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Endurance Test

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Blonde

by Hope Madden and George Wolf

Andrew Dominik felt like an odd choice to bring Joyce Carol Oates’s epic fictionalization of Marilyn Monroe’s life to the screen. His films up to now, though excellent, wouldn’t necessarily suggest an aptitude for a female focused biopic.

Most recently, the filmmaker’s crafted two magnificent documentaries on singer/songwriter Nick Cave. Prior to that, he made two woefully underseen Brad Pitt dramas (Killing Them Softly, The Assassination of Jesse James by the Coward Robert Ford) after his Aussie breakthrough, Chopper. Each of these films is excellent, and each of them is broodingly, tenderly, decidedly masculine.

If Dominik was an unconventional pick, Cuban performer Ana de Armas seemed a downright peculiar choice for the lead role. She’s no doubt beautiful enough to play the legendary stunner, and her work in Knives Out and Hands of Stone have shown her versatility as an actor.

And why not get a little nutty? Monroe’s story has been told more times than Dracula’s – at least seven features and TV movies have been made about Marilyn, and she’s figured prominently in countless other flicks. Can they give us something we haven’t seen?

Yep. They give us nearly 3 hours of NC-17 wallowing.

Dominik’s film, which he adapted himself from the source novel, does little more than fetishize Monroe’s suffering.

De Armas fills the role well enough. Yes, her accent takes you out of scenes from time to time, but that’s not really the trouble with the character. Monroe gets a single opportunity to stand up for herself in two hours and 46 minutes. It’s fun. It’s great to watch the character who’s been abused and misused the entire film finally feel a quick surge of pride.

This one sequence – the one moment of agency given Monroe in the film’s entire running time ­– becomes the catalyst of her downfall, of course. Prior to this moment, de Armas is asked only to hover on the verge of tears. Nearly every instant after is degradation for a character rendered nearly inhuman by broadly brushed daddy issues and mental instabilities.

While the film’s visual style is often intriguing, Dominik’s aggressive approach feels borrowed. He channels Lars von Trier with wave upon wave of punishment, then recalls Gaspar Noe through extended takes featuring shock-value POVs. And the irony of that NC-17 rating is that it’s not earned the old-fashioned way. The scene that almost certainly drew the most ire from the ratings board does not feature one second of nudity, yet lands as excess most wretched. If it all doesn’t add up to an abuse of de Armas, then it amounts to abuse of an audience.

The point of Blonde seems to be that the almost global objectification of Marilyn Monroe meant an unendurably tragic life and death. To prove the point, Dominik objectifies Marilyn Monroe to a point that is nearly unendurable.

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Under the Influencer

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Sissy

by Hope Madden

Horror is especially preoccupied with the doppelganger nature of social media – how you can lose yourself in the make-believe world of the “you” you present online. Co-writers/co-directors Hannah Barlow and Kane Senes dig into that duality with their Aussie horror, Sissy.

Sissy – or as she’d rather be called now that she’s a grown up, Cecilia (Aishe Dee) – feels blessed. Thanks to her 200k followers and the products she gets paid to work into her videos, she has a fulfilling life. She is loved. She is enough. She is doing her best.

Maybe she’s not really doing that well, actually. She even hides when she spies her childhood BFF at the grocery store, but Emma (Barlow, who also stars) sees her anyway. She even invites Cecilia to tonight’s big bachelorette party, and tomorrow’s drive out to the country for a weekend-long celebration!

If you’ve seen Bodies Bodies Bodies or, indeed, any horror movie, you know that second part is not going to go well for everyone. Like Halina Reijn’s gruesome comedy, Sissy plays around with genre expectations and spotlights the ins and outs of Gen Z.

Dee works wonders as a woman trying to practice what she preaches, earn from what she practices, and find fulfillment in online followers when friends IRL are less welcoming. The cast that surrounds her is universally strong, each one manipulating the sly, darkly funny script to shock and delight.

Barlow and Senes never entirely abandon the old-fashioned slasher, either. Sissy delivers starling gore FX that feel simultaneously in keeping with the black comedy and somehow too disturbing to fit. Well done!

The filmmakers tease the new terrain of a world populated with virtual personalities. Who’s the good guy? Who isn’t? Is anybody? Sissy doesn’t break new ground here, but thanks to a knowing script and a lead performance that sells itself, you’ll enjoy the show.

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Coming of Age

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A Love Song

by Hope Madden

Filmmaker Max Walker-Silverman’s feature debut A Love song blesses us with 81 minutes of Dale Dickey, a gorgeous western landscape, and not much else. It is enough.

Dickey is Faye, a solitary figure with a face full of longing at Campsite 7. She sets her crawdad traps, makes her coffee, studies birds and their calls by day, stars and their positions by night, and waits.  

