Bursting with contrasts of art and ideas, Coma lands as a captivating time capsule of creativity, waiting to be savored by future viewers looking to understand a uniquely unsteady time.
Writer/director Bertrand Bonello casts his own daughter, Louise Labèque, as “L’adolescente,” a teenage girl trying to cope with life in lockdown. She FaceTime chats with friends and looks to YouTuber Patricia Coma (Julia Faure) for guidance on living in a present that has “come to a halt.”
Coma calmly and seductively stresses the need for achieving “limbo” – where we become “blank spaces waiting to be filled,” no longer needing to worry about making our own choices.
Bonello (The Beast) weaves together existential dread, dream and dreamlike narratives, and some black comedy with alternating live action and animation styles to create a hypnotic patchwork that probes a simple idea with utter fascination.
Among the understandable glut of lockdown films, this one stands out as a different animal indeed. The true effects of the pandemic – particularly on the young – may not be fully known for decades. Bonello wants us to realize that now, and Coma is an intriguing and insightful thought starter.
What better way to have some breezy fun with our identity-challenged times than by embellishing the true-life story of one Gary Johnson?
Johnson was a phony hitman in Texas who would don different disguises working undercover work for the police. After a 2001 article in Texas Monthly profiled his adventures, various screenwriters toyed with the project. And though Johnson died in 2022, he can sleep well knowing Richard Linklater and Glen Powell’s Hit Man finally does him proud.
In the Linklater/Powell take, Johnson (Powell) is a mild-mannered psych professor at a New Orleans college who likes birding and jean shorts. A proficiency for tech gadgets lands him a moonlighting gig doing surveillance with the cops. But when their undercover man gets suspended for shady activities, Gary emerges from the van as “Ron,” fake hitman for hire.
Turns out, Gary has a knack for this new identity, and impresses his team with some suave method acting.
“Okay, Daniel Day!”
He also impresses Maddy (Adria Arjona from Morbius) who wants her abusive husband dead. “Ron” talks her out of the hit, they begin a steamy affair, then the husband turns up dead anyway.
And so the heat (the Body Heat?) is on.
Powell is all charm and charisma as he bounces from one persona to the next (the Patrick Bateman impression is particularly hilarious), Arjona is a captivating possible femme fatale, and the chemistry between them is undeniable.
Linklater’s direction is slick and well-paced, with a vibe that recalls a winning mix of Fletch whodunnit, Spy humor and Ocean’s 11 sex appeal. But Hitman still feels very much in-the-moment, with a repeated focus on how our point of view can shape our reality, and how our path to change starts by being honest with ourselves.
That’s right, Powell and Linklater find room for a serious message in Hit Man. But don’t worry, you’ll be having so much fun it won’t hurt a bit.
With his source novel and screenplay for Let the Right One In, John Ajvide Lindqvist mixed vampire bloodlust and emotional bonds. Handling the Undead (Håndtering av udøde) finds Lindqyist turning similar attention to zombies, teaming with director/co-writer Thea Hvistendahl for a deeply atmospheric tale of grief, longing, and dread-filled reunions.
We follow three families in Norway, each one dealing with tragedy. An old man and his daughter (Renate Reinsve, The Worst Person in the World) have lost their young son/grandson; an elderly woman still grieves for her lifelong partner; while a man (Anders Danielsen Lie from The Worst Person in the World and Personal Shopper) and his children struggle to accept that the wife and mother they depend on (Bahar Pars) may now be gone.
Hvistendahl sets the stakes with minimal dialog and maximum sorrow. Characters move through sweaty summer days in a fog of grief that’s expertly defined by cinematographer Pål Ulvik Rokseth. They grasp at memories and battle regret over feelings left unexpressed.
And then an unexplained electro-magnetic event hits Oslo…and the dead aren’t so dead anymore.
In the film’s first two acts, Hvistendahl unveils these awakenings with a barren and foreboding tenderness. Everyone knows this can’t end well, but the tears of joy that come from seemingly answered prayers create moments that straddle a fascinating line between touching and horrifying.
How much of our grief is defined by selfishness? And how far could it push us before we finally let go?
Those may not be new themes for the zombie landscape, but the way Hvistendahl frames the inevitable bloodshed goes a long way toward making her shift of focus less jarring. While so much time is spent exploring the pain of those left behind, we know that eventually zombies gonna zombie.
And indeed they do, but Hvistendahl sidesteps excess carnage for a more subtle form of gruesome. The interactions between the living and the undead take on a surreal, experimental quality that seems plenty curious about whether we’d really think dead is better.
