Weekend Mullings: Weapons | It's Never Over, Jeff Buckley

Perhaps I shouldn't be comparing the films of Zach Creggar with those of Oswald Perkins, but coming out of Weapons, Creggar's follow-up to Barbarian, that comparison rattled around in my mind. They've both released some very buzzed-about horror movies, but so far I've appreciated the work of one way more than the other. Both have an obvious love for the genre, and can craft a creepy scene. But only one has managed to balance the horror and the comedy in their films, and the clear winner there is Creggar.

But what probably set-off the comparison is that there are a few small things in Weapons that are very similar to a few things in Perkins's Longlegs, but where I found Longlegs to be derivative, predictable, and rarely scary, Weapons had me cringing in my seat, and I could never really guess what was going to happen next.

I think it's best to go into it knowing as little as possible, as the story is laid out in chapters that eventually complete the puzzle of just what has happened to the 17 kids in a small town who all decided to leave their homes at 2:17am one night, and vanish into the night. (Scoring this scene with George Harrison's song "Beware of Darkness" turns the moment into a poetic nightmare.)

That all of the students who disappeared were in the same class immediately places their teacher, Justine (Julia Garner), under suspicion, especially by Archer (Josh Brolin), the gruff father of one of the missing kids. That Justine has a drinking problem and unresolved issues with an ex (Alden Ehrenreich), who is also a police office, only complicates matters. 

Other characters who make up the chapters in the story include the school's principal (Benedict Wong), a junkie in town (Austin Abrams), and wildest of all, a character played by Amy Madigan, who I promise you will not recognize when she first shows up.

Weapons has creepy dreams, jump scares, gore, but best of all, a sense of humor that is well placed throughout, and that's probably where some people may take issue with Creggar's approach. But I've always preferred horror that has a good sense of humor, and Weapons wields its humor well.

I'm not the only person who can say Grace, Jeff Buckley's only studio album, has gotten them through some rough life events. I mean, it contains two of the greatest breakup songs ever written, "Last Goodbye" and "Lover, You Should've Come Over," and perhaps the best version of Leonard Cohen's "Hallelujah" ever recorded, so of course it has. And when an album plays such a big part in your life, it's often easy to think, well, everyone in the world must know about it too.

But I do wonder if the kids making TikToks backed by "Lover..." actually know anything about the man behind the song. Perhaps the new documentary It's Never Over, Jeff Buckley will change that. 

Director Amy Berg's approach doesn't really do anything new with the genre, but what is unique is that the movie examines Buckley primarily through the eyes of three women in his life, his mother, Mary Guibert, who raised him after his father, musician Tim Buckley, left them to pursue fame, and two girlfriends, one who was there at the beginning of his career, and one who was there closer to the end of his life.

His story is also told through Buckley's own words, using clips from archival interviews, and most poignantly, long voicemail messages. The one he leaves his mother shortly before he died proves he was probably a soul just too good for this world.

Weekend Screen Scene: The Naked Gun

While I've enjoyed the original Naked Gun movies (well, some more than others), I never thought they were ever as funny as Police Squad!, the original TV series they were based on. It may be because I'd seen all the movies' best jokes in that original show. But it also may be that working within the content constraints of network television forced Zucker-Abrahams-Zucker to be more creative with their humor; they couldn't just fall back on dick and tit jokes (and if they did, they had to be sneaky about it).

So I wasn't, one the one hand, outraged that Paramount was trying to reboot the movie when this new The Naked Gun was announced. But I wasn't particularly excited about it either. Now having seen it, I can still say the TV show is the best version out there, but this reboot is no worse than any of the previous movies. 

Liam Neeson plays Frank Drebin Jr., son of the Frank Drebin played by Leslie Nielsen in the original franchise. And yes, that doesn't make a lot of sense since the last film came out in 1994 and Liam Neeson is 73 years old. But a Naked Gun movie is not where you go for continuity, or really, sense of any kind. 

Drebin's latest case involves a suicide that is likely murder, a billionaire named Richard Cane (Danny Huston), who may be responsible, and the victim's sister, Beth (Pamela Anderson), an author who "writes true crime novels based on fictional stories that [she] makes up." 

Neeson is essentially playing a version of the tough guy he's been playing over and over again since the film Taken, and his deadpan delivery is, of course, perfect for the film. Pamela Anderson also handles the material deftly. The key to a movie like this is a combination of playing it completely straight but with comedic timing, and they're both great at it.

Some jokes land (the coffee gag never stops being funny), and some definitely don't (the heat vision gag goes on way too long) but there are enough of them in the film's barely 90 minute running time that you'll still probably laugh more than you have watching any other recent studio comedy.

