcast into millions of households--Nielsen-wise, it made Oprah and Ellen's ratings seem like Public Access numbers--it was a rare opportunity to expose Middle America to the counterculture. The guest list (including Ralph Nader, Black Panther Chairman Bobby Seale, Yippie Jerry Rubin and a macrobiotic chef) reads like a veritable Who's Who from Richard Nixon's White House enemies list. (In fact, John and Yoko would soon make that list, launching a years-long campaign to have them deported for being "subversives.") To help contextualize the week, Nelson begins clips of each show with snippets from that day's evening news. One of the most amusing features of the film is watching the priceless interactions between Mr. Square Douglas and the ever-groovy John and Yoko (Ono's gnomic "box of smiles" clearly befuddles the more literal-minded Mike). Another highlight is seeing how excited Lennon is to be sharing the stage with one of his icons, rock and roll pioneer Chuck Berry. Considering that 1972 ended with the re-election of Nixon, it seems depressingly evident that Douglas' Silent Majority audience learned nothing from the lessons in grooviness, civil rights, et al that "Daytime Revolution" taught them. Kino Lorber's Blu Ray includes three uncut musical performances with John and Yoko from the week's telecasts. (A MINUS.)
MOANA 2--This cash-grab sequel to Disney's 2016 animated hit began life as a Disney+ spin-off series and looks it. The trio of directors (David G. Derrick Jr., Dana Leydoux Miller and Jason Hand) desperately try recapturing the magic of the original, but fall short in nearly every department. Tasked with finding the lost island of Motufetu, Polynesian pixie Moana (Auli'i Cravalho) and heavily tatted demi god Maui (Dwayne Johnson) sail across the uncharted waters of Oceania. And did I mention that multi-tasker Moana must also battle the demon Nabo to remove her family curse? Despite its narrative busyness, the film lacks both suspense and wit. None of the new, not-written-by-Lin-Manuel-Miranda songs are remotely memorable (let alone hummable) either. Young kids who grew up on the "Moana" DVD probably won't mind the blandness and predictability, but it's unlikely to engender the sort of passion that helped make its predecessor the most-watched movie of the past five years. (C MINUS.)
https://youtu.be/hDZ7y8RP5HE?si=oxMicabbDkaVRlqM
MOUNTAINS OF THE MOON--Twenty years after directing 1970's "Five Easy Pieces," Bob Rafelson helmed this intimate, thinking-person's epic about the fraught relationship between 19th century explorers Sir Richard Burton (Patrick Bergin) and John Hanning Speke (Iain Glenn) whose Holy Grail mission was locating the source of the Nile. Stunningly lensed by the great Roger Deakins before he became the Coen Brothers' in-house DP, the movie flopped in its theatrical release but--like many previous Rafelson films ("The King of Marvin Gardens," "Stay Hungry" and "The Postman Always Rings Twice")--gained a considerable cult following over the ensuing decades. Chiefly focusing on the East African expeditions that Crimean war veterans Burton and Speke embarked upon in 1855 and 1857, it's more of a (dual) character study than a standard-issue adventure flick. Alpha Male Burton was something of a sexual libertine (he even translated the "Kama Sutra" into English!) while the more passive Speke nearly chokes on what seems like an unrequited love for his firebrand partner. The movie's major flaw is the miscasting of Bergin (best known as Julia Roberts' husband-from-hell in the following year's "Sleeping With the Enemy") who simply lacks the charmisma and dynamism of a larger than life figure like Burton. (I kept thinking what the young Daniel Day Lewis could have done with the role.) Glenn, who subsequently gained fanboy cred on HBO's "Game of Thrones," is more effective in his largely recessive role, and there are strong supporting turns from Fiona Shaw, Richard E. Grant and Kenyan actor Paul Onsongo as Speke's Gunga Din-like manservant. Based upon William Harrison's historical novel (he cowrote the screenplay with Rafelson), "Moon" is finally available on Blu-Ray courtesy of KL Studio Classics and includes a commentary track by critic Adrian Martin as well as a "making of" featurette. (B PLUS.)
