Blink Twice (2024)

I get excited when I find a director expertly brings together images and emotions, music and dialogue, into a narrative that heightens the story and makes the experience of taking it in so rewarding. Early into Blink Twice it was clear Kravitz has an eye for how to build up her tale and the emotional resonance of it so effectively. I was riveted from the beginning. Her film is a puzzle movie, asking you to figure it out, and when it is revealed to all be something far less mysterious and far more disturbing than many of us would have guessed, Blink Twice manages to shake us and deliver on an ending which is both satisfying and logical. 

Ackie is an incredibly charismatic actor who is captivating on screen. You just want to watch her and all that she does with her characters and her performance here is very strong. Arjona is a rising star as well who delivers a character who turns out to be far more interesting than one would originally think. They are standouts in an overall strong cast including Tatum who should play villains more often. 

But what is really effective about Blink Twice is just how salient the story is. The biggest surprise for me was how real world it felt, how not-fantastical the reveal was, and how much more powerful it made the story. Films with these sorts of puzzles can often stumble over the ending, not knowing how to resolve the problems they raise in a way that feels honest of satisfying. But Blink Twice pulls that off well to. Yes it maybe starts to get ever-so-slightly over the top but the ending it delivers is a clever punch that... well you just need to see it. 

I love it when I get to say I'm excited to see what a new director is going to do next and this is one of those times. 

Blink Twice

Starring: Naomi Ackie, Channing Tatum, Alia Shawkat, Christian Slater, Simon Rex, Adria Arjona, Haley Joel Osment, Levon Hawke, Geena Davis, Kyle McLachlan, Zoë Kravitz

Director: Zoë Kravitz

Writers: E.T. Feigenbaum, Zoë Kravitz

Strange Darling (2024)

It is hard to talk about Strange Darling without ruining it. Well perhaps "ruining" isn't correct. It's a stunning film even if you know the plot in advance. But it is certainly one of those films that you should see knowing as little as possible. So it's hard for me to talk about what makes it so great with anyone who hasn't seen it. I could talk about what a star Willa Fitzgerald is and how much she owns the screen during this movie. I could talk about how strong Kyle Gallner is opposite her. But even getting into why is talking about it.  

Of the things I can mention is how well the film uses its gimmicks in ways that are not gimmicky and in fact enhance the story telling. There is the effective use of what could have been gimmicky story structure. There is the stunt "casting" of Giovanni Ribisi as cinematographer (BTW Ribisi has a calling besides acting on display here). There is even the film's sensationalist story which could have easily felt too cliche, yet manages to feel wholly original. So much of Strange Darling could easily have not worked. Yet it does. 

Strange Darling is about expectations. It is about assumptions. It doesn't play with its audience in a Shyamalan way but is upfront about the fact that it is going to mess with you and does so honestly. I felt off kilter the entire time, never knowing if I could trust what was going on. The amazing performance of Fitzgerald and the script's deft construction keeps its audience off balance.

I have a but... and it's a big BUT. There is one thing that sort of ate at me while I was watching it which again is hard to discuss without spoiling it. I don't feel the film was trying to do this but I do feel a certain audience could see in this a justification for disbelieving victims of violence. The film I believe goes a long way to craft its characters in complicated and nuanced ways that avoid that message coming through yet it could still be read into the piece and that was somewhat uncomfortable, not in a good way. The film's desire to make us question what we are watching and who we can trust has a nihilistic vibe that took me out of it a bit. Just a bit. I perhaps would have loved to see the film deal with this more completely. 

Yet I still walked out of Strange Darling shaking with energy and discomfort (the good kind). Fitzgerald, Gallner, Ribisi and writer/director Mollner have put out something which will grab you by the neck and not let go. Snuffleupagus!

Strange Darling

Starring: Willa Fitzgerald, Kyle Gallner, Barbara Hershey, Ed Begley Jr.

Writer/Director: JT Mollner 

Horizon: An American Saga Chapter 1 (2024)

Horizon Chapter 1 is often criticized because with its intention to tell a story over the course of 4 movies, is structured more like a TV series than a big screen film. It sets into motion a number of narrative threads featuring a cast of multitudes that don't always appear to be connected at first. On a streamer spread out over 10 episodes, this would be recognizable way of telling a story and people would binge it in a weekend. But as a film, audiences don't know how handle it. For me I don't think that sort of criticism makes sense. While I may have some other issues with the film, it's ambition isn't one of them. 

The first chapter of Horizon lacks the sort of beginning/middle/end that a lot of first-in-a-series have. Intended franchises such as Dune parts One and Two or the Lord of the Rings films handled that better, despite having an over arching story, still gave some single arc structure to each part. Horizon eschews that for the sort of meandering openness of story telling that a more serialized sort of storytelling uses, like we'd see on TV. It doesn't mean it doesn't work it just means we have to understand how to consume it differently. Perhaps that's why it found more of an audience once it was available to watch at home.

