A Woman’s Troubled Past Takes on a Second Life

Rebecca Hall in "Resurrection"
Photo Credit: RottenTomatoes.com

One of the most intriguing kinds of stories in film is when the past comes back to haunt the main character.  Such a narrative provides plenty of dramatic momentum that has us wondering what happened to the main character before the events of the movie and how they’re going to deal with the emotional challenge of having to face that pain once again.  The life they had before is returning to impact the life they have now.  This is something that’s explored in writer-director Michael Semans’ psychological-thriller, “Resurrection.” 

Margaret (Rebecca Hall) is a single, working mother living in Albany, New York, with her daughter, Abbie (Grace Kaufman).  When a dangerous man from her past, David (Tim Roth), reappears, Margaret has to do what she can to protect her daughter and herself.

Just as Hall accomplished last year in David Bruckner’s psychological-horror film, “The Night House,” she does tremendous work in displaying the intense grief that her character feels when confronted with trauma, particularly in the scene where she first spots David, showing a deep panic that gives us an idea of how much distress he caused her years ago.  Hall shows heartbreaking and hard-hitting work in how she elicits the psychological decay as Margaret becomes more and more unsettled following David’s return.

The hallmark of Hall’s performance comes almost halfway through the film, where her character discloses to a coworker in a shattering monologue, all done in a seven-minute single take that focuses on her as she explains what happened between her and David.  It’s a scene that captures a whole other depth of the power of Hall’s work in this film, with the camera slowly zooming in on her as Margaret goes further into the disturbing details of what happened.

Roth provides a deeply unsettling performance as the specter from Margaret’s past who threatens to uproot everything she’s built for herself.  Roth’s portrayal of David his character express a disquietingly friendly persona towards Margaret, making you feel as though you don’t quite know of what he might be capable.

Kaufman provides a terrific performance as Margaret’s daughter who has to witness her mother’s downward spiral firsthand.  Kaufman displays her character’s desire to get through to her mom, all while not quite knowing how to help her, and it’s work that’s just as aching to watch as Hall’s.

Although the climactic meet between Margaret and David becomes something that doesn’t quite fit the tone of the rest of the movie, Semans’ screenplay explores the theme of parents trying to protect their children, both in terms that are clear, and some that are subtle.  He gives us a view into Margaret’s life, showing us everything that she has at stake, as well as the disturbing details surrounding her dark connection to David that then provide us with an even deeper look into what Margaret has suffered and how that suffering is taking over her life once again.

Semans works with cinematographer Wyatt Garfield employs the occasional use of an out-of-focus background to highlight Margaret’s sense of disconnection from everything around her as her mind begins to just focus on David, while also utilizing a few slow zoom-in long takes for some of the film’s most emotional moments.  Through it all, with the help of Garfield’s camerawork and Hall’s powerful performance, Semans upholds a sense of dread that you won’t be able to shake throughout the movie.  Everyone involved gives it their all; and without a doubt, you’ll feel it as you watch.

Grade: A-

In Debt and Into a Life of Crime

Aubrey Plaza in "Emily the Criminal"
Photo Credit: RottenTomatoes.com

The opening scene of writer-director John Patton Ford’s crime drama, “Emily the Criminal” (his feature directorial debut), has the title character, played by Aubrey Plaza, in the middle of a job interview.  We know how it’s going to go, but that doesn’t prevent the scene from being any less tense.  Emily needs this job, but the interview doesn’t go as planned and all seems hopeless.  What unfolds afterwards is a swift and timely caper that unfolds with typically superb work from its star.

In Los Angeles, Emily is burdened by debt and isn’t sure she can survive on what she has.  A coworker, Javier (Bernardo Badillo), gives her the contact for a man named Youcef (Theo Rossi), who hires people to take part in his ring of credit card fraud.  Emily completes her first job, but wants more.  As the assignments become more complex and dangerous, Emily will have to figure out if this is the best way to earn a living.