ONE, TWO, THREE--Billy Wilder's rollicking 1961 follow-up to "The Apartment" stars James Cagney in his final leading role--he effectively retired from acting and wouldn't make another film until Milos Forman's "Ragtime" twenty years later--as an American Coca-Cola executive living in Cold War Germany. Cagney's Mac McNamara has his hands full after learning that Scarlett (Pamela Tiffin), his boss' va-va-voom daughter, has secretly married a zealous East German Communist (Horst Bucholz's Otto). With Scarlett's father due to arrive for an impromptu visit in 24 hours, Mac is tasked with somehow managing to transform Otto into the sort of model capitalist any American Titan of Industry would be proud to call his son-in-law. Co-written by frequent Wilder collaborator I.A.L. Diamond, the movie probably has more rat-a-tat-tat screwball dialogue compressed into its 109 minute run time than a half dozen Golden Age comedies, most of it delivered at the speed of sound. A Christmas Day release, "One, Two, Three" was only a modest hit and generally acknowledged as a disappointment after "The Apartment" which had swept the Oscars that spring. But like much of Wilder's early '60s work ("Irma la Douce," "Kiss Me, Stupid" and "The Fortune Cookie"), it looks a lot better today than it probably did at the time, kicking off a series of increasingly dyspeptic Wilder comedies that pushed the envelope on what was deemed "morally acceptable" in Hollywood movies. The recently issued KL Studio Classics' Blu Ray includes historian Michael Schlesinger's audio commentary; a lively chat between Wilder and Oscar-winning "Tin Drum" director Volker Schlondorff about the film; a featurette with Wilder discussing the politics of "One, Two, Three;" and the original 1961 theatrical trailer. (A.) https://youtu.be/Qo2Xsng4s5g?si=KqcsfD_Q2efd2fU2
PAPER MOON--The third perfect movie in Peter Bogdanovich's amazing string of early 1970's critical and box-office smashes ("The Last Picture Show" and "What's Up, Doc?" preceded it), "Paper Moon" was infinitely superior to the other 1973 period con man movie (George Roy Hill's "The Sting"). Yet Bogdanovich's masterpiece didn't even rate a Best Picture or Director nomination from AMPAS while Hill's year-end blockbuster swept the field. The film, did, however win 9-year-old Tatum O'Neal a Best Supporting Actress Oscar--she remains the youngest competitive Academy Award-winner--for her astonishing thesping debut. As Addie, an orphaned tomboy in Dust Bowl Oklahoma who latches onto smooth-talking Bible salesman Moses Pray (Tatum's real-life father, Ryan) and won't let go, Ms. O'Neal so thoroughly dominates the movie that it's easy to overlook the wonderful performances surrounding her. Besides O'Neal pere (never better), there's fantastic support from Madeline Kahn (also Oscar-nominated as Trixie Delight, the hoity-toity floozy Moses becomes briefly infatuated with), P.J. Johnson (hysterically funny as Trixie's deadpan Black maid, Imogene) and Bogdanovich rep player John Hillerman in a fun dual role as a scurrilous bootlegger and his crooked sheriff brother. Shot in luminous black and white by ace New Hollywood cinematographer Laszlo ("Easy Rider," "Five Easy Pieces") Kovacs, "Moon" is that rare period film that seems to get even the tiniest details right. And two-time Oscar winner Alvin ("Ordinary People," Julia") Sargent's screenplay does a superb job of compressing/condensing Joe David Brown's 1971 source novel, "Addie Pray." Trivia note: it was Bogdanovich compadre Orson Welles who first suggested retitling the screen adaptation "Paper Moon," inspired by the 1933 song co-written by Harold Arlen and Yip Harburg. ("That title is so good, you shouldn't even make the picture, just release the title," Welles legendarily opined.) Besides Bogdanovich's audio commentary, the Criterion Collection Blu-Ray includes an introduction to the film by Bogdanovich; a new video essay by Bogdanovich biographer Peter Tonguette; a three-part making-of documentary with Bogdanovich, cinematographer Laszlo Kovacs, production designer Polly Platt and associate producer Frank Marshall; an archival interview with Platt; excerpts from a 1973 episode of Johnny Carson's "Tonight Show" with Bogdanovich and Ryan and Tatum O'Neal; location-scouting footage with Marshall's audio commentary; and an essay by Mark ("Pictures at a Revolution") Harris that's only spoiled by his bonkers, albeit fashionably revisionist claim that Platt was a co-equal auteur of Bogdanovich's early hits. Balderdash. (A PLUS.)
