After 23 films, and 13 years worth of Marvel Cinematic Universe films, it’s thrilling to watch Marvel and Disney create a funky show like WandaVision. After watching the first three episodes, it’s clear that the folks at Marvel are at the point where they can take chances, and release a black-and-white sitcom that features traditional tropes (think I love Lucy and I Dream of Genie), interesting twists, and an insane amount of intrigue.
The first episode of WandaVision was shot in front of a live studio audience, and it’s a lot of fun watching Elizabeth Olsen and Paul Bettany do more than act sullen, or throw magic powerballs at robots. The two clearly seem to enjoy the heightened atmosphere, and their chemistry is wonderful, which is important, considering the show lives-and-dies on their performances. It’s nice watching Wanda and Vision “enjoy” domesticity, and spend time together that doesn’t end with a purple giant crushing one of their skulls. It’s also nice that all nine episodes are directed by Matt Shakman (Game of Thrones, You’re the Worst, The Great, Succession, Billions, Fargo, Happy Endings, The New Girl – pretty much every good TV show), who’s been working in the industry for ages, and also got his start acting in sitcoms. The writing so far by Jac Schaeffer (Captain Marvel, Black Widow – She’s also an executive producer), and Gretchen Enders, has embraced sitcom tropes (terrible dinner parties) and also included a welcome dose of intrigue to keep the audience guessing. Also, since the show has Disney money, the production design and cinematography are top notch. Cinematographer Jess Hall does a fine job of capturing the sitcom look, while adding in extra shots that are beautifully framed.
While some have begrudged the I Love Lucy stylings of the first two episodes, as they were expecting something more Marvel-y, just know that the show has big plans, and it’s taking a patient and creative route to a neat endgame. So far (the first few episodes) have focused on the married life of Wanda and Vision, who have moved to the suburbs, and are trying to live a normal life that doesn’t involve The Avengers, or revealing their identities. Their neighbors Agnes (Kathryn Hahn – so good), Monica (Teyonnah Parris), and Phil (David Lengel), don’t suspect a thing, and it’s a blast to watch Vision sweat as the dinner party he throws for his boss goes sideways, as lobsters fly out windows, meat is smashed, and pots goes flying.
WandaVision is thrilling because it’s something different. It isn’t afraid to ignore comic book tropes (Bang, Smash, CGI, Explosions), and doesn’t have a problem taking its time. It’s very rare for something so huge, to be so unconcerned about pleasing everyone. I can’t wait to see what happens in the final six episodes, and I have no doubt that Marvel’s vision will be successful and fun.
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The Father: A Harrowing Drama That Features an Excellent Performance by Anthony Hopkins
Grade – A – Director and co-writer Florian Zeller has crafted a wonderful drama that features excellent performances from Anthony Hopkins, Imogen Poots, Olivia Colman, Rufus Sewell and Olivia Williams.
It’s no mistake or fluke that The Father has a 100% Tomatometer score, and has won 10 awards (more to come) from 48 nominations. It’s a tour-de-force of acting, directing, cinematography, and editing, that blend together to make a wonderful puzzle-box of a film that tells a tragic story. Hopefully, It will be a major player come awards season, and I hope mainstream audiences don’t shy away from this heady film.
The Father focuses on a man’s tragic descent into dementia, and the response he gets from family members who are trying to take care of him. Anthony (Anthony Hopkins), is an 80+ year old man who lives in a posh London flat that is loaded with long hallways that come across as haunting and claustrophobic as he begins to wonder what is real and fake. We learn that his daughter Anne (Olivia Williams) is moving to France, to be with her new boyfriend, and that his other daughter is not around (but she’s clearly the favorite). However, Anne can’t leave before she can find a suitable live-in caretaker who can deal with his paranoia, changing moods, and anger. I won’t spoil what happens next, just know that it features paranoia, a few laughs, and uncomfortable dinners. Also, an added bonus is that the cinematography by Ben Smithard (The Trip, The Damned United, Downton Abbey) is haunting, and it makes the London flat where it all takes place seem warm, cold, haunting and expansive.