Dickey’s performance is a master class in authenticity, as always. She’s been the grizzled Appalachian or the kindly townsfolk in countless films and shows. Rather than hide the years that stretch across her face, she looks out from behind them, eyes bright and observing. She wears a lifetime of experience, and that, along with her instinctive natural performances, creates depth and richness.

All that and more is called for in Walker-Silverman’s film because for about 80% of its running time, we’re alone with Faye and witness to Dickey’s achingly real performance.

Faye’s solitude is broken up here and there. A friendly couple a few campsites over invite her for dinner. An odd group of siblings arrives with a peculiar request. A kindly and encouraging mailman stops by.

Eventually, Faye’s patience pays off in the form of her childhood friend, Lito (Wes Studi). Decades of absence and years of meaning stand between Lito’s charming smile and Faye’s searching eyes.

There’s magic and nostalgia for old-fashioned love stories in Walker-Silverman’s script, but these veteran actors don’t bend to sentiment. Both know how to blend innocence with renewal, reimagining coming-of-age as they do.

Walker-Silverman’s camera lights on visual metaphors: hearty wildflowers bursting through dried earth, a transistor radio that always seems to know what to play. His film brims with the kind of beauty and type of characters reminiscent of Chloé Zhao’s work, but A Love Song is more meditative. It’s beautiful, touching and real.

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Queen for Today

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The Justice of Bunny King

by Hope Madden

“It’s our job to keep them safe.”

It is with deepest cynicism that writer Sophie Henderson puts those words into the mouths of social workers and police officers in director Gaysorn Thavat’s effecting The Justice of Bunny King. But it never feels forced. Nothing in the film does.

The Justice of Bunny King rides intimacy and Essie Davis’s fierce and tender performance to articulate a scathing indictment on the way the system, blinded by classism and misogyny, fails.

Davis plays a woman with a smile and a good word for everyone. That doesn’t change the fact that Bunny remains sometimes barely a step ahead of the rage that has upended her life. That rage is likely what’s kept her alive as well.

At the moment, Bunny’s cleaning windshields in traffic, cleaning house and babysitting at her sister’s place, and trying desperately to find a place of her own so she can have her kids back. She’s almost there, too. She can just about touch it. But she risks all of it to keep another woman from falling victim to the systems in society that make it so hard for poor people ­– poor women, in particular – to be safe.

Thavat’s film – like Nia DaCosta’s 2018 gem Little Woods and Courtney Hunt’s 2008 indie Frozen River – takes a clear-eyed look at modern poverty. Each film also benefits from powerful, human performances by two women working in tandem to tell the story of women who are more powerful when they work together.

Davis is a force of nature, delivering authenticity flavored with spirit and spite. Her fire finds balance in a quieter, more brooding turn from the wonderful (as always) Thomasin McKenzie.

Like Breaking, featuring an underappreciated powerhouse performance by John Boyega, Bunny King recognizes the wearying web of bureaucracy and antipathy that enforces a class system. But Thavat’s film finds comfort in community, allowing that there is help and hope. It may not come from those who can afford it, but those who best understand your plight.

“I’m not the police,” a woman tells Bunny at one point. “I’m here to help you out.”

Thavat allows an impeccable cast to take advantage of lines like that one. Her even hand behind the camera never forces drama, never wallows in suffering. Together with her team and through this story, she fights the power.

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Unhappy Homemaker

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Don’t Worry Darling

by Hope Madden and George Wolf

There’s drama, scandal, ghosting, possible spitting – Don’t Worry Darling is known for it all. And none of it’s even in the movie!

So, if you separate Olivia Wilde’s sophomore effort behind the camera from its pre-launch baggage, what do you have? An absolutely gorgeous if somewhat superficial critique of how little progress women – especially married women ­­– have made in terms of agency and control.

Its main recommendation is Florence Pugh, which should surprise no one. Her performances are always fiercely intimate and human; Alice is no different. Lovely wife of Jack Chambers (Harry Styles), Alice cocktails with the ladies, hums while she cleans, prepares a mean roast, and enjoys a healthy sex life with her devoted Jack.

Jack, that’s a manly name. You know what else is? Frank. And manly Frank (Chris Pine) is the force behind the town of Victory. He’s the visionary, the gatekeeper, the Great and Powerful Oz – and Pine relishes every scene-chewing moment on the screen. He is particularly effective when sparring with and menacing Pugh. Their spark is so strong it only makes the rest of the cast appear dimmer.

But we know something is amiss in Victory because nothing screams “something is amiss” to viewers as quickly as a colorfully wholesome late 50s vibe. But man, does Wilde and her production designer Katie Bryon nail that vibe. It’s like Mad Men meets Better Homes and Gardens with cool cars and fabulous costumes to boot, all of it choreographed to flow like the synchronized dance numbers forever punctuating the narrative.