Like a lot of TV shows, I found some stories and characters in Horizon more compelling than others. It didn't always hold my attention for each aspect of its narrative. I appreciated how it tries to tell a varying number of perspectives instead of necessarily siding with one view or culture. But sometimes this felt a bit forced For me Horizon's problems were less in its score and more in its inconsistency. But there was enough I found interesting that I'd be up for watching Horizon Part 2. Hopefully it will start to feel a little more cohesive and find its tone and style. This one may or may not have got there on its own but there is potential. 

Horizon: An American Saga Chapter 1

Starring: Kevin Costner, Sienna Miller, Sam Worthington, Will Patton, Jamie Campbell Bower, Giovanni Ribisi, Michael Rooker, Danny Huston, Jena Malone, Michael Angarano, Abby Lee, Luke Wilson, Jon Beavers, Owen Crow, Tatanka Means, Will Patton

Director: Kevin Costner

Writers: John Baird, Kevin Costner

Hit Man (2024)

Glen Powell's star has been rising for a while but he hasn't had such a perfect vehicle to show off that while he has leading man qualities he also has great character actor qualities. Plus as co-screenwriter, Powell shows he can do it all. Hit Man is the real deal, a wildly entertaining comedy that is part rom-com, part social commentary, and part star vehicle. 

Powell and Linklater, inspired by a true story that doesn't involve any actual murder, use this clever idea to tell a tale about how we create who we are, the idea that our identities are choices that we can try on. It is interesting in a way that makes this a little more than your average romantic comedy. Also they end up taking the story to a darker places that one might expect, and I appreciated that because despite some need to suspend some disbelief, it feels like the film commits to its themes. Often films like this can have a great premise but struggle to deliver on that or wrap it up in a way that feels honest. Hit Man goes all in and ends, in a surprisingly quiet yet satisfying way. 

Hit Man is the chance to see Powell for the star he is. 

Hit Man

Starring: Glen Powell, Adria Arjona, Austin Amelio, Retta, Sanjay Rao 

Director: Richard Linklater

Writers: Glen Powell, Richard Linklater

Sing Sing (2024)

If I wanted to make a case for why Coleman Domingo is one of the best actors of his generation I could just show you Sing Sing. This performance is transcendent, mostly understated but with flashes of intensity which all feel natural and completely in support of the film. There are even moments when the character he is playing is "acting" in the movie and he pulls off those "meta" moments with ease. His face is enchanting to watch for the full runtime of the film. 

And if that were the only remarkable thing about Sing Sing that would be enough for me to highly recommend the film. But it is only a part of the film's genius. Inspired by the true story of a drama program within the maximum security facility of the movie's title, Sing Sing is a deeply moving and exquisitely executed story of hope and redemption. It is a very human story that is one of the most beautifully filmed movies I've seen in a while and it comes from a rather novice director who shows he has incredible talent as a film maker. 

It's not only Coleman's performance (although I could go on all day about it) but besides Coleman and Raci (Oscar nominees both) the rest of the cast is made up of actual participants in the program. Their performances are in no way anything other than outstanding. I would have believed them all to be professionals just playing inmates if I didn't know better. Each on gives just incredible honest and endlessly watchable performances, especially Maclin and José. 

Sing Sing is immersive and joyous. It is heart breaking and life affirming. It is a love letter to art, theatre, and friendship but also to life itself, all human life. 

Sing Sing

Starring: Coleman Domingo, Clerence Maclin, Paul Raci, Sean San José

Director: Greg Kwedar

Writers: Clint Bentley, Greg Kwedar

 

Alien: Romulus (2024)

Álvarez knows how to stoke fear in his films. While I feel some of his films are better than others, one thing that is consistent is how successful he is at generate an atmosphere of tension and unease that is palpable. He is a good fit to take the Alien franchise back to its roots and that's what Romulus is. It is a distillation of the Alien mythos, the structure of the early films, and a love letter to Ridley Scott's vision. And it is very effectively a scary story. 

Romulus directly connects itself to Scott's first Alien film while also briefly referencing his more recent Prometheus prequels. Yet it also pulls in thematic connections to the other Alien films including the body horror that permeates all the films but came to a true climax in Alien Resurrection. Álvarez isn't trying to reinvent anything, but instead bring it all together to remind us why we love these stories. While Romulus is likely hoping to restart the franchise into a new series it does so by specifically focusing on what has come before. 

