Weekend Mullings - One Battle After Another | Dead of Winter

I have yet to see a Paul Thomas Anderson movie that I do no connect with on some level, even when I haven't necessarily loved some of them (though I have loved the majority of them), and I feel like all that's come before has simply been a lead up to One Battle After Another,  his best film yet. Indeed, Anderson says he's been crafting it, in one way or another, for 20 years, taking some inspiration from the Thomas Pynchon novel Vineland, not doubt some inspiration from parenthood, and definitely some inspiration from the times we're living in.

I'll keep it simple, plot wise, as it is fun going in knowing very little. The bones of the story centers on a group of multiracial revolutionaries in contemporary United States that call themselves the French 75. Perfidia Beverly Hills (Teyana Taylor, amazing) and her partner Ghetto Pat (Leonardo DiCaprio, hilarious) are not necessarily the leaders of the gang, but they are definitely the group's cheerleaders, and they take more from their revolutionary acts than just a sense of doing what's right; Perfidia's preferred form of foreplay appears to be blowing shit up.

A time jump of 16 years happens, and we are now perhaps in the present? Or perhaps a bit in the future? Years are never explicitly stated. And while their revolution has not come to pass, that doesn't mean the powers that be, especially a white supremacist named Colonel Lockjaw (Sean Penn, insane) aren't still after the French 75, for reasons that are more personal than political (though really, aren't those so often one and the same?) Perfidia and Pat's daughter Willa (Chase Infiniti, a revelation) is now target number one.

The title One Battle After Another does not lie, as the film, at almost three hours long, rarely pauses to catch its breath. I barely noticed that running time, and I think that's the most important point here. Yes, the film is radical, and political, and could frankly be seen as a call to arms by both sides of the aisle. But it's also exciting, and funny. Leonardo DiCaprio's Pat/Bob could easily be The Dude's distant cousin, another stoner in a bathrobe who finds himself ensnared in a plot he's wholly unprepared for. I'm not sure I've ever seen DiCaprio take on something that almost borders on slapstick, and he's terrific at it. He should do more comedies!

P.T. Anderson movies always center on families, in some form or another, be it families of one's own choosing, as in Boogie Nights and Hard Eight; or fucked up families, as in Magnolia and Phantom Thread; or destructive families, as in The Master and There Will Be Blood. But One Battle After Another is the first Anderson film where that familiar bond, specifically a father's love for his daughter, is the film's heart, soul, and driving force. (And when I say driving force, I mean that both literally and figuratively. There is a car chase near the end of the film that is unlike any other car chase ever put on screen. That alone is worth an IMAX ticket.)

Frankly, it's kind of miraculous that this movie even exists, that it was given the budget it was by a major studio, and that it is coming out this week, of all weeks! Because this film is of the moment, and for the moment. I have a constant, nagging fear that somehow it's going to get shut down at the last minute. So maybe get your butt to a theater sooner than later my friends. It's the movie of the year.

Another movie this week that owes a debt to the Coen Brothers, is Dead of Winter, in which Emma Thompson goes full Fargo, complete with the accent, the snow, and a wild kidnapping plot, though in this case, she simply stumbles upon one, and decides to try and free the victim herself. 

The film lays out its clues slowly. Just why is she out there all alone looking for a desolate lake to go ice fishing in? Just who is this girl that appears to be held against her will? What is up with the crazy couple (played by Judy Greer and Marc Menchaca) that are holding her captive, and what do they plan to do to her?

There's nothing terrible original about any of it, but the fun comes in seeing someone like Emma Thompson taking on what is essentially an action role, albeit one where the heroine has to use her wits more than her might to save the day.

Weekend Mullings - HIM

I'll hand this to HIM. It had an intriguing enough trailer to get me to a screening despite a plot seemingly centered on football, a sport I loathe. I guess I had hopes a horror movie take on the sport might delve into those things that bother me so much about it: its culture of violence; its history of CTE; its exploitation of Black players by white billionaire owners. These are topics ripe for the horror treatment. 

Perhaps someone else will give it a try one day, because HIM's attempts to tackle these topics misses the goal completely.