After all, the grieving family in Pet Sematary went asking for trouble. Here, the trouble comes calling, and Handling the Undead answers with a bleak but compelling study of desperation meeting inhuman connection.
Yes, Backspot is a film about the drama surrounding members of an all-star cheerleading squad. But 2-4-6-8, you will no doubt appreciate a mindset that aims higher than a standard Young Adult pandering.
Riley (Devery Jacobs) and her girlfriend Amanda (Kudakwashe Rutendo) both cheer for their high school squad in Cananda. Riley hides serious anxiety behind her outward confidence, but she jumps at the chance to try out for the Thunderhawks, an elite team run by the no-nonsense Eileen McNamara (Evan Rachel Wood).
Assistant coach Devon (Thomas Antony Olajide, bringing some expert level attitude) lays down the law on day one: “Don’t sing that song, Come On Eileen.”
Okay, then.
Riley, Amanda and their friend Rachel (Noa DiBerto) make the cut, and with the championships looming in just two weeks, the girls are immediately thrown into an intense training regimen that will test their physical and mental limitations.
Director and co-writer D.W. Waterson expands her 2017 short as a mix of Whiplash, Personal Best and Bring It On. With writing that’s often smart and performances that are reliably authentic, Backspot urges you to respect the athleticism, commitment and battered feet of these competitors, while not shrinking from the problematic aspects of the competition culture.
Jacobs, returning from the short film, is terrific. Riley isn’t a shy YA teen just waiting for her specialness to be seen; she’s a real world young woman driven to succeed while trying to navigate the expectations at home, on the mat, and in her relationship with Amanda.
Wood digs into her gum-chewing taskmaster role with understandable relish. Because while Eileen delivers one of the film’s most pointed messages (“the world is not kind to weak people, especially people like us”), she’s not held up as an infallible beacon of integrity.
These shades of grey are welcome, and they help Waterson overcome a reliance on shaky cam closeups or moments when certain actions come with consequences that seem a bit too tidy. Bonus points for Amanda’s Ohio State sweatshirt.
And as the championship cheer action comes to a close, you may hit the showers thinking you’ve just seen a sports movie, a queer anthem or a coming-of-age dramedy, and you wouldn’t be wrong.
“The word ‘autism’ comes from the Greek ‘in your own world’. I don’t want him in his own world. I want him in this world.”
That heartfelt line in Ezra is going to hit home for many parents and caregivers, and it serves as the emotional core of a film that carves out some truly touching moments from a well-worn structure.
New Yorker Max (Bobby Cannavale) is a struggling standup comic who is co-parenting his autistic son Ezra (newcomer William A. Fitzgerald) with ex-wife Jenna (Rose Byrne). Max lives with his father, Stan (Robert De Niro), a former chef who’s now a doorman, and the two trade frequent barbs while Max and Jenna weigh the question of whether Ezra would be better off attending a special needs school.
Max can be an impulsive hothead, and when he misunderstands a conversation between Jenna and her boyfriend (Tony Goldwyn, who also directs), it leads to a series of unfortunate events and a three month restraining order.
And it takes a fraction of that for Max to break it because…road trip!
Max has landed an invite to do the Jimmy Kimmel show in L.A., so he and Ezra head cross-country while Jenna, Stan and numerous authorities try to track them down.
En route to the west, Max stops off to see an old girlfriend (Vera Farmiga) and his brother Nick (Rainn Wilson), which only adds to the stellar ensemble that elevates Tony Spiridakis’s script when it defaults to spoon-feeding and obvious sentimentality.
It’s great to see Cannavale again dig into a role that can showcase his range. Too often relegated to mustache-twirling cartoonish villains, Cannavale displays the talent that can make Max sympathetic, even when he’s a maddening mess.
Byrne delivers her usual, chemistry-filled excellence; De Niro scores with some crusty affection and understated humor (including a priceless ongoing gag about cookware); and the charming Fitzgerald ensures that the film’s big heart is consistently in the right place.
That place is here in our world, one filled with neurodivergent people of all manner and mannerisms. It’s a welcome message that Ezra delivers warmly, even if it’s a little too comfortable with convention.
From the dust and the waste of the Mad Max Saga has sprung many a fascinating supporting player: The Humungus, Auntie Entity, Immortan Joe. Only one commands an origin story. That look. That arm. That name: Furiosa!
George Miller follows up his epic action masterpiece Fury Road with a look at what made our girl tick, what turns of event turned her into the baddest of all badasses.
Writing again with Nick Lathouris, who co-write Fury Road, Miller invests more time in plotting than usual, creating a 15-year odyssey rather than a breathless and breakneck few day adventure.