Although Plaza may be better known for her comedic work, it’s impossible to ignore the performances she’s delivered in more indie fair with a dramatic edge, like “Safety Not Guaranteed,” “Ingrid Goes West,” and “Black Bear.”  The frustration that Plaza has Emily elicit is palpable, making you feel the lack of hope that Emily experiences on a day-to-day basis as she tries to make it through her financial hardship.  However, once she becomes accustomed to her new profession, Plaza brings out Emily’s inner fighter as she refuses to be pushed around and have even more taken from her, particularly in a pivotal scene about halfway through the movie, where we see the assertive person she’s become, and Plaza gets you amped up to see how tough Emily will be going forward.

Rossi turns in a great supporting performance as the charming employer who takes Emily under his wing.  He displays Youcef as someone who’s confident in his scheme and determined to succeed.  However, we’re soon given a view into the dreams that he has, and Rossi presents Youcef’s understated sense of optimism as he opens up to Emily about his aspirations.  This all creates a role that helps to establish Youcef and Emily’s relationship to be something like a 21st-century Bonnie and Clyde.

Although Ford’s screenplay could have been a little longer to help give some aspects of the story a little more attention, he still offers a narrative that has the right amount of social commentary to make it feel timely, yet not heavy-handed.  Besides the tense scenes that he writes with Emily taking part in the scams, he also dedicates some time to developing the bond that’s built between Emily and Youcef as they get to know each other and support one another as the danger of their situation builds.  It’s a script that provides a fair share of thrills and character building, allowing  you to feel what’s at stake as Emily and Youcef venture further down a questionable path.

Ford’s able to keep you absorbed in Emily’s journey as she progresses through her new job.  With the help of cinematography by Jeff Biermam, who uses tight closeups of Emily throughout as she experiences some of the biggest moments of the film, we experience some of the thrills from the framing alone as we wait to see how she’ll react to what’s happening around her.  The work there is just as strong as when Ford allows us to see the wider setting that Emily occupies, providing tension from these different angles to allow for the scenes to hit with a full impact.

This film may be about a young woman falling into illegal activity, but “Emily the Criminal” shows that she’s more than what the title suggests.

Grade: A-

Murder, Mystery, a Mansion, and Social Media

From left: Maria Bakalova, Amandla Stenberg, 
Myha'la Herrold, and Rachel Sennot in 
"Bodies Bodies Bodies"
Photo Credit: RottenTomatoes.com

With modern releases like “Murder on the Orient Express,” “Death on the Nile,” “Knives Out,” “Scream 5,” as well as the upcoming releases of “Glass Onion: A Knives Out Mystery,” “See How They Run,” and “Scream 6,” it’s clear that moviegoers can’t resist a collection of colorful characters converging to figure out the identity of a killer.  It’s one of those types of stories where there are many possibilities of how the narrative can be executed, which is what keeps audiences coming back.

The latest murder mystery to be unleashed is director Halina Reijn’s horror comedy, “Bodies Bodies Bodies.”  What starts out as an intriguing whodunit becomes clear that it isn’t as sharp as it should be.

Bee (Maria Bakalova) and her girlfriend, Sophie (Amandla Stenberg), decide to ride out an oncoming hurricane at the mansion of the latter’s childhood friend, David (Pete Davidson).  Also in attendance are Jordan (Myha’la Herrold), Emma (Chase Sui Wonders), Alice (Rachel Sennot), and a new friend, Greg (Lee Pace).  When one of them is killed during a murder mystery game, the rest of the group tries to survive the night as they seek out the culprit.

The cast does what they can to work against the lack of depth in their characters.  There’s a small boost because of the obvious chemistry and energy amongst the ensemble, while Bakalova is given just a little bit more to work with as she presents the unease at being the newest member of their group.

