Conclave (2024)

Conclave is a drawing room mystery without a murder (perhaps). It is like something right out of Agatha Christie, only instead of a detective solving a murder, it is a Cardinal Dean (who happens to be running a Papal Conclave) attempting to solve a different sort of mystery, investigating just like a Poirot or Marple would do. Only this time the answer is something unexpected. 

Berger's work here is remarkable, using the ceremony, costuming, and Vatican setting to film a truly beautiful movie. This sort of Catholic pageantry makes for some incredible film making (as Coppola used it in his Godfather trilogy) and it's well on display here. His story telling is wonderful too. There is intrigue, twists and turns, like the page turner it is based on, without being too pulpy or sensational. Berger finds the right balance to keep us wondering at every turn. 

But for me the best part was the resolution, an ending that doesn't fit the mold. We keep waiting for there to be something nefarious going on and the little deviations along the way keep hinting but end up being more politics than transgressions. So that when we find out what may or may not have been kept hidden, it is something... well... something else entirely that makes us ask other questions about right and wrong, in this case, how this particular historic institution may be right or wrong in how it treats its members. 

So Conclave's strength is in how it uses its plot conceit and genre to make us think about things in a different way while remaining very gripping throughout. 

Conclave
Starring: Ralph Fiennes, Stanley Tucci, John Lithgow, Sergio Castellitto, Isabella Rossellini, Lucian Msamati, Carlos Diehz

Director: Edward Berger

Writer: Peter Staughan

Don't Move (2024)

Smart premise. Concise execution. Strong performances. This easy formula makes Don't Move an engaging watch. The idea here is a woman tries to escape a killer who has injected her with a drug that will paralyze her temporarily over time and therefore only has limited time and increasingly limited body movement, to make her way to freedom. The writers and directors of Don't Move stick to the idea without straying too far out, keeping the film (ironically) moving forward at a good pace which doesn't over stay its welcome. 

Asbille and Wittrock are both strong in their roles in a film that mostly demands they play off each other. Asbille has the added burden of often barely being able to move anything but her eyes. Yet they both pull it off. The script is able to generate enough pathos to really draw us in and make it all hit home. 

Sticking to a rather brisk runtime and keepings its plot points fairly grounded so that the film doesn't jump the shark, Don't Move still manages to say something grander as part of its tale, something about women's safety and the processing of loss. The film very economically shows us who Wittrock's character is and just how normal of a man he is as he's attempting to do something horrible to Asbille. The weight of this isn't ignored by the film which acknowledges real world dynamics while also telling its traditional thriller story. 

Don't Move is a very satisfying and easily digestible watch which also gives you somethings to mull over after the credits role.  

Don't Move

Starring: Kelsey Asbille, Finn Wittrock

Directors: Adam Schindler, Brian Netto

Writers: TJ Cimfel, David White

Seeds (2024)

Home invasion horror movies hit a special nerve for me. I find myself somewhat drawn to them yet also quite terrified by them. When they are good they can be very good and really get under our skin. Little hits as hard as having one's sanctuary violated. There is a catharsis in that which can be very wringing. Seeds presents with this idea but uses it in a unique way that makes it almost something else. And by the end, an end which does not go where you expect, it has upended the genre in a smart and very thoughtful way. 

Seeds wears its Indigenousness on its sleeve as it follows an urban woman returning to a family home on the reserve only to face an invader. This very clever way is used to explore far more than just the traditional safety violation ideas of the genre. Instead the film constructs a colonial critique using the familiar horror tropes in a way that is very natural and effective. The film becomes something other than a horror movie at this point in a way that I cannot explain without spoilers. You'll just have to see it. 

The film is also truly funny. As a horror comedy, Seeds succeeds with its clever script and the comedic talent of its cast. Horn's script it tight and smart giving us just what we need to get us where she is going in a very entertaining way. She has quite successfully worn all the hats of writer/director/star and is just impossible not to root for. 

As I said the ending takes quite a fascinating if certainly not comfortable turn so be prepared. Having said that it's also very satisfying despite being not for the squeamish.

