“Do you have a story to tell? Do you have something to say? Then spit it out!”
That’s solid advice from a veteran director to an aspiring filmmaker named Fabietto (Filippo Scotti, completely charming). But in The Hand of God, it sounds more like writer/director Paolo Sorrentino reaching out to his teenaged self.
Fabi’s life in 1980s Naples is filled with a steady array of colorful family members, neighbors, friends and passersby. They laugh, they argue, pull pranks on each other and cheer fanatically for Diego Maradona in the 1986 “Hand of God” World Cup. Fabi soaks it all in happily, his headphones constantly draped around his neck while his wandering teen eyes fall often on his voluptuous Aunt Patrizia (Luisa Ranieri).
Though there’s much drama in and around the household (including a sister who never leaves the bathroom), there’s never a shortage of love or laughter, which makes the tragedy that comes in the film’s second act land that much harder.
This is clearly a very personal project for Sorrentino (Il Divo, The Great Beauty). And it often feels like a series of rather testosterone-heavy vignettes pulled from his memory, strung together with the majesty of architecture and landscapes that he continues to showcase so beautifully.
Though the overall tapestry flirts with self-indulgence before the young Fabi finds his calling, Sorrentino has crafted a warm and often wonderful homage to the people, places, and twists of fate that make us what we are.
Since Adam McKay shifted into “political” comedy with The Big Short and Vice, it’s become most convenient to label him a satirist. But Don’t Look Up, his latest as writer/director, is more proof that pure satire isn’t quite McKay’s forte.
Not that his work isn’t funny, or astute, or politically charged – it’s all of that. But what McKay does best is his own special blend of outrage, farce, skit-based comedy and yes, moments of satire. The best of the modern satirists – Armando Iannucci, for example – are almost always commenting on one thing by talking about something else. McKay, though, fires slings and arrows that are so often on-the-nose they toe the line between shedding light and making it.
Climate change and disinformation are in McKay’s sights this time, and it isn’t hard to imagine Don’t Look Up being inspired by some exasperated bit of conversation.
“What if some giant, cataclysmic comet were heading straight for Earth? Would that get somebody’s attention?”
Astronomy PhD candidate Kate Dibiasky (Jennifer Lawrence) discovers just such a comet, and along with her anxiety-prone professor Randall Mindy (Leonardo DiCaprio), calculates it will destroy the Earth in precisely 6 months and 14 days.
Sounding the alarm proves harder than they realize.
President Orlean (Meryl Streep, a bit too SNL) and her chief of staff son (Jonah Hill, in pitch perfect Don, Jr. mode) want to “sit tight and assess,” so Kate and Randall take their message to the people. But after an appearance on vapidly positive morning cable news chat, Kate is vilified for her severe bangs and shrill warnings while Randall gets tagged as a PILF and starts getting cozy with TV host Brie Evantee (Cate Blanchett, glorious).
Meanwhile, weird tech CEO Peter Isherwell (Mark Rylance) determines the comet could really be a good thing! It’s composition could be worth billions, so he pushes the administration toward a Star Wars-worthy plan to break it up in pieces small enough to harvest, as uber-angry broadcaster Dan Pawketty (Michael Chiklis) instead wants to focus on the real problem of topless senior caregivers.
What’s left for the little people to do except take sides?
With the clock ticking and the comet now visible overhead, the anti-science crowd preaches “don’t look up” while pop diva Riley Bina (Ariana Grande) belts out a soaring (and surprisingly tuneful) plea to “get your head out of year ass, just look up, turn off that shitbox news.”
The fertile ground of current pandemic disinformation makes McKay’s mash of Dr. Strangelove and Mars Attacks! seem a little extra urgent. And while Don’t Look Up never matches the satirical majesty of Kubrick, McKay is able to nicely cop the disinformation industry’s circular strategy of reframing evidence against it as evidence supporting it. He knows how his film’s worldview will be attacked, but also how some calculated ridiculousness can be a pre-emptive strike.
But is McKay’s film going to change anyone’s mind? Seriously? No, no it’s not, but he knows that, too.
Hey, if you think our current situation is too dire to have fun with, that’s understandable. But if you can relate to Grande singing, “Celebrate or cry or pray, whatever it takes,” then this is funny stuff. Just don’t mistake the laughs in Don’t Look Up – and there are plenty of them, including a priceless running gag about expensive snacks – for a lack of outrage or conviction. McKay and one of the year’s best ensembles find space for all three.
Sit tight for mid-credits and after-credits stingers, too. And trust me on the snacks thing.
After Agnes, some disgruntled horror fans may end up checking the credits for the stamp of A24. Don’t get me wrong, I consistently love A24’s brand of spooky, but I can’t deny that some of their trailers write a visceral check that the films themselves don’t always cash.