Young Furiosa (Alyla Browne, Sting) is taken from the storied Green Place by scavengers, eventually landing in the care of vainglorious leader of the marauders, Dr. Dementus (Chris Hemsworth, creating a fascinating mix of loquacious pretension, reckless machismo and prosthetic nose). It’s the first stop of many on the savvy, silent one’s wearying journey toward fulfilling the two promises: the one she made her mother to return, and the sacred oath all in the Green Place make to keep the location forever secret.
Years pass, and Anya-Taylor Joy straps on the arm and the attitude for this prequel, her arc a suitable evolution from scrappy kid to determined adult to the undeniable warrior Charlize Theron perfected in the last go-round.
Miller remains as true to his vision of the wasteland as he was back in ’79’s original Mad Max, but there is a depth to the storytelling here that sets it apart. We’ve had four films to see what turned Max Rockatansky mad, made him what he is. Now Miller lays out a single story that serves as both a thrilling prelude to Fury Road and a rich origin story in its own right.
Plot does not take a front seat to action, though, so strap in for more glorious road wars.
Again wielding his patented punch-in closeups like a heavy metal power chord, Miller keeps a palpable sense of frenzied motion. War rigs take to the barren terrain while all manner of air and ground assaults constantly threaten from every direction. Miller and cinematographer Simon Duggan craft a wonderfully rich visual playground, while Fury Road editors Eliot Knapman and Margaret Sixel (Miller’s wife) return to make sure this trip feels equally immersive.
The very nature of this installment’s origin story removes the chance for the kind of singular narrative mission that helped elevate Fury Road to all-time great action heights. But anyone who took that ride knew there had to be a helluva story behind that buzz cut and metal arm.
There is, and Furiosa brings it right up to where the last journey began, in an often spectacular fashion that demands nothing less than the big screen.
Only one of The Beach Boys even knew how to surf. They had a fateful encounter with Charles Manson. Glen Campbell was a member for a short time.
Casual fans may hear some surprising new stories in Disney’s The Beach Boys, while longtime devotees will get a respectful and well-crafted overview that favors family over friction.
That family legacy started with California brothers Brian, Dennis, and Carl Wilson, cousin Mike Love and friend Al Jardine in the late 1950s. Neighbor David Marks joined for the first four albums before domineering family patriarch Murry Wilson forced him out. Campbell was the first to become a touring replacement while Brian stayed home to work his magic in the studio. When Campbell’s solo career took off, Bruce Johnston stepped in “for two weeks” and never left.
Directors Frank Marshall (From the Earth to the Moon, Jazz Fest: A New Orleans Story) and Thom Zimny (various Springsteen docs and videos) weave interviews old and new, archival footage and iconic music into a compelling pop culture tapestry.
Major sources of conflict in the band’s history – Murry’s bullying, Brian’s mental health and Mike Love’s ego – are addressed but not stressed. Instead, the film spotlights the importance of each individual contribution, and how they blended for a sound that can never be duplicated.
Music historians and contemporaries such as Don Was, Lindsey Buckingham and Janelle Monáe discuss how that sound defined a “California dream” that called to them and countless others. We see a creative rivalry with the Beatles, and how the cultural revolution of the late Sixties favored the Fab Four, while the Beach Boys popularity waned until 1974’s “Endless Summer” compilation hit #1 and reignited demand.
But much like a scaled-down version of Peter Jackson’s Get Back, TheBeach Boys gleans insight from going into the studio, starting with Brian’s description of how his early obsession with the Four Freshmen led to building his vision of what the Beach Boys could do. Rare audio snippets of Brian producing are layered between interviews with legendary “Wrecking Crew” studio musicians such as Hal Blaine and Carol Kaye detailing how they came to realize Brian’s genius.
Then, an older but matter-of-fact Brian sits at a studio console, proudly isolating tracks to reveal the separate pieces of beauty required to create a wonder like “God Only Knows.” Joyous.
And that’s really the simple message The Beach Boys wants to leave us with, culminated by a tender and tearful surfside reunion. Strip away the infighting, the lawsuits, the drug use and the drama, and you find family, each member an integral part of finding that perfect, indelible harmony.
Fulfilling the promise of 2021’s We’re All Going to the World’s Fair, writer/director Jane Schoenbrun’s follow-up, I Saw the TV Glow, is a hypnotically abstract and dreamily immersive nightmare of longing.
Owen (Justice Smith) and Maddy (Brigette Lundy-Paine) meet as very introverted teens, drawn together by their love of “The Pink Opaque,” a Saturday night series on the Young Adult Network.
Maddy’s basement offers shelter from her violent stepdad, while Owen has to join her there in secret, away from the sheltering grasp of his mother (always great to see Danielle Deadwyler) and father (Fred Durst!).