NOW AVAILABLE IN THEATERS, ON HOME VIDEO AND/OR STREAMING CHANNELS:
THE BEST CHRISTMAS PAGEANT EVER--When dithering housewife Grace (Judy Greer) volunteers to helm the local church's 75th anniversary Christmas pageant after the regular director is sidelined with a broken leg, she suffers the wrath of the community for casting the hard luck Herdmans ("absolutely the worst kids in the history of the world" according to Grace's bratty tween daughter played by an obnoxious Mary Belle Wright) as the leads. Because the film's director (Dallas Jenkins) is the ham-fisted auteur behind "The Chosen" franchise, it's inevitable that the experience of playing Mary, Joseph, et al will somehow "redeem" the heathen Herdmans. The most offensive thing about the film is its utter lack of curiosity about the Herdman kids themselves. We never once venture into their crumbling shack of a house, learn how they survive (eat, have clothes to wear, etc.) or whether there's even a parent or adult guardian in their lives. It's like they only exist to serve as repositories for heavy-handed Christian proselytizing. While I frequently complain about how overdone multi-culturalism is in contemporary movies, Jenkins' tone-deaf adaptation of Barbara Robinson's beloved 1972 kid-lit favorite takes things so far in the opposite direction you'd swear it was made in 1952. It's the whitest movie I've seen in years, and preachy/pandering to boot. Even Greer, usually a refreshingly sardonic screen presence, is disappointingly bland-vapid here. (D.)
CONCLAVE--When the Pope unexpectedly dies, Cardinal Lawrence (Ralph Fiennes) is appointed Dean of the College of Cardinals who are tasked with overseeing the election of a new pontiff. The fact that Lawrence is currently experiencing a crisis of faith doesn't make his job any easier. Complicating matters even further is the incessant jockeying for power among his clerical peers. Old School Italian Cardinal Tedesco (Sergio Castellito) wants to take the Church back a hundred years while devious Canadian Cardinal Tremblay (John Lithgow) could give Watergate-era Nixon tips on dirty campaign tricks. An early front-runner, Nigerian Cardinal Adeyemi (Lucian Msamati), turns out to have a skeleton in his closet that Tremblay conveniently brings to the surface. And what's up with Kabul Cardinal Benitaz (Carlos Diehnz) whose very existence is greeted with skepticism throughout the Vatican. Based on Robert Harris' best-selling novel, Oscar-winning director Edward Berger's follow-up to 2022's "All Quiet on the Western Front" is another stellar literary adaptation: a hugely entertaining thinking person's thriller complete with a terse string score and judiciously timed jump cuts that wouldn't be out of place in a Blumhouse horror flick. There isn't a single weak link in the Tiffany-plated cast (Fiennes does some of the best work of his storied career), with special mention to Stanley Tucci and Isabella Rossellini as, respectively, Lawrence's sounding-board/best friend and the all-seeing nun who knows everyone's secret. (A MINUS.)
GLADIATOR 2--Bigger, noisier and replete with all the frequently dodgy CGI a 2024 mega-production can afford, Ridley Scott's "legacy" sequel to his Oscar-winning sword-and-sandal blockbuster inevitably pales in comparison with the Russell Crowe original. Set 16 years after the original film ended, the story picks up when Maximus and Lucilla's now-grown son Lucius (Paul Mescal) is captured by General Marcus Acacius (Pedro Pascal) and brought to Rome as a gladiator-in-training. The fact that Acacius is now married to Lucilla (Connie Nielsen reprising her role from the 2000 movie) adds a potentially interesting Oedipal dimension to the plot that screenwriter David Scarpa stubbornly refuses to develop. Under the tutelage of Macrinus (Denzel Washington), the Don King of Ancient Rome, Lucius becomes the most fearsome gladiator on the block. The Colosseum is flooded for full-scale sea battles (yes, there are sharks) and even rhinos are enlisted to battle the combatants. Despite amusing support from Fred Hechinger and Joseph Quinn as mincing twin emperors Caracella and Geta, the movie is largely devoid of humor. Washington does his usual pro job and Pascal impresses in an underwritten role, but the biggest problem is the miscasting of Mescal. One of those interchangeable British pretty boys who, for some unfathomable reason, has become Hollywood's latest flavor du jour, Mescal lacks both the gravitas, musculature and thesping chops to make Lucius a compelling screen presence. It's hard to believe this neurasthenic wimp could ever rise to become the savior of Rome. Since every movie is a trilogy these days, the ending feels like the set-up for yet another sequel. If that happens, I hope the powers-that-be have the foresight to recast Lucius with another actor who could make a more convincing gladiator supreme. (C.)