So don’t come to Agnes for some standard demonic possession fare, cause it ain’t here. But what director/co-writer Mickey Reece has in store ends up being bold and weird, funny and captivating, and in the end, even sweetly hopeful.
Opening with a convent birthday gathering that gets out of hand fast, Reece then introduces us to Father Frank Donaghue (Ben Hall), whose knowledge of the rite of exorcism earns him a meeting with the Bishop. Back at Santa Teresa, young sister Agnes (Hayley McFarland) seems to have the Devil in her. Church elders want Father Frank and his neophyte Benjamin (Jake Horowitz) to cast it out.
Things don’t go well, leading Father Frank to call in reinforcement from the renegade Father Black (Chris Browning), a cocky, chain-smoking padre who puts Agnes through a hilarious bit of exorcising straight out of Airplane!
If you saw Reece’s Climate of the Hunter, you won’t be surprised by the layer of dark humor running through his latest. But what might surprise you is realizing that what happens to Agnes isn’t really the point here. The point is what happens to Mary (Molly C. Quinn).
Sister Mary committed to the convent after a tragic loss in her life but abandons the order following those clumsy attempts at driving the Devil from her friend. From there, Reece also leaves the convent behind to focus on Mary’s attempts at re-adjusting to “normal” life.
The film’s tone takes a major shift, establishing a clear contrast between nunnery silliness and real-world struggles that reinforces an early observation made by Father Frank.
Belief in evil is on the rise, so where is the increased belief in Godly things?
Quinn (Mrs. Grady in Doctor Sleep) invites both curiosity and sympathy as Mary wanders wide-eyed and often expressionless, looking for a reason to believe. She proves a wonderful vessel for both Mary’s crisis of faith and Reece’s unconventional methods for raising worthwhile questions.
Follow its admittedly jarring path and Agnes just might make you find comfort in your next ham sandwich.
More metaphorical than Cuckoo’s Nest, more elusive than Girl, Interrupted, and with less satirical bite than The Lobster, Wolf brings a few other films to mind. But like many of her characters, writer/director Nathalie Biancheri is committed to her own different animal.
George MacKay is hypnotic as Jacob, a young man suffering from species dysphoria. He believes he is a wolf trapped in a human’s body, and when we first meet Jacob, his distraught parents are dropping him off for an extended stay at a treatment center promising a cure.
Once inside, Jacob meets others in similar circumstances: Parrot (Lola Petticrew), German Shepard (Fionn O’Shea), Duck (Senan Jennings), Horse (Elsa Fionuir) and Wildcat (Lily-Rose Depp) – all patients under the domineering thumb of The Zookeeper (Paddy Considine).
Though enemies in the wild, Wolf and Wildcat become drawn to each other within the confines of the treatment center. She’s mysterious, with privileges the other patients don’t enjoy, which comes in mighty handy when Wolf starts resisting The Zookeeper’s increasingly harsh methods.
Biancheri’s metaphor for conversion therapy certainly isn’t hard to pick out, but on a wider scale, her film speaks not only to ignorance toward the LBGTQ+ community, but to a universal push for conformity across all lanes of society. To The Zookeeper, a happy and productive life comes only when you accept what is expected of you, and while Biancheri often juggles different tones within this theme, she is able to craft several moments of powerful humanity, including a structured lesson on laughing that will just about break your heart.
MacKay (1917, The True History of the Kelly Gang) is such a wonderful actor, and it’s no surprise that he’s able to uncover Jacob’s inner conflict with a touching, understated depth. But even beyond that, his command of the role’s animal physicality is powerful and striking.
As Wolf and Wildcat grow closer, MacKay and Depp (also impressive in a comparatively underwritten role) often seemed locked in to an acting school exercise on primal instincts that left the rest of the class in the dust.
There’s more than enough here – from the narrative core to the stellar ensemble to the clinical production design and beyond – for a compelling and thought provoking parable. But while Biancheri’s ambitions are bold and worthy, her second feature (after 2019’s Nocturnal) can’t quite settle on a species.
Such commitment to a unique identity is certainly thematically consistent, but a more streamlined focus may have made the finale feel less abrupt, and brought more clarity to Wolf‘s high concept vision.
Legendary indie horror filmmaker Charles Band joins Fright Club this week to talk about his new book Confessions of a Puppet Master, Marilyn Monroe, spotting talent, and VHS art. He even gives us some advice on our first feature film.
5. Trancers (1984)
Directed by Charles Band, the film follows a hard-boiled Blade Runner style mercenary into the past. Jack Death (Tim Thomerson) must stop a villain from killing off the ancestors of those who keep him from ruling the world. If they’re never born, he will be unstoppable, thanks to his army of zombielike Trancers.