The screenplay by Sarah DeLappe brings together what should be an entertaining set of characters, but other than Bee having the slight intrigue in being the outsider of the group, most of the other characters are one-dimensional Gen-Z stereotypes.  There are a couple of clever details that speak to some of the characters’ inner issues and motives, but the characters themselves aren’t endearing enough to have those details leave an impact.  DeLappe uses these characters to construct a critique on Gen-Z, but she doesn’t do anything clever with the premise or say anything that’s new.  She creates an entertaining premise that’s fun for the first half of the film, but as the second half unfolds, you realize that the characters aren’t going to become much more than what you saw in the first half.

Reijn re-teams with cinematographer Jasper Wolf, who lensed Reijn’s feature directorial debut “Instinct” in 2019, and the pair works well within the darkness of the mansion.  Between the dark, cell phone flashlights, and neon crack-n-glow necklaces, there’s at least a visual distinctiveness that Wolf and Reijn are able to maintain.  This is particularly true in the first round of the murder mystery game as you’re placed in the dark with the storm lashing outside and the characters scurry and sneak around the house.  While the story flounders later on, the setting that Reijn and Wolf establish and maintain helps a little bit.

This film may have a good cast and neat visuals, but with an inability to go in-depth with its central theme, “Bodies Bodies Bodies” becomes rather lifeless.

Grade: C

In Pre-Production, Two Actors Can’t See Eye to Eye

Antonio Banderas, Penélope Cruz, and
Oscar Martínez in "Official Competition"
Photo Credit: Imdb.com

While it’s always fun to see movies and television shows chronicle the process of moviemaking, it’s not often that we get to see a story that focus on the pre-production aspect.  The steps that go into everything that must happen before the cameras start rolling can be just as daunting, making sure all bases are covered to see that the actual production process goes as smoothly as possible to achieve the vision that the director is trying to convey.

This is an intriguing angle of the entertainment industry that’s examined in Gastón Duprat and Mariano Cohn’s comedy, “Official Competition,” a movie that explores the laughs and tension when two egos collide early in the creative process.

When a wealthy businessman, Humberto Suárez (José Luis Gómez), wishes to leave behind a lasting legacy, he chooses to finance a movie directed by renowned filmmaker Lola Cuevas (Penélope Cruz), which is based upon an award-winning novel.  When stage actor Iván Torres (Oscar Martínez) and movie star Félix Rivero (Antonio Banderas) are chosen to star in the movie, their different approaches to acting cause several problems that Lola has to face.

Cruz offers a terrific performance as a director who has some eccentricity, but is also headstrong in her methods to get the results that she desires.  She displays Lola’s artistic command as she attempts to wrangle Iván and Félix into getting along with each other, but always shows a sense of calm as she navigates their troublesome personas, exhibiting the confidence of a director who has years of work under her belt and knows how to get through to her muses.

Banderas is very entertaining as the overconfident movie star who loves to flaunt his fame.  He presents someone who’s in love with himself and the popularity that has been bestowed upon him throughout his career.  Banderas has his character be someone who could be friendly to you, but won’t let you forget that he’s more beloved than you, showing us an individual who values his profession more for the money and awards than the artistry.

Just as Banderas makes you annoyed with his character’s persona, Martínez adopts something similar for his character.  While Félix never misses a chance to brag about his global superstardom, Iván does the same in never letting an opportunity go by to mention how much more of a serious actor he is.  Martínez elicits Iván’s understated pompousness in a way that shows he’s just as difficult to work with as Félix, and is also as immovable in what he sees as the best way to tackle acting.

Although the screenplay by Andrés Duprat, Gastón Duprat, and Mariano Cohn doesn’t really say much that’s new about the movie-making process, it nevertheless offers a fun and humorous view into the battle of acting wits between two performers who couldn’t be at more odds with each other.  With most of the movie taking place at the film’s pre-production rehearsal space, the narrative gives us a chance to see everything that happens among Lola, Félix, and Iván as they establish their on-set relationships and prep for the film shoot.  Between the initial table read, scenes displaying Lola’s unconventional work methods, and actual rehearsals, we see how the characters engage in these situations and keep us wondering how or if they’ll be able to put their qualms aside long enough to make the early pieces of their movie come together.