GREG ARAKI'S TEEN APOCALYPSE TRILOGY--Unlike some directors who eventually outgrow the mantle of "enfant terrible" (e.g., Francois Ozon), Gregg Araki never fully discarded that bratty appellation. Starting with "The Living End," his $20,000 critical and commercial breakthrough, Araki was officially designated as poster boy of the nascent Queer Cinema. Following the success of his 1992 provocation in which two gay men--one who's been recently diagnosed as HIV positive--hit the road for a "Clyde and Clyde"-style crime spree, Araki has consistently pushed the envelope. The fact that the Criterion Collection is releasing Araki's self-described "Teen Apocalypse Trilogy" (1993-'97) shouldn't be terribly surprising. After all, Criterion previously gave Araki predecessor John Waters their bells-and-whistles treatment with lavish renderings of zero budget Waters underground classics like "Mondo Trasho," "Pink Flamingos" and "Female Trouble." Araki's stories of teen alienation, hazy/fluid sexuality and hyper-aggression might not feel as shocking as they seemed at the time, but they're no less transgressive or in-your-face gnarly.
1993's "Totally F***ed Up" was Araki's winking avant garde homage to John Hughes' '80s high school movies. Loosely plotted and episodic in nature, it artfully delineates the lives of six gay Los Angeles teens (4 boys and a lesbian couple). Besides introducing actor James Duval who would become Araki's designated creative muse, starring in all three of his "Apocalypse" films, it was also the only Araki movie to world premiere at Lincoln Center's tony New York Film Festival.
Although 1995's "The Doom Generation" was semi-facetiously marketed as "A Hetero Movie by Gregg Araki," its Queer bona fides were unmistakable. Jordan (Duval) and Amy (Rose McGowan) impulsively pick up a sexy hitchhiker (Jonathan Schaech's amusingly monikered Xavier Red) who temporarily upends their relationship by sleeping with both of them. He also takes the couple on an increasingly violent joy ride that eventually brings them to the attention of the F.B.I. After Jordan is killed by neo-Nazis crackers, Amy and Xavier drive off together, destination unknown although it looks an awful lot like the abyss. (Parker Posey does an unforgettable cameo, too.)
If Russ Meyer had directed a bi, mixed race "Very Special Episode" of "Beverly Hills 90210," it might have looked something like Araki's Hellzapoppin "Nowhere" (1997). Dark (James Duval again) and Mel ("The Craft" breakout Rachel True) are an L.A. high school couple in an open relationship who inadvertently get caught up in alien abductions, bad acid trips, suicides and rape on a day when the world is predicted to end. Working with the biggest budget of his career until then, Araki went for broke in the gonzo casting department. Ryan Phillippe, Heather Graham, Scott Caan, Chiara Mastroianni, Guillermo Diaz, Debi Mazar, Beverly D'Angelo (clearly having a ball playing Dark's reprobate mom), Christina Applegate, John Ritter (as seedy televangelist "Moses Helper"), and even former "Brady Bunch"-ers, Eve Plumb and Christopher Knight. All three films on the Criterion box set include juicy audio commentary tracks: "F***ed Up" (with Araki, Duval and actor Gilbert Luna); "Doom" (Araki, Duval, McGowan and Schaech); "Nowhere" (Araki, Duval, True and sundry costars). There's also a new conversation between Araki and Richard ("Boyhood") Linklater; a documentary featurette on the trilogy's Pop Art-influenced visual style; "James Duval's Teen Apocalypse Trilogy," an affectionate catching-up hangout between Araki and Duval; Q&As with Araki moderated by "My Own Private Idaho" auteur Gus van Sant and Andrew Ahn; a "Doom Generation" comic book; trailers; and an essay by critic Nathan Lee. (A.)
HERETIC--When junior Mormon missionaries Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East) visit the home of a recluse (Hugh Grant's Mr. Reed), things take a sinister turn when their theological debate turns into a life-or-death battle. Until devolving into conventional horror flick tropes in the third act, directors Scott Beck and Bryan Woods (best known for penning the first "Quiet Place" movie) expertly segue from wickedly funny chamber drama to nail-biting suspense thriller. Despite the single setting, virtuoso cinematography by Chung-hoon Chung (Park Chan-wook's regular d.p.) gives the images a hyper-kineticism that prevents it from ever seeming remotely claustrophobic. Relative newcomers Thatcher and East are both splendid, but the film belongs to former rom-com king Grant in his darkest and strangest role to date. A final caveat: you'll never look at a blueberry pie the same way again. (B.)