The point is, Helen Hunt. To say that she makes the most of this material is an understatement. She’s adorable, charming, and she carves a memorable character out of less-than-stellar written material. The rest is fun, cheesy scifi.
4. Troll (1986)
The 1986 original Troll boasts a surprising hodgepodge of names in the ensemble: Julia Louis-Dreyfus, Michael Moriarty, June Lockhart (the mom from the Lost in Space TV show), Sonny Bono, as well as a who’s who of “Hey, I got to get out of here in time to be on that Love Boat episode” stardom. It’s a grab at the burgeoning genre Joe Dante created in 1984 with Gremlins, comic stuff about a troll king turning San Francisco apartment dwellers into plants.
The other thing that stands out in this 1986 flick is that the protagonist (and his father, come to think) is named Harry Potter. There’s a witch, too. Coincidence?
A good mash-up of humor and gore highlighted by the young Louis-Dreyfus in a small but funny role, it’s the kind of movie that epitomizes what producer Charles Band (who has a cameo) did best.
3. Rawhead Rex (1986)
Clive Barker penned this one. No, he did not like the film it turned out to be, but you might. Band produced this Irish horror that sees a wildly unhappy couple, their doomed children, and a small town on the Emerald Isle accosted by a reincarnated demon with a face that looks like raw meat.
Another memorable VHS cover made this one of those movies you immediately associate with video stores, and though the acting is hardly top quality, the creature design is hideous and fun.
2. Puppet Master (1989)
If any movie capitalized on the VHS box, it was Puppet Master. The tag Evil comes in all sizes looms large above a theatrical trunk, wedged open to show a group of hideous little puppets. And the film didn’t disappoint, because those little evildoers get themselves into all manner of bloody, slug-spewing trouble.
The point-of-view camerawork, fun cameos and inspired creature designs make up for a lot of script and acting weaknesses and the film easily carries that Charles Brand stamp: low budget, funny, campy, gory fun.
1. Re-Animator (1985)
Re-Animator boasts a good mix of comedy and horror, some highly subversive ideas, and one really outstanding villain. Band knew a movie worthy of distribution when he saw one, and this film became a surprising theatrical hit for him.
Jeffrey Combs, with his intense gaze and pout, his ability to mix comic timing with epic self-righteousness without turning to caricature, carries the film beginning to end. His Dr. Herbert West has developed a day-glo serum that reanimates dead tissue, but a minor foul-up with his experimentations – some might call it murder – sees him taking his studies to the New England medical school Miskatonic University. There he rents a room and basement laboratory from handsome med student Dan Caine (Bruce Abbott).
They’re not just evil scientists. They’re also really bad doctors.
Nirmal “Nims” Purja likes to keep a positive outlook.
“I’m not going to die today. Maybe tomorrow, but not today.”
And while tomorrow isn’t promised to any of us, Nims tends to tempt fate more than most. A mountaineer, adventurer and former member of the Special Forces in Nepal, Nims feels most alive when he’s dreaming big and living life on the edge.
Netflix’s 14 Peaks documents his biggest dream: summiting all 14 of the world’s 8,000 meter + peaks (26, 247 feet and above) in just 7 months. To put that in proper context, the previous record for achieving the feat was 7 years. And Reinhold Messner – one of the greatest legends in all of climbing – took 16 years to ascend all 14.
So the plan that Nims dubbed “Project Possible” was ambitious, to say the least, and Messner himself sets the stakes for us. To Messner, climbing these wonders of the world “is not fun.” It is a practice filled with pain, danger and death.
That said, Nims sure seems to be enjoying himself, and part of that is helping to document his own journey.
If you come to 14 Peaks only for the breathtaking visuals, you will not be disappointed, especially if you can view it on a wide screen. Director/co-writer Torquil Jones takes us above the clouds over and over again, utilizing sparkling, absolutely thrilling footage often taken by Nims himself (including his incredible shot of a 300-person Mt. Everest traffic jam that quickly went viral).
But Jones also mines tension through the attempts at fundraising for the project (where Nims admits “I sound like a lunatic’) and getting the clearance from the Chinese government to climb in Tibet. Intimacy comes from getting to know Nims himself, who turns out to be a fascinating and endearing subject. We see his preparations and the tests that reveal him to be genetically gifted for enduring high altitude/low oxygen environments, as well as Nim’s commitment to to helping fallen comrades on the mountain, and to getting recognition for the oft-nameless Sherpas who are invaluable to visiting climbers.
And, Jones lets us meet Nims’s family, establishing a touching contrast between his apparent lack of fear and the feeling of failure that comes from being away from his ailing mother as he climbs.