I can't remember the last time I saw a major studio release that was such a mess. The plot, such as it is, finds Cam (Tyriq  Withers) an up and coming quarterback suffer a brain injury after an attack (by the team mascot? A demon? A crazed fan?) that threatens to derail his career. When his idol, San Antonio Saviors (lol) quarterback Isaiah White (Marlon Wayans) invites Cam to train at his compound for a week, Cam accepts, with hopes that this could lead to him becoming Isaiah's successor.

What follows is a series of baffling scenarios where Cam "trains," by throwing passes on Isaiah's indoor football field while a fellow player is pummeled in the face by a football every time Cam misses. Where Cam gets medical "treatment" from Isaiah's doctor (Jim Jefferies), which consists of random injections of something that's never identified. Where Cam sits in various ice baths and saunas in Isaiah's labyrinthian, concrete compound, while nightmarish individuals that may or may not be real haunt him. 

At times, what Cam experiences is clearly all in his mind. At other times, the weirdness is real. But Cam is such a void, and often devoid of any real emotion, and the film offers no clear delineation between the fantasy and reality, and that just leaves the viewer unmoored. What we end up with is a series of surreal moments - and granted, some of them are visually striking - but with no real story or plot to make sense of it all. It ultimately leads to a finale that manages to be both too on the nose, and completely. WTF.

Weekend Mullings - The Conjuring: Last Rites

I have now officially seen every movie in the Conjuring Cinematic Universe, and one thing has become very clear. Or, more accurately, not clear at all: these movies are dark. Literally. Often so dark you can barely make out what's happening. And this is probably why the majority of the scares in them come from sudden loud noises, and less from genuine dread and horror.

But I will give credit to the first film, 2013's The Conjuring. Of all of these movies supposedly based on "true events," that one felt at least partially believable, and as a result, it creeped me out more than once. Even if I don't believe in ghosts or demons or hauntings or possessions, I do know that weird and freaky stuff does happen, and even if there may ultimately be a logical explanation for a lot of it, it can feel like still freaky stuff! Dozens of pictures falling off a wall at once. Doors slamming shut by themselves. Ghostly figures. Creaky sounds in the attic. These are all scary because they are relatable. But too many of the supposed scares in The Conjuring: Last Rites are hallucinations, dreams, or just plain implausible (a girl vomits up copious amounts of blood and shards of glass and is seemingly fine days later), that it ceases being scary, and at over two-hours long, becomes a chore.

And look, I get that the vast majority of horror movies are going to be based in fantasy. I don't demand realism in all of my horror. But it just feels like The Conjuring movies are trying to have it both ways, touting the true event inspirations, and then showing us things that would never, ever, in a million years, actually happen. 

But the thing is, I like this fictional version of the Warrens! I like their devotion to each other. I like Lorraine's high necked lace shirts and bouffant hairdos. I like that they have a basement full of dangerous unholy artifacts that they're not above showing off during parties. As demon hunters, they're a lot of retro fun. I just don't understand why the creators of this series, in knowing they are going to wildly exaggerate these supposedly true stories, continue to squander the opportunity to do truly scary things. This very well may be the end of the Warrens and the Conjuring, and while I'll be sad to see them go, I'm not going to mourn the end of the increasingly preposterous stories that surround them.

Weekend Mullings: The Roses | Caught Stealing

I'm not sure we can accurately call The Roses a remake of the 1989 comedy The War of the Roses, which was itself based on a 1981 novel of the same name. It's more like a film influenced by both, as it veers pretty heavily from that source material.

I thought the 1989 final was serviceable but not particularly funny, and really held together by Kathleen Turner's performance. The Roses is an improvement, but I have to say that once again the movie is held together by the woman playing Mrs. Rose.

Olivia Colman is Ivy, who meets architect Theo Rose (Benedict Cumberbatch) when she's working as a sous-chef in London. In short order they fall in love, move to the States, and have two kids. When Theo faces a career set-back, Ivy is given the opportunity to open her own restaurant. Success soon follows, which Theo has a hard time dealing with, until he's given the opportunity to pursue his own path once again.