What Wilde shows us is slick, stylish and well-constructed. What she’s telling us is fine, too, it’s just that none of it is as profound as Wilde and screenwriters Katie Silberman, Carey Van Dyke and Shane Van Dyke seem to think it is.

They make salient points about testosterone-laden rabbit holes and the inequalities that many demand of a “great” America, but their hand is rarely subtle. And when it comes, even the Twilight Zone moment lands with more shaky logic than well-earned resonance.

But Don’t Worry Darling isn’t worthy of gossip column dismissal, either. There is talent spread throughout the community here, just nothing in the collective effort that’s truly memorable. And like those hot new developments built on remnants of old ones, the film ultimately feels like a shiny new makeover of familiar ideas.

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Dirty Story of a Dirty Man

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The Infernal Machine

by Hope Madden

Guy Pearce works a lot. He has 90+ screen credits since debuting in 1990’s universally panned Aussie thriller Hunting. In the interim, he’s crafted unforgettable characters in remarkable films (Memento, The Proposition, Ravenous, Animal Kingdom, L.A. Confidential, Mildred Pierce, Lawless, Hateship Loveship, The Rover).

He’s also cashed some meaningless paychecks. Did you see The Seventh Day? Zone 414?

In the last five years, the veteran talent has indulged in too many low-budget thrillers. I hate to call them geezer teasers because Pearce is capable of so much more than the other actors associated with these straight-to-streaming punch-em-ups. Still, that’s what they are and that’s what I half expected with The Infernal Machine.

Pearce plays recluse author Bruce Cogburn in writer/director Andrew Hunt’s mind game of a thriller. Twenty-five years ago, a gunman inspired by Cogburn’s novel The Infernal Machine climbed a watch tower and took aim at the citizens below. Cogburn hasn’t written a word since.

Lately, his reclusive nature’s been tested by a very ardent fan who delivers letters daily to his PO box. When Cogburn terminates the box, the letters come by courier to his isolated home, regardless of the threat of being shot on sight or mauled by Sol, Cogburn’s dog.

Eventually, respect for the tenacity of this fan – an aspiring writer just wanting some advice – softens Cogburn and he agrees to a meeting.

Bad decision.

Hunt’s script takes wild twists and Pearce and his costars are game for the ride. Alice Eve is a lot of fun. Alex Pettyfer plays against type and mines excellent, sometimes chilling layers in limited screen time. But it’s Pearce, in sun-damage makeup, who carries each scene. He is, as he’s always been, an outstanding character actor. In his hands, Cogburn’s vanities and pretensions give the character needed depth and fit nicely with Hunt’s vision.

It is a fun flick full of surprises. Flashbacks weaken the satisfaction of piecing the mystery together, so the climax itself is not as strong as the adventure that precedes it. Still, it’s great to see Pearce making an effort in a film worthy of his time.

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Sister Act

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Carmen

by George Wolf

Before the end of the year, there are two Carmen films being released. This is the other one.

Writer/director Valerie Buhagiar isn’t interested in updating that classic opera. But she is interested in what happens when one repressed woman begins to indulge an impetuous nature that would make the legendary operatic gypsy proud.

It is the 1980s on the Maltese Islands, the middle-aged Carmen (Natascha McElhone – outstanding) has been serving as housekeeper for her brother the priest (Henry Zammit Cordina) since she was 16 years old.

The Monsignor (Paul Portelli) promises Carmen that she will indeed be rewarded for her years of service to the Church – when she dies. In this life, though, there is little joy until fate intervenes.

Carmen’s brother suddenly drops dead, and when a replacement is slow to arrive, Carmen herself is mistaken for the new priest. Slipping into the anonymity of the confessional booth, she dispatches advice that actually improves the lives of the locals (especially the women). Contented townsfolk mean an overflowing collection box, which Carmen dips into with a heavenly vow to repay.

She gets a new look, indulges herself, and soon catches the eye of men about town, including the younger Paulo (Steven Love), and the older Tom (Richard Clarkin).

It’s a wonderful lead role for the veteran McElhone, and she makes the most of it. Even early on, we get the sense that there is still a passionate spirit alive in Carmen, just one that’s been buried by years of serving both a country and a religion with little interest in a woman’s fulfillment.

McElhone reveals Carmen’s journey of self with a mischievous indulgence that feels both genuine and joyous, even if the opening “mistaken identity” setup lands as a tad contrived.

The character arc also seems personal to Buhagiar. A Malta native, she deftly uses Carmen’s backstory and her lifetime of longing to comment on the xenophobia she’s seen in her homeland, and the oppression she’s felt from her Church.

The film’s sense of awakening and romance is propelled by gorgeous photography (hat tip to cinematographer Diego Guijarro) and sly use of visual imagery.