14 Peaks will help you discover both a man and a mission. Separately, they’re pretty compelling. Together, they’re a force of nature.
Just four years ago, director Ridley Scott deconstructed the Getty family’s wealth of dysfunction in the masterful All the Money in the World.House of Gucci shows he’s still got money on his mind, and his mind on the rot that can take root in such mind-altering luxury.
Based on the true events detailed in Sara Gay Forden’s bestseller, the film dissects the complete unraveling of the Gucci family dynasty, a fuse seemingly lit by the unlikely relationship between Muarizio Gucci (Adam Driver) and commoner Patrizia Reggiani (Lady Gaga).
Though the Gucci name gets Patrizia’s attention at their first introduction, Muarizio didn’t seen to have much interest in the empire shared equally by his father Rodolfo (Jeremy Irons) and uncle Aldo (Al Pacino). But once he puts a ring on it, the mix of Patrizia’s ambition and Aldo’s invitations finally bring Maurizio into the family business.
Aldo’s own son Paulo (Jared Leto in some nifty makeup) is the Fredo in this clan, and it isn’t long before Paulo is trying to form his own back door alliance with Rodolfo, and Patrizia is Lady Macbeth-ing it everywhere from Italy to New York (complete with bewitching help from Salma Hayek as psychic Pina Auriemma).
You may have noticed that this is a pretty impressive cast. True, and even with their wheel-of-accents there’s little doubt that watching them all try to out-Italian each other in this trashy mash of The Godfather, I, Tonya, Shakespeare and The Real Housewives of Milan is the film’s biggest pleasure. But Scott and screenwriters Becky Johnston and Roberto Bentivegna can never establish a consistently compelling tone (overly random soundtrack choices don’t help, either), and the two and a half hour run time takes on curious contrasts. Even as the overall narrative has moments that drag, Maurizio’s transformation to the dark side still feels too rushed and convenient.
But Gaga proves worthy of another Oscar nom, and though the film never reaches the level of crackling relevance Scott mined in his look at the Gettys, she proves a fascinating window for the legendary director’s latest foray into an iconic family’s arc of greed, suspicion, betrayal and worse.
And if your Thanksgiving ends up going completely off the rails, House of Gucci is a star-powered and entertaining way to feel a whole lot better about your own family.
Deliver my soul from the sword; my darling from the power of the dog.
Psalm 22:20 pleads for protection from pack animals that attack the vulnerable. And in the first film in 12 years from writer/director Jane Campion, the leader of the pack is Phil Burbank (Benedict Cumberbatch).
Phil and his brother George (Jesse Plemons) are wealthy ranchers in 1925 Montana. George is soft spoken, well-dressed, polite and empathetic. Phil is none of those things.
So Phil is nothing but resentful when their family dynamic is upended by George bringing home Rose (Kirsten Dunst) and introducing her as his new wife. Though Phil doesn’t hide his suspicions of the new Mrs. Burbank, it is Rose’s son Peter (Kodi Smit-McPhee), that becomes his new favorite target.
Peter is quiet, gentle, and artsy, the perfect foil for Phil to belittle in front of his ranch hands. A master at exposing vulnerabilities, Phil doesn’t hesitate to loudly question Peter’s masculinity and his worth at the ranch – if not in the world.
So it surprises everyone – most notably the resilient, cautious Rose – when Phil seems to reverse course and take the young man under his wing. Peter needs new skills to be accepted into the ranch life, and Phil begins taking extra time to personally mentor him, passing on lessons that Phil himself learned at the feet of local legend Bronco Henry.
Even if you haven’t read the celebrated source novel by Thomas Savage, Campion’s adaptation unfolds with enough subtle poetry to convince you that it must be a wonderful read. Onscreen, the Oscar-winning Campion (The Piano) contrasts the vast majesty of the American West (kudos to cinematographer Ari Wegner) with delicate details that shift the nature of love, trust and strength within a family.
Campion gives Plemons, Dunst and Smit-McPhee the room to craft indelible characters, and they each respond with tenderly restrained excellence. But Cumberbatch is also the leader of this pack, delivering a magnificent, completely immersive performance sure to get awards season attention. Phil is unclean, both physically and spiritually, and Cumberbatch makes him a darkly compelling character, a feeling that directly feeds the unease that comes when Phil reasses his relationship with Peter.
What made Phil such an unforgiving brute? Are his new intentions truly kind, or is Peter in danger? And maybe Peter is seeing Phil more clearly than we realize.
The Power of the Dog finds its own power in what it shows but never truly tells. It’s a film that is hauntingly lyrical and masterfully assembled, with a beauty that lingers like an echo in the Montana wilderness.