But soon bitterness and resentment become the dominant forces in their marriage, and Ivy and Theo face divorce. The movie does a good job of not really favoring one side over the other. You can totally understand why Theo may despise Ivy, and why Ivy wants to be rid of Theo. The comedy in their mutual destruction is certainly dark, but it's lightened a bit by Andy Samberg and Kate McKinnon as Barry and Amy, friends of the Roses who have found a way to deal with their own marriage issues (letting Amy lust after Theo seems to be one part of it; McKinnon basically steals every scene she's in),

But Olivia Colman is the movie's biggest asset, and I came out of the film realizing how much I love her work, particularly her comedic roles. In The Roses, she's a goddamn delight, whether she's in her restaurant basking in the glory of her success, or threatening her husband with imminent death, she's just a joy to watch, and is the primary reason I will be definitely be returning to this film more than once.

I think I've known for a long time that the films of Darren Aronofsky just aren't for me. My love for Black Swan kind of threw a wrench into that theory, until I came to realize that my love of ballet (especially ballet + horror; see also the original Suspiria), is the primary reason why I like that film. 

But I will admit I was intrigued by the trailer for Caught Stealing. I wanted to see what he'd do with a crime comedy, and once I checked that the cat featured so heavily in the ads does in fact survive, I accepted an invite to a screening. 

My friends, believe me when I tell you this is not a comedy. I guess Aronofsky is just incapable of it, even when all the pieces are right there for the taking. And Caught Stealing certainly starts out as one. Austin Butler and Zoe Kravitz are Hank and Yvonne, hot young lovers living and working in the Lower East Side of Manhattan in 1998. When Hank's neighbor Russ (a mohawked Matt Smith) asks him to watch his cat Bud while he returns to London for a family emergency, Hank finds himself entangled with different organized crime factions who are after Russ.

Caught Stealing is like a Guy Ritchie drained of humor, full of pain and death that seems to be there just to prove that yes, this movie can go dark. The cat does not die, but it does get hurt, and that's where the movie started to lose me. But it lost me completely shortly thereafter when it takes a turn it absolutely never recovers from, leaving me resentful that I had to sit there for another hour.

There's a car accident that plays a big part in the plot, and an image of a car crashing head-on into a pole in slow motion is taken directly from the 2001 video for Madonna's song "What It Feels Like for a Girl," a violent and funny video that was, incidentally, directed by Guy Ritchie. Do yourself a favor, skip Caught Stealing and just watch it instead.

Weekend Mullings: Honey Don't! | Eden

I think we, as a nation, need to do everything we can to get the Coen brothers back making movies together. Not entirely sure how to do that, and perhaps that's the bottom of the list of things that we, as a nation, should be focused on, but it's definitely on that list!

Honey Don't! is the second collaboration between Ethan Coen and his wife Tricia Cooke, in what they say will be a trilogy of "lesbian b-movies," the first being last year's Drive-Away Dolls, a movie I found to be exceedingly stupid, and most of the time, not the good kind of stupid.  

Honey Don't is a tad more serious, though it's still filled with stupid people doing stupid things, but at least this time it's centered on someone smart: Honey O'Donahue (Margaret Qualley), a private detective in Bakersfield investigating a car crash that may actually be a murder. (The recent The Naked Gun, another stupid movie, but one that is mainly the good kind of stupid, also starts out with a suspicious car crash. It's a trend!) 

I'm still not sure I understand the central mystery, but it involves a sketchy preacher played by Chris Evans, who spends the majority of the film engaged in various sex acts; probably some drugs, and a French cartel; and a local cop (Aubrey Plaza) who hooks up with Honey.

Of the two, I think I liked Honey more than Dolls, just because I liked the character of Honey O'Donahue, and the central mystery, even if I never completely understood it, kept me engaged. If Ethan Coen needs to get a third one of these out of his system, fine. But I don't think we, as a nation, deserve any more than that. We've been through enough.

Ron Howard's Eden is based on a true story that was also covered in the 2013 documentary The Galapagos Affair: Satan Came to Eden, and the events seem like the perfect set-ups for wildly entertaining movies. I hope that movie shows up one day!

Of the two in existence, Howard's Eden at least has the advantage of casting beautiful people, and the freedom to fudge things where needed, to up the drama. But this tale of 1920's European bohemians leaving it all behind to live on a deserted island, who then have to deal with the annoyances of each other, resulting in possible murder, starring the likes of Jude Law, Ana De Armis, Sydney Sweeney, and Vanessa Kirby, turns into a dull and humorless slog at the hands of Ron Howard. But if you've ever wondered what Jude Law would look like without any teeth, this is the movie for you!