Two bits, one involving a discussion of the Black Eyed Peas, and another involving a TiVo, had me howling, but were so like discussions some of my friends and I would have had in 2004 that I actually wondered if I knew any of the writers (I don't). But my favorite joke, which hearkens back to the classic "Cigarette?" "Yes, I know" exchange that originated in Airplane!, is when Drebin enters a party hosted by Richard Cane and Cane greats him with an outstretched hand and "Frank Drebin!," to which Drebin replies, "Me too!"

OK, maybe you had to be there. Which brings me to the final thing I'll say about The Naked Gun. One theory about why Police Squad! only lasted six episodes is because viewers wouldn't give the show their complete attention, missing the majority of the show's humor (or understanding that it was supposed to be a comedy at all). Similarly, The Naked Gun is not a movie you should watch on streaming while looking at your phone. So get yourself to a theater and take a seat.

Weekend Screen Scene: The Fantastic Four: First Steps, Oh, Hi!

It seems that about every ten years, we are blessed/cursed with a new Fantastic Four movie. However, I went into the latest version, The Fantastic Four: First Steps, having never seen any of those previous films. I have since rectified that, and can now safely say that yes, this decade's is the best attempt yet.

But it's a curious approach, in that we are plopped smack dab into the middle of things, with no real backstory to speak of, aside from a highlight reel prepped for a talk show on "Earth 828," which, being a Marvel movie, means this adventure takes place on a retro, multiverse version of Earth. 

The "Fantastic Four" are Earth 828's greatest heroes, bestowed with super powers after a trip to space goes awry. Reed Richard/Mister Fantastic (Pedro Pascal) is the patriarch of this makeshift family, a scientific genius with the ability to stretch any part of his body to extreme lengths. His wife is Sue Storm/Invisible Woman (Vanessa Kirby) who along with invisibility, can generate force fields. Her brother Johnny Storm/Human Torch (Joseph Quinn) can control fire and fly. And Reed's best friend Ben Grimm/The Thing (Ebon Moss-Bachrach) is a pilot and rock-like creature with super strength. 

When the Silver Surfer (Julia Garner) arrives on Earth with the announcement that their planet will soon be devoured by a being known as Galactus (Ralph Ineson) and there's nothing they can do to stop it, the Fantastic Four learn there actually is a way to stop it, but the price is too precious, and a new plan must be made.

There's a lot of standard superhero stuff in First Steps, including a battle that destroys part of a city, something I'm frankly getting tired of seeing in these movies. The lack of real backstory also requires us to just instantly love the Fantastic Four, but being that Pedro Pascal is one of them, that is not too tall of an order, although I feel like he isn't given nearly enough chances to be charming, and Mister Fantastic's stretching ability, which I find kind of inherently goofy, is taken a little too seriously.

But I can forgive almost all of this movie's flaws because of its greatest gift: its production design, which is a mid-century modern lover's wet dream. A retro-futurist world full of sleek architecture, atomic age furniture, men in suits and skinny ties, and women in shirtwaist dresses and big hair. (This is the first Marvel movie I've ever wanted to live in, but barring that, a stay at the TWA Hotel at JFK may have to suffice.)  

The Fantastic Four: First Steps, with this unique world, and fresh set of Marvel heroes, could easily work as a stand-alone movie. Of course it isn't, ultimately setting us all up for next year's Avengers: Doomsday, which, if it stays on Earth 828, for at least a little while, means I won't be giving up on the MCU any time soon.

If you've seen the movie Companion earlier this year, you may get a sense of deja vu as you start watching Oh, Hi!. Its got an attractive young couple driving to a romantic weekend getaway. Its got a girlfriend named Iris. And it all gives off the sense that things may not end up going the way this couple would hope they would.

And indeed things do not go quite as planned for Iris (Molly Gordon) and Isaac (Logan Lerman), though Iris goes to extremes to try and rectify that. Molly Gordon, who came up with the film's story, along with writer and director Sophie Brooks, has called Oh, Hi! "a romantic comedy gone wrong," and that's putting it mildly. 

At times what happens is funny, at other times, it's extremely cringe, and many times, I pondered how I was ever supposed to accept what Iris does; I'm still not sure if do. But I enjoyed never entirely knowing where the story was going, even if I don't entirely buy where it ends up.

Weekend Screen Scene: Superman

Over the last couple decades I've been pondering why it seems to be so difficult to make a truly great Superman movie, and I have yet to come up with any real answers. It seems like it would be easy! He's the first real comic book superhero! The OG indestructible man! The ultimate good guy fighting for truth, justice, and the American way!