As directors, Duprat and Cohn are able to capture the simmering tension beneath the two actors as they lock horns.  The cinematography by Arnau Vallis Colomer, has several scenes unfold in long takes as we see the pre-production rehearsals happen in real time, ensuring that we focus on Félix and Iván as they try to get through a day’s work and overcome the contrasts of their acting methods.  And, with the lack of a score or any other music throughout the movie, this helps heighten the rigidity as we sit in on the rehearsals and only hear what’s happening in that space, focusing on the sounds of just the dialogue and the rehearsal environment.  All of these factors make this a competition for which you’ll want front row seats.

Grade: A- 

At Hundreds of Miles Per Hour, Assassins Converge

Brad Pitt in "Bullet Train"
Photo Credit: RottenTomatoes.com

When it comes to movies that take place on trains either for most or some of the runtime, there’s the enticing premise of having destinies intertwine as the characters wait to reach their destinations.  Whether it be Alfred Hitchcock’s “The Lady Vanishes” or “Strangers on a Train,” or either Sidney Lumet’s or Kenneth Branagh’s adaptation of “Murder on the Orient Express,” you can’t help but get caught up in the unexpected connections that strangers have while confined in boxcars as the scenery races by the windows.

Director David Leitch ventures into this type of narrative with his action comedy, “Bullet Train,” a film that doesn’t quite reach the full potential of its premise, but still manages to uphold a sense of fun with the performances and vibrant setting.

In Tokyo, a former assassin, codenamed “Ladybug” (Brad Pitt), reenters the field for an assignment.  Upon boarding a bullet train to carry out his mission, Ladybug comes across other assassins.  They soon realize that their missions have something in common.

Pitt channels his natural screen charisma as a character who’s equal parts bumbling and competent.  It’s a performance like this that reminds you of how much fun Pitt’s comedic side is, providing a humorous energy when Ladybug converses with other characters and makes his way through brutal fights as he tries to adjust back into the profession.  After a career that spans over three decades, Pitt still manages to be one of Hollywood’s most versatile actors, and he immerses you right away in his character’s liveliness as Ladybug goes from one challenge to the next.

While some of the cast members portray characters who aren’t too interesting or have very little screen time, there are a few who stand out.  There are Aaron Taylor-Johnson and Bryan Tyree Henry as “Tangerine” and “Lemon,” respectively, a pair of assassins whose quick verbal exchanges make for an entertaining chemistry between them, while Joey King provides a great turn as “The Prince,” a mercenary who’s as conniving as she is ruthless.

The screenplay by Zak Olkewicz, which is based on Kōtarō Isaka’s 2010 novel “MariaBeetle” (which was published in English as “Bullet Train”), has an intriguing premise, but it’s not quite as compelling as it should be.  Despite some of the characters being memorable, pretty much all of them don’t have backgrounds that invest you much in their arcs.  Given how the narrative deals with a group of vicious assassins, providing the characters with more layers would have added more thrills to the story and have you care about their outcomes.  And, while the story has a pretty good angle involving fate, there isn’t much to back it up and give it some heft.

Leitch, who’s proven to be skilled in action with movies like “Atomic Blonde,” “Deadpool 2,” and the “Fast and Furious” spinoff “Hobbs and Shaw,” stages some kinetic and creative fight sequences, with the help of cinematographer Jonathan Sela and editor Elisabet Ronaldsdottir, both of whom have worked with Leitch on other films.  He makes us feel the tension as the camera capture the tightness of the space and when the characters attempt to overtake each other within those confines. 

Although “Bullet Train” doesn’t quite reach the destination it should have, it still offers a fun trip, nonetheless.

Grade: B