I WALKED WITH A ZOMBIE; THE SEVENTH VICTIM--After immigrating to the U.S. from his native Russia in 1911 (he was seven at the time), Val Lewton attended Columbia University before landing a job as editorial assistant to uber-producer David O. Selznick in the early 1930's. By the time he entered films, Lewton was already a published author of ten novels, six non-fiction books and a book of poetry, sometimes under pseudonyms. In 1942, he was put in charge of a special RKO production unit specializing in low-budget horror movies. The films bear Lewton's personal stamp more than that of their individual directors, and their influence has been formidable. Accordingly, the Criterion Collection has just released a box set featuring two of Lewton's most celebrated and iconic films.
"Zombie," director Jacques Tourneur and Lewton's follow-up to the previous year's "Cat People," ranks among the most poetic horror movies ever made. As Canadian nurse Betsy Connell who goes to Haiti to work as the live-in caretaker for Jessica (Christine Gordon), ailing wife of wealthy planter Paul Holland (Tom Conway), Frances Dee takes her place among Lewton's many proto-feminist heroines. The natives believe Jessica is one of the walking dead, and her lifeless appearance confirms their suspicions. Is she merely insane as her husband insists, or is her zombie-like appearance the result of a voodoo curse placed on her by Paul's mother (Edith Barrett) for having an affair with her brother-in-law (James Ellison)? We never know for sure, but the film places as much validity in voodoo as in a belief in "God." Pretty transgressive for 1943, right? Refreshingly, the native islanders aren't mocked for their beliefs and religious practices. In fact, they're the only ones who understand what forces reign supreme while the hapless whites wallow in confusion and terror. Since Lewton was an avowed Bronte superfan, it's not surprising that the movie reads at times as "Jane Eyre in the West Indies." The narrative is set up like a Greek tragedy with a homestead ravaged by infidelity, sibling rivalry and meddling in-laws. There's even a one-man Greek chorus (Black Calypso singer Sir Lancelot) to explain the plot in song. Because this is arguably the most visually striking of Lewton's productions, the lyrical quality of the long silent passages, sepulchral lighting, shadows, music and exotic settings all contribute to making this one of the masterpieces of the horror genre. Lewton, Tourneur and cinematographer J. Roy Hunt truly created the ultimate "beautiful nightmare."
In her screen debut, Kim ("A Streetcar Named Desire") Hunter plays Mary Gibson in "Victim," a young woman who leaves college to search for her missing older sister, Jacqueline (Jean Brooks), in Greenwich Village. It turns out that Jacqueline has fallen under the spell of devil-worshippers who are trying to force her to commit suicide for having disclosed their existence to a psychiatrist (Tom Conway again). Hunter falls in love with Brooks' husband, Gregory (future Ward Cleaver Hugh Beaumont), but he won't leave his wife because he thinks she needs his help and loyalty. Stylishly directed by Mark ("Valley of the Dolls") Robson, this spooky noir horror film features delectably sinister creatures (e.g., a one-armed, piano-playing female devil-worshipper) and smart, strong-willed women. A shower scene--albeit bloodless--is shot and edited in a manner that anticipates "Psycho." The double suicide that ends the movie is perhaps the most depressing moment in the history of screen horror. Lewton aficionados will appreciate its existentialist nature as well as smart dialogue scenes about free will vs. fate (a familiar Lewton motif). The John Donne quote that begins and ends the film ("I run to death and death meets me as fast, and all my pleasures are like yesterday") could be interpreted as the thematic inspiration for Lewton's entire horror cycle. The Criterion set includes 4K and Blu Ray copies of both titles as well as a plethora of extras including commentary tracks; the 2005 documentary, "Shadows in the Dark: The Val Lewton Legacy" with, among others, director-fanboys William Friedkin, Guillermo del Toro, John Landis George A. Romero; an interview with historian Sara Smith; audio essays from Adam Roche's "The Secret History of Hollywood" podcast with pertinent info about the casts, crews and production history of both movies; excerpts from "The Origins of the Zombie, From Haiti to the U.S.," an episode of PBS' "Monstrum" series; the original theatrical trailers; and essays by critics Lucy Sante and Chris Fujiwara. (A.)