I didn't like how Christ-like he was in 2006's Superman Returns, and the Zack Snyder directed incarnations were just too gloomy and...Zack Synder-ey. And while I do adore 1978's Superman, I really can't say how much my love for that movie is fueled by pure childhood nostalgia, or genuine appreciation, because I have to admit parts of it are extremely hokey.

All of this is to say I enjoyed director James Gunn's Superman more than any Superman movie since 1978's, but that very well may be damning it with faint praise.

Gunn forgoes any real backstory, instead literally dropping Superman into the middle of the story. Superman has just prevented a war, saving the small and poor country of Jarhanpur from an invasion by the larger and richer Boravia, but this has resulted in some controversy, fueled in large part by billionaire Lex Luthor (Nicholas Hoult), who has a vested interest in Boravia taking over Jarhanpur.

Superman this time around is played by David Corenswet, best known - at least to me - for his role as the seductive movie projectionist in 2022's Pearl, and his Superman is much closer to the earnestness of Christopher Reeve's Superman than to the more emo interpretations of Brandon Routh or Henry Cavill. Which is not to say he's milquetoast. But he's no cynic either. He's just a genuinely nice guy who wants to protect his adopted planet.

James Gunn is responsible for Marvel's Guardians of the Galaxy movies, which have, for the most part, masterfully blended humor and action, making those films some of the funnest in the MCU. But I can't say Gunn's brand of humor works quite as well here. Yes, seeing Superman go out of his way to save a squirrel is delightful, and his foster dog Krypto, is a very, very good boy. But other things, such as Nathan Fillion's turn as the Green Lantern, and almost every scene at the Daily Planet, fall flat.

But there's so much more going on that it's easy to overlook the clunkiness. Rachel Brosnahan makes a great Lois Lane, one so dedicated to her job as a reporter that she doesn't stop working even when the city of Metropolis is crumbling around her (as toppling skyscrapers seem to be a common occurrence in almost all superhero movies, perhaps she's just used to it). Gene Hackman will always be the best Lex Luthor, but Hoult is a vast improvement over Jesse Eisenberg's twitchy version, a billionaire who has the ear of the government and literal typing monkeys controlling the Internet's narrative about Superman. 

I'm not going to say much about the stupid accusations being made by some that this Superman is too "woke," because anyone who says that obviously knows nothing about the history of the character, and is really nothing but another typing monkey on the Internet. But I will say that I appreciated that this Superman tells a story that mixes the fantastic (superheros; giant monsters) with the relatable (billionaires playing with the fates of nations; America turning against a good guy because of something they see on online).

So, no, Superman is not the great Superman movie I've been waiting for. But it's close. And to paraphrase Lois Lane herself: a good director doesn't get great movie scripts, a good director makes them great. Maybe James Gunn will get there.

Weekend Screen Scene: Sorry, Baby

After a screening of Sorry, Baby, writer, director, and star Eva Victor admitted they probably didn't think hard enough about the poster image for the movie, which features Victor, with a look of concern on their face, holding up a kitten. Kittens!? Cute! But that title? And the look of concern? Should the audience be concerned about that kitten?

I'm happy to report that no cats die in the course of the film (though one creature does meet its ultimate fate via said cat). But a bad thing does happen to Agnes, and it's the magic of this movie that it manages to be truthful to the pain of that experience, without being exploitative, or triggering. 

Sorry, Baby is also also very, very funny, in both expected and unexpected moments, thanks to the immense chemistry between Victor and her co-star Naomi Ackie (who is really becoming a secret weapon in every movie she appears in). They play Agnes and Lydie, best friends reuniting for a long weekend at the house they once shared as graduate students at a small New England college. Agnes still lives there, and now teaches at the same school. 

Over the course of this visit, Agnes and Lydie hang out and joke around, are annoyed by the presence of strangers (them both reacting with disgust to a neighbor hollering "Ahoy!" at them is hilarious), and sit through a tense dinner with former classmates from the college. By the end of the visit it becomes clear that Agnes is still dealing with a past trauma, though it isn't until the film's second chapter, and its time shift, that we learn what happened to her.

Aaaand, unfortunately, I'm going to need to cut this review short because I had carpal tunnel surgery and was only able to finish the above before said surgery, and now I can't really type for very long. So let me just say this: Sorry, Baby is one of the best screenwriting and directorial debuts I've ever seen, I absolutely loved it, and I am really looking forward to what Eva Victor comes up with next. Do yourself a favor and seek this one out.