Once safe bet for studios who knew fan bases wanted to return to the worlds of films they loved, franchises have become controversial subjects as fans often reject what they don't see as perfect encapsulations of what they specifically love about their favourite old films. Whether its Ghostbusters, Star Wars, Star Trek or really any beloved property, fans express their purity test disappointments both online and with their wallets. Romulus seems designed as an antidote to that by trying to crack the code of how not to piss people off but still give them what they say they want. Mostly it does this but already the inclusion of Ian Holm's likeness as another version of the synthetic he played in the first film is generating controversy. Other than being the one piece of special effects that didn't work, for me it felt part and parcel of the film connecting itself to the world of the first film, especially as a foil for Jonsson's well drawn and complicated android character. Could it have been another model, therefore allowing for another actor to actually play the role instead of using this inserted imagery? Perhaps. But showing him as a common model and the emotions we have seeing him related to his character in the first movie is effective in communicating something to us the audience. Maybe his part is too big and should have been used more sparingly (which could have avoided some of the effects issues) but I'm good with him being there. 

For when it comes down to it, Romulus is a well done people-trapped-with-a-monster movie like the first but with elements harkening back to all the other films. It is a reimagining only in bringing it to the present day not in really changing anything. As someone who thinks there are no bad Alien movies (unless they have Predator in the title) seeing a film that celebrates the entirety of the series is positive. And seeing it bring it all back to the basics made for a fun, tense, and fulfilling experience. 

Alien: Romulus

Starring: Cailee Spaeny, David Jonsson, Archie Renaux, Isabela Merced, Spike Fearn, Aileen Wu

Director: Fede Álvarez

Writers: Rodo Sayagues, Fede Álvarez

 

The Union (2024)

The Union's big schtick is that the Union is a covert op group like the FBI or CIA but they don't use elitist agents, they recruit "regular joes" like construction workers who "get stuff done" and aren't overly educated. So they recruit "nice guy" Wahlberg and immediately put him through intense training?? I guess years of education and developing skills aren't training but whatever. Oh and the fact that all of the Union agents are immensely skilled obviously have years of education at what they do is just ignored. 

The smug and self-satisfied premise which falls apart in no time aside, The Union is also rote and predictable with run of the mill action sequences that barely hold any attention. Wahlberg and Berry have absolute zero chemistry so the movie's ham-fisted attempt at romantic subplot is ludicrous. There is a great supporting cast of character actors who are all wasted by the leads' weak presence. 

The Union in all its pedestrian cliches is just a snore.

The Union

Starring: Mark Wahlberg, Halle Berry, J.K. Simmons, Jackie Earle Haley, Mike Colter, Adewale Akinnuoye-Agbaje, Alice Lee, Lorraine Brocco, Dana Delany

Director: Julian Farino

Writers: Joe Barton, David Guggenheim 

Dìdi (2024)

After making one of the most delightfully fun to watch documentaries of the past few years (really, go watch the Oscar nominated Nǎi Nai & Wài Pó... no really) Wang follows up with this impressive debut for a feature narrative film, Dìdi, with what feels like a very personal reflection on growing up in the aughts as a first generation boy. Dìdi is a story full of humour and disappointment, is extremely relatable but with a very specific circumstance, and just hits all the right notes. 

Wang communicates all of this very effectively giving us a very personal look at the life of "Chris" who feels very much like a stand in for a younger version of himself. Perhaps casting his own Nǎi Nai contributes to this. Dìdi is reminiscent of Mid90s but perhaps a little more deftly navigated. Wang nails the commonness of it all with injecting a watchability that is truly powerful. 

The young actor Izaac Wang who plays Chris is a standout, giving one of those child actor performances that shows so much promise for his future as an actor. Paired with the truly luminescent Chen as his mother, whose subtle yet complicated performance is vulnerable and commanding at the same time, the two make a formidable team. Watching them play off each other gives the film such an honesty.

I have to take some points off for the way it handles an element which is likely very accurate but fumbled a bit. Chris' social circle features a sort of ubiquitous homophobia and toxic masculinity which is certainly not unexpected and feels authentic, but it is never addressed in the film. The film stops short of imbuing a misogyny into his friend group but allows the rampant homophobic tension to actually forward the plot (being called a "fag" provokes him into violence) at one part. I understand that this sort of friend group would likely exhibit these features, but the film doesn't handle it in a way that calls it out, leaving it unaddressed and therefore somewhat endorsed. There are no queer characters in this world I guess and Chris never has an awakening to why his masculinity is so threatened in these ways. 

Having said that Dìdi still shows significant promise for both its director and its star. I'm excited to see what both will do next. 

Dìdi

Starring: Izaac Wang, Joan Chen

Writer/Director: Sean Wang

 

The Instigators (2024)

There is a clever idea behind this vehicle for Affleck and Damon, a motley crew failing through a series of bad heists end up bringing their psychiatrist along, but The Instigators never manages to quite get off the ground. The script is only passably funny and never that clever. The characters are all kind of 2 dimensional. And the adventures scenes never feel like there are many stakes. Everything feels half assed in The Instigators. 