RED ONE--When Santa Claus (Oscar winner J.K. Simmons) is kidnapped days before Christmas, the North Pole's Security Head (Dwayne Johnson) forcibly recruits hacker extraordinaire Jack (Chris Evans) to help rescue "Red One" (Mr. Claus' too-cute nickname). The culprits turn out to be Santa's grievance-ridden adopted half-brother Krampus (Kristofer Hivyu) and snarky 900-year old shapeshifter Gryla (Kiernan Shipka) who uses lethal giant snowmen to do her evil bidding. This $250-million misfire by director Jake Kasdan--whose two recent, infinitely superior "Jumanji" movies also starred Johnson--is so ugly, loud and cheesy/synthetic looking that even the human actors start resembling not-very-good CGI after awhile. The third act detour into maudlin sentimentality is even more obnoxious than the groan-inducing action setpieces that look like they were sensibly excised from a middling Marvel Corp. film product. The overall effect is like finding a dookie in your Xmas stocking. (D.)
SMILE 2--Writer/director Parker Finn's follow-up to his 2022 sleeper hit is that rare horror sequel that doesn't suck. In fact, Finn actually ups his game here by going deeper--and arguably harder--with a more ambitious and vividly imagined spook-fest. He also dabbles in Cronenbergian body horror this time although it's pretty hard to top Coralie Fargeat's "The Substance" in that regard. As Taylor Swift manque Skye Riley, Naomi (best known for playing Jasmine in Guy Ritchie's 2019 live-action "Aladdin") Scott is a more convincing Swiftie than Saleka Shyamalan was in "Trap" this summer. While prepping for an international concert tour, Skye finds herself stalked by the same frozen rictus grins that terrorized Sosie Bacon in the earlier movie. Could it have something to do with the dark secrets buried in the pop diva's past? The only holdover from the original cast is Kyle ("Strange Darling") Gallner who's joined by the always welcome Rosemarie ("Rachel Getting Married") DeWitt, Raul Castillo, Ray Nicholson (yes, Jack's son) and Drew Barrymore playing herself in an amusing cameo. (B.)
VENOM: THE LAST DANCE--The best things about "Venom" movies is that they're all under two hours, don't take themselves too seriously and star Tom Hardy. None of them have really been "good," but unlike too many Marvel Corp. Film Products they've all been relatively painless thanks to a lack of pretension. The final film in the trilogy that began in 2018 is pretty much more of the same. Still on the run after being outed in the last installment, Eddie/Venom is pursued by both Juno Temple's Dr. Page who wants to save him and a military honcho (Chiwetel Ejofor) seeking to destroy him. The CGI remains a little wonky--Sony's Marvel entries are cost-cutting endeavors compared to Disney's bank-breaking iterations--but the pace is breezy enough and it's never actively boring. Hardy continues to amuse in the role even if his "American accent" could still use some work.
(C PLUS.)
WICKED--The most iconic and beloved Broadway musical since "Phantom of the Opera," Stephen Schwartz and Winnie Holzman's 2003 Broadway smash has finally made its (long-delayed) transfer to the big screen. Directed by "Crazy Rich Asians" auteur John M. Chu who proved his movie musical bona fides with 2021's "In the Heights," the only puzzling aspect is that it's actually a "Part One" (something conspicuously absent from the marketing campaign: the concluding chapter arrives same time next year). Putting aside the fact that it's somewhat baffling how one-half of the screen version can be a half hour longer than the original stage production, Chu serves up a veritable smorgasbord of riches with his "Wizard of Oz" prequel. Mostly set at Shiz University where future Wicked and Good Witches Elphaba ("Harriet" Oscar nominee Cynthia Erivo) and Galinda (pop star Ariana Grande) are reluctant roommates who become BFFs despite their surface differences (Elphaba is green-complexioned and slightly dorky while the almost illegally blonde Galinda is the original Mean Girl, but nicer). Naturally there's a boy involved--Jonathan Bailey's Prince Fiyero--who sets up a nascent love triangle. Groomed as her protege by Dean of Sorcery Studies Madame Morrible (Michelle Yeoh, the sole weak-ish link in an otherwise nonpareil cast), Elphaba quickly becomes a thorn in the side of Oz's preening Wizard (Jeff Goldblum, perfectly cast) for protesting his nascent fascistic tendencies (the kingdom's talking animals are treated like second-class citizens and effectively stifled). Thanks to Nathan Crowley's fantastic art deco production design, the film is as visually dazzling as it is timely in the wake of this year's presidential election where division and fear of "the other" ruled the day. Rather than feeling bloated, the luxurious 160-minute run time instead provides ample room to establish Oz's rich mythology. It also works beautifully as a standalone movie: no one will leave unsatisfied despite the lack of a conventional "ending." (A MINUS.)
---Milan Paurich