Sure, that dove that’s following Carmen around can easily be seen as a religious symbol. But it’s also a reminder from Buhagiar that Carmen’s famous name is no accident. Much like the titular opera’s description of love, this Carmen’s heart is still “a rebellious bird that none can tame.”

And it sure is fun watching her follow it.

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Stick ’em Up

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Bandit

by Brandon Thomas

Career criminal Gilbert Galvan, Jr. (Josh Duhamel of Transformers) escapes from a Michigan prison and makes his way across the border onto the friendlier ground of Canada.

Although momentarily free from American authorities, Gilbert’s legitimate job prospects are not looking great as the recession of the 1980s comes into full swing. After falling for a local woman (Elisha Cuthbert of House of Wax, and TV’s 24), Gilbert panics about his lack of career opportunity and turns to robbing the inadequately guarded banks around Canada. 

Bandit director Allan Ungar is best known for a 2018 Uncharted fan film starring Nathan Fillion. The film itself was small in scale and certainly catered to no one but video game fans, but it did showcase what Ungar can pull off with a charming and talented lead actor. That same fun, playful tone runs through the entirety of Bandit, a film that owes much more to Soderbergh’s light-hearted Ocean movies than say the ultra-violent Bonnie & Clyde.

Ungar doesn’t get too caught up in moral finger-wagging. We all know robbing banks is bad, but the audience sympathizes with the thief’s panicked plight. Like Galvan himself, the film isn’t overly concerned with the eventual conclusion. Galvan is only interested in providing for his family and having fun in the moment. So is Bandit.

Duhamel isn’t an actor I’m normally excited to see. In Bandit, however, he steps up to the plate and delivers a confident and charming performance. There is a series of bank robbery montages that let the actor cut loose while wearing some purposefully bad disguises. This lighter side of Duhamel wasn’t something I was familiar with before, but will certainly welcome in the future.

The supporting cast does well enough, with Cuthbert unfortunately relegated to the “wife” character who spends much of the movie asking questions of the evasive Duhamel. The always dependable Nestor Carbonell (TV’s Lost, The Dark Knight) pops up as a Canadian cop trying to bust the costumed robber. One of the bigger surprises is the addition of Mel Gibson, who has spent roughly the last decade playing minor roles in cheapie action movies. While Bandit might be on the cheaper side, the light tone allows Gibson to dig into his comedic past. Gibson’s performance is a welcome breath of fresh air for the controversial actor. 

While not reinventing the bank robber subgenre, Bandit is a light-hearted heist flick that doesn’t get bogged down in bloody violence or moral grandstanding. You know, the kind you can show mom. 

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Writer’s Horror

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Blank

by Tori Hanes

Blank, the freshman feature from director Natalie Kennedy, follows successful author Claire Rivers (Rachel Shelley) as she struggles through a nearly debilitating spout of writer’s block. More desperate to appease her publishers than unlock her unwritten story, Claire enrolls in an AI-controlled retreat.

Here, Claire’s every concern that is not creatively driven is managed by her two AI helpers, Henry (Wayne Brady) and Rita (Heida Reed). After a system failure leaves her assistants less than primed to assist, Claire’s writer’s block turns from a professional detriment to a nearly fatal flaw. 

The film is immediately and consistently enthralling from a visual perspective. Kennedy and cinematographer James Oldham are determined to not fall into the dull, gray color pallets plaguing the 2010s/2020’s horror and thriller genre. While their palettes reflect the somber and intensive mood, they stay original and fresh – never allowing the eye to grow weary with dreaded slate monotony. 

Even when the script begins to fail the visuals remain interesting, sometimes dragging the narrative by the arm to keep up with audience expectations. This tactic succeeds. Even if you rack your brains post-film to recall the midsection of the narrative, the mood created by these stunning visuals sticks out. 

The story has a tendency to stumble over its ambition. Starting off with a solid swing, Blank engrosses with its interesting and eerie world right off the bat.

However, the meat of Stephen Herman’s script relies less on story than on thriller tropes: repetition, unsettling visuals, eerie background narrative. That is not to say Blank ceases to enthrall. Instead, the interest shifts to a confused unease, only to be resolved at the dramatic and anxiety-inducing climax.

Kennedy gets hung up on some clunky metaphors. Rita, Claire’s personal AI assistant, takes on a traditional 1950s housewife style. Her compliance and eventual resolution mirror obvious calls for morality in human-created intelligence. While it makes sense for Kennedy to approach this ethical dilemma, the lack of subtlety tarnishes the message. 

As most writers can attest, a bad case of writer’s block can leave you begging for an escape. Blank creatively and (most important) intriguingly shows why reopening your laptop and continuing your story may be the best choice.