It's disappointing to see such a strong cast be wasted in this way. No one feels like they have a chance to shine or live up to what good actors we know them to be. The premise keeps setting them up for some fun but it just never quite materializes despite Damon and Affleck's chemistry and the natural appeal of most of this crew. Perlman cast as a bad guy should have in itself be a joy to watch but mostly it just feels rote. 

The Instigators on paper looks like a film that just should have been a lot more fun. But instead it feels hollow. This is a good idea for a film but this script just never comes together. 

The Instigators

Starring: Matt Damon, Casey Affleck, Hong Chau, Paul Walter Hauser, Michael Stuhlbarg, Ving Rhames, Alfred Molina, Toby Jones, Jack Harlow, Ron Perlman

Director: Doug Limon

Writers: Chuck Maclean, Casey Affleck

 

Cuckoo (2024)

Singer's delightfully bonkers thriller is part 70s B-movie throwback and part Cronenberg inspired body horror, all shot with a whimsically creepy style that gets under your skin. Cuckoo takes the standard fish-out-of-water discovers something sinister is going on trope and spirals into a classically fantastical story of survival that knows how much fun it is having with the genre. It embraces it all to tell a fun and just the chilling side of silly story. 

At the heart of this is Schafer's scream queen performance. She is bitter and damaged and steps up to be the final girl hero that we all know she can be and her journey is wonderful to watch. So much of what makes Cuckoo work, besides Singer's love-letter directing, is Schafer's dedication to the character and her adventures. She is rude and wonderful throughout. 

Stevens is also great, walking a fine line between Bond villain and mad scientist with a grace that is surprising. It would have been easy to chew a lot more scenery but he keeps it subtle and is far more frightening this way. His chemistry with Schafer is pitch perfect. 

Be prepared to embrace the film's gonzo sensibilities. It doesn't take itself seriously but leans into an uneasy sense of weirdness and dread that is chilling. But it is a fun wild ride. 

Cuckoo

Starring: Hunter Schafer, Dan Stevens, Jessica Henwick, Marton Csokas

Writer/Director: Tilman Singer

 

Trap (2024)

I have a lot of mixed feelings about Trap, a film that uses its high concept gimmick to explore the barriers and disconnections in a father/daughter relationship while featuring a real life collaboration between father and daughter and whose previously mentioned high concept gimmick is shaky at best. Trap is at times fascinating and at other times heart pounding while also often being rather shamelessly contrived and inconsistent. In the middle of all this is a fairly intricate and potentially career transforming performance by former heartthrob actor Hartnett who swings for the fences and mostly knocks it out of the park. So overall? A mixed bag like a lot of the director's recent work. 

At the centre of Trap is the story of a father and daughter who in many ways are very average in that white suburban sort of way. I appreciated the way they connected and didn't, the way the film played off its story to look at how we hide things from our children and how we try to carve out an identity for them to grasp which may not be essentially who we are. But the film often tosses that more interesting aspect aside for its killer plot and there are enough weaknesses in the plot itself that  require such expository heavy lifting that its easy to get muddled. 

The film switches gears in the final third and try to pump as much edge of your seat twists and turns as possible into the story that we sort of give up on things the film had been building. The cat and mouse elements near the end are fun but often a bit silly, or more generously melodramatic, but sort of betray the earlier tone of the film. The ending brings these two together a bit as an essential plot twist is connected to the whole father-letting-his-daughter-go-symbolism and Shyamalan does give his main character (you can't really call him a protagonist, especially with his third act transformation into classic horror villain) a moment of grief over losing her. But at that point Trap is another film entirely, one that appears to be trying to set up a sequel??

But I will give credit to Hartnett who plays this layered character in a way that while he remains monstrous we also catch ourselves sutured to him and his twisty turny final day. He's turning into the sort of character actor that is far more interesting to watch than the trajectory his career was on in its early stages and he pulls this off even in light of the script's meanderings. 

Partially because of him and partially because of Shyamalan's innate ability to tell pop corn stories in such a compelling fashion, I found myself falling to their Trap even when it felt a little like it was jumping the shark. I do wish it did more with the father-daughter piece and I wish Shyamalan didn't feel the need to have his film explain everything quite so explicitly, allowing some of his tale to be spun more organically. So while I enjoyed it Trap also annoyed me a little ending up as something interesting to talk about warts and all. 

Trap

Starring: Josh Hartnett, Ariel Donoghue, Saleka Shyamalan, Haley Mills, Allison Pill, Jonathan Langdon, Kid Cudi

Writer/Director: M. Night Shyamalan