Together, the teens escape into the weekly adventures of two young women (Helena Howard, Lindsey Jordan) who connect across the psychic realm to battle monsters sent by the evil Mr. Melancholy.
But then the show is cancelled, the basement TV is left in flames on the front lawn, and Maddy vanishes without a trace.
As the film wanders through the advancing years and Owen sometimes comments through the fourth wall, Schoenbrun layers Eric Yue’s cinematography and a captivating soundtrack to craft a completely transfixing pastiche of color, light, sound and shadow.
Smith (Dungeons & Dragons: Honor Among Thieves) is heartbreakingly endearing, while Lundy-Paine (Bill & Ted Face the Music) provides a revelatory turn of alienation and mystery. It’s hard to take your eyes of either one of them, with Schoenbrun often framing their stares through close-ups that become as challenging as they are inviting.
And that feels organically right. Because Schoenbrun is channelling characters who imagine life as someone else, to again emerge as a challenging and inviting filmmaker with a thrillingly original voice.
Worlds’ Fair got our attention – and A24’s. Now I Saw the TV Glow is here to get in our heads.
Since Walk Hard gave the music biopic genre a well-deserved skewering nearly 20 years ago, new entries have scored with ambitious fantasy (Rocketman), pandered with crowd-pleasing safety (Bohemian Rhapsody) and curiously turned a superstar into a one note supporting player (Elvis).
Back to Black‘s biggest drawback is a failure to commit to one vision, rightly giving Amy Winehouse agency for her own destiny, but pulling some important punches that could have deepened the impact.
Marisa Abela (Barbie‘s “Teen Talk Barbie,” TV’s Industry) is sensational as Amy, ably capturing the wounded soul and the defiant train wreck while laying down some impressive lip sync performances. Her chemistry with an equally terrific Jack O’Connell (as Blake Fielder-Civil) fuels the film’s best moments, as the tortured lovers navigate between heartsick devotion and toxic co-dependency, sometimes reminiscent of Sid and Nancy.
Biopics usually benefit from narrowing the focus, but director Sam Taylor-Johnson and writer Matt Greenhalgh reach outside the romance for a rushed look at Amy’s journey to stardom and some seemingly sanitized takes on her relationships with Dad Mitch (Eddie Marsan) and “Nan” Cynthia (Lesley Manville).
Anyone who remembers the Oscar-winning doc Amy will notice a much different treatment of Mitch Winehouse here. How much of this was required for the family blessing is unclear, but the film does benefit from a depiction of Amy that finds a balance of forgiveness and accountability.
Taylor-Johnson’s hand is steady but fairly generic, with a tendency to revisit some obvious visual metaphors. And though you end up wishing Back to Black could have confidence enough to sharpen its edge, stellar performances flesh out the sad tragedy of a gifted life spiraling out of control.
Two years ago, the magnificent Drive My Car became the first Japanese film to garner a Best Picture Oscar nomination, and earned Ryûsuke Hamaguchi well-earned noms for writing and directing.
Now, writer/director Hamaguchi rewards his wider audience with Evil Does Not Exist (Aku wa sonzai shinai), another thoughtful, gracefully intellectual tale that finds him in an even more enigmatic mood.
Takumi and his young daughter live in Mizubiki, a Japanese village near Tokyo. Father teaches daughter about the wonders of nature, and about her place in the village’s careful balance of give and take.
That balance is threatened when a big firm plans to build a ”glamping” (glamorous camping) site very close to Takumi’s own house. Two P.R. reps come to convince the villagers that the company will also be careful, but these townsfolk know manure when they smell it.
The reps try to curry favor by offering Takumi a job as caretaker of the glamping site, but the more time they spend with this pillar of the simple life, the more they start to see wisdom in his ways.
Hamaguchi delivers some salient points on ecology while showcasing his skill with probing character purpose, motivation and the different ways they interact.
At a town meeting, an older villager gently reminds the P.R. reps about the responsibilities that come with “living upstream,” and the speech becomes an eloquent metaphor that the film begins dissecting with sometimes abstract detail.
And though the one hundred six-minute running time might seem rushed for a filmmaker that has favored three, four, and even five-hour films, Hamaguchi’s storytelling here is more patient than ever. Yoshio Kitagawa’s exquisite cinematography often showcases nature’s beauty in wordless wonder, always buoyed by an Eiko Ishibashi score that is evocative and moving.
What Evil Does Not Exist doesn’t do is provide any easy answers for the dramatic choices Takumi makes once his daughter goes missing. The film ends as it begins, staring into the natural world and asking us to ponder how we best fit in.