Seeds

Starring: Kaniehtiio Horn, Graham Greene, Dallas Godltooth, Meegwun Fairbrother, Patrick Garrow

Writer/Director: Kaniehtiio Horn

Emilia Pérez (2024)

I love it when I know I am watching something special, something that will resonate for me, something I will want to revisit. I felt all of that while watching Audiard's crime saga/musical/epic, Emilia Pérez, a film that is very much a unique experience. 

Audiard tells the story of four women, each trying to find their own way to freedom. His story is about transformation, both literal and spiritual. There is a line early on about how you can change physically which effects your world which effects your humanity. We watch as these women move from one state to another. It is tragic and operatic and gonzo at times. And it is blissful and painful and filled with lovely moments. 

The cast does an amazing job here bringing these women to life. No wonder they won as a group the Best Actress prize at Cannes. For me it was Saldaña who truly shone. She is the centre of this story and perhaps the most transformed in the end. Her performance moved me, shocked me, and thrilled me. Gomez, Paz and Gascón all impressed as well. 

As the film weaved its narratives through their twists and turns, I never truly knew how it would end up but as its explosive climax arrived, it all made sense, coming together completely. There are numerous scenes where each of the women laugh/cry at the same time and the film is commenting on how much joy and sorrow, freedom and loss, can be tied together. 

Emilia Pérez is easily one of the most haunting and memorable films of the year. 

Emilia Pérez

Starring: Zoe Saldaña, Karla Sofía Gascón, Selena Gomez, Adriana Paz, Mark Ivanir, Édgar Ramírez

Writer/Director: Jacques Audiard

It's What's Inside (2024)

It's What's Inside is an exciting piece feature debut from writer/Director Greg Jardin who has done mostly TV promos, shorts, and music videos. Sure the premise is fun and the cast does a great job inhabiting their multiple characters, but what really grabbed me here was the way Jardin tells his story, uses the visual medium to enhance the narrative, and generally make for a very fun watch. This is the sort of film that is likely best to watch so stop reading here and just go watch if you don't want to be spoiled. I have a few nitpicks but they aren't really important. Just know you'll be in for a fun time and some really clever ways of making a movie work. 

Okay now that spoilers are warned, I will say I really appreciated how the film visually handles its body swapping premise. I like that it doesn't get deep into the how details (as this usually ruins most sci fi that is based around some impossible technology). I thought Jardin's approach to showing us who is who was very effective, especially featuring a bunch of characters we just met played by mostly unknown actors who don't bring their own recognition baggage to the table for audiences to follow. I also appreciated how he he uses visual language so fluidly to really move his story along and get us invested. It was easy to submerse yourself and not to worry about any of the technical problems this story's gimmick generates. 

My main nitpick however was the film's traditional approach to gender. With the exception of the end (which is more of a dues ex machina problem) the characters never swap bodies into someone of another gender. The characters are all presented as straight and cis which is kind of boring in this day and age. The film seems to want to avoid any exploration of gender switching or dysphoria which is too bad because that could have made it far more interesting. Even when the final twist is revealed, the gender isn't really relevant to the switch not is it explored at all. There is some discussion of some implications from ethnic and cultural swaps but this is mostly handled off handed in rather stereotypical ways, played mostly for laughs. All of this avoidance of some of the more interesting implications of the plot was a bit disappointing in a film that handles its story so well otherwise. 

Still, that is my main problem with a film that otherwise is strong and really fun. It's the sort of film whose twists and turns make you want to watch it again knowing what you now know. Sure I felt there were somethings missing but it still resonated. It also makes me excited to see what Jardin will do next. 

It's What's Inside

Starring: Brittany O'Grady, James Morosini, Gavin Leatherwood, Nina Bloomgarden, Alycia Debnam-Carey, Reina Hardesty, Devon Terrell, David W. Thompson, Madison Davenport
Writer/Director: Greg Jardin

Rumours (2024)

Rumours surprised me. It was sort of sold as zombies chase down the world leaders of the G7 which would have been a good movie too. But this ended up being something more complex and bizarre in the good uses of both those words. Filled with political satire and plenty to chew over after the credits role, Rumours is both farcical (in the traditional sense of that word) and entertaining. 

Rumours is set at the G7 and features almost exclusively the presidents and prime minsters of those countries alone together attempting to survive some sort of global apocalypse. But more than that it's about the existential nature of leadership in the nation state age, deconstructing our assumptions that are bred into us in western democracies. It's brilliant in a nerdy satirical way and just downright funny through most of it. 

It also manages to be absurd. Honestly it is a bit tame for Guy Madden traditionalists but Rumours is still a little off and might be off-putting to more mainstream audiences. But for those who appreciate the bizarre, especially the bizarre that roasts/skewers our assumptions about world order Rumours finds a sweet spot. 

Cate Blanchett may be the biggest star here (and she does play a strong role) but it's Dupuis as the Canadian Prime Minster who's arc is most central to the plot. This coming from the Canadian perspective makes sense and perhaps make it even more remote for world audiences. However it also creates unique critiques as the Great White North is often less criticized than its other western partners. Dupuis is excellent here treating his character with a great respect despite the farcical nature of the story. 

Rumours may not be exactly what one would expect. But it is fascinating and darkly entertaining as it is. 

Rumours

Starring: Cate Blanchett, Alicia Vikander, Charles Dance, Roy Dupuis, Nikki Amuka-Bird, Denis Ménochet, Rolando Ravello, Take Hirohira

Writers/Directors: Guy Maddin, Evan Johnson, Galen Johnson 

 

Caligula the Ultimate Cut (2024)

The infamous Caligula movie is considered one of the most well known examples of a train-wreck film. Its twisted vision (porn meets period drama), plagued by a seriously troubled production, and hacked to death with re-edits that led to the director and writer disavowing themselves of the film, Caligula goes down in movie history as one for the worst lists. Yet it was a hit, remains a cult film, and still has to be seen to be believed. But there has always been talk about how there might be something there if it was just seen as it was meant to be. There have been numerous cuts of the film, but nothing quite as dramatic as this "ultimate" version which uses the original negatives of director Brass' work pieced together based on original writer Vidal's script. It debuted at Cannes and has actually received some generally favourable reviews. Is this the redemption this movie has been waiting for?

To be honest, Caligula can still not be considered a "good" movie. But watching the Ultimate Cut I was struck by how much more watchable it is, how many moments actually worked for me, and the strength of McDowell's performance (to say nothing about Mirren too who is amazing!). While it still doesn't "save" the film which remains a bit of a mess, I actually found myself enjoying this version and finding some poignancy now that its focus was less on shock and awe and more on attempting to unravel the tale behind an unravelling despot. 

Let me start with McDowell. Wow! The character is campy and over the top but his performance not only acknowledges this and plays with it, but it also gets under his skin and makes him feel real. He is terrifyingly evil and yet clearly damaged. The final act is powerful mostly due to his work here. Perhaps in 2024 we are more keenly aware of the dangers of an unstable narcissist gaining the rains of power so this story truly hits harder than it might have in previous decades. But I attribute to McDowell a lot in this performance I don't remember from watching the original cut. 

And the film is gorgeous. Its sets and costumes are perhaps more fantasy based than historical but it all looks so good. The sex is still here and explicit but it doesn't feel as pornographic as the original version which had extra full on hard core scenes which were not filmed by Brass inserted into Brass' narrative. Not that I object to porn but its rough editing and distracting explicity took away from the narrative in a way that this version's sex scenes do not. In fact they often do fit with the story telling. For example the wedding rape scene is quite powerful here. It isn't toned down yet becomes even more disturbingly rich with meaning when not surrounded by less relevant pornographic moments.

Still, in the end, I'm not sure Caligula can be truly saved, but it remains, as it always has been, fascinating. But honestly it's also just more watchable than it has been in any version despite being even longer. And I won't even get into Mirren's tits OMG!

Caligula the Ultimate Cut

Starring: Malcolm McDowell, Helen Mirren, Peter O'Toole, John Gielgud, Teresa Ann Savoy, Guido Mannari, Giancarlo Badessi

Director: Tinto Brass

Writer: Gore Vidal