The Father features an epic performance from Anthony Hopkins, who bounces between stubborn, childish, menacing and lovable. He’s delivered Oscar-winning and nominated performances in The Silence of the Lambs, Nixon, The Two Popes, The Remains of the Day, and Amistad, but I don’t think I’ve ever seen him so vulnerable and open. It’s a breathtaking performance that never feels exploitative, and is perfectly calibrated. It helps that he’s surrounded by fantastic actors who are able to go toe-to-toe with a legend. Olivia Williams is excellent as always, and it’s a pleasure watching her spar with Hopkins during their arguments and discussions. Also, it’s neat seeing Imogen Poots (Green Room, Fright Night, The French Exit) appearing in an Oscar-caliber movie, and acting alongside Academy Award winning actors. She’s been crushing it for years, and hopefully her work will get in more of these types of films.
If you are in the mood for a harrowing drama that features A+ performances, I totally recommend The Father.
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Deep Blue Sea – The Podcast – Episode 28 – Dove Sharks, Muscular Preachers and S.W.A.T.
Jay and Mark are joined by Kaitlin McNabb (@kaitlinmcnabb) to discuss “Preacher Gets Cross,” the 28th chapter on the Deep Blue Sea DVD. Chapter 28 is glorious, as it features Sherman “Preacher” Dudley (LL Cool J) stabbing a genetically modified shark in the eyeball with a cross. It’s a wild and unexpected scene that plays out gloriously, and it proves that Renny Harlin is a master of interesting onscreen battles and action scenes. In this episode, they discuss dove sharks, S.W.A.T., and stabbing genetically-modified sharks in their eyes. Enjoy!
Please follow Kaitlin on Twitter and read her excellent shark movie articles
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The Movies, Films and Flix Podcast – Episode 339: The Last Dragon, The Glow and Sho’nuff
You can download or stream the pod on Apple Podcasts, Tune In, Podbean, or Spreaker (or wherever you listen to podcasts…..we’re almost everywhere).
If you get a chance please make sure to review, rate and share. You are awesome!
Mark and Norbert discuss the 1985 film The Last Dragon. Directed by Michael Schultz, and starring Taimak, Vanity, and Julius J. Carry III, The Last Dragon tells the story of how a martial artist nicknamed “Bruce Leeroy” gets “The Glow.” It also features him battling Sho’nuff (AKA The Shogun of Harlem), and falling in love with the most excellent Laura Charles. In this episode, they discuss 1980s action cinema, Berry Gordy, and pizza dough throwing. Enjoy!
If you are a fan of the podcast, make sure to send in some random listener questions so we can do our best to not answer them correctly. We thank you for listening, and hope you enjoy the episode!
You can download the pod on Apple Podcasts, Tune In, Podbean, or Spreaker.
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Hunter Hunter: An Intense Thriller That Hits Hard
Directed, produced, and written by Shawn Linden, Hunter Hunter is a wonderfully mean thriller that focuses on a family having a rough go of it in the Canadian wilderness. The micro-budgeted film distributed by IFC Midnight (who had an excellent 2020), deserves its 93% Tomatometer score, and placement on a plethora of 2020 “best of horror” lists. While many critics are applauding its bleak ending (which is excellent), it’s worth noting that Linden’s script does a fine job tightening the screws throughout, as likable characters find themselves careening towards each other for the lauded finale.
Hunter Hunter focuses on a family living an antiquated life of fur trapping in the Canadian wilderness. Joseph Mersault (Devon Sawa), is a grizzled late-thirtysomething who lives off the land and sells the furs of the various animals that he catches in his traps. He often takes his daughter Renee (Summer H. Howell) with him on hunts, and his wife Anne (Camille Sullivan) stays at their cabin, where she collects water, drives into the closest town for supplies, and maintains the house. Money is tight, as the furs don’t collect the money necessary to live, and with winter approaching, the family is considering getting a home closer to the town. Since it’s a thriller, things get dicey when a wolf starts eating the animals in the traps, and Joseph finds something grisly in the woods. What follows I don’t want to spoil, just know that it involves an injured stranger, a walkman, and bear traps.
A lot of credit goes to Linden for ensuring that the film was loaded with believable authenticity, as the production design, costumes and performances feel lived-in and worn out. The budget never feels stretched, as he and his crew were able to let the Canadian wilderness speak for itself (it’s beautiful) while the family’s cabin is purposefully scarce, as they don’t need many belongings. The cinematography by Greg Nicod (who has worked as a first assistant cameraman on many projects) is solid, as he forgoes indie theatrics (there are no precious shots here) and embraces a meat-and-potato approach to the proceedings – which is a good thing. Also, the makeup effects are something to behold, and it’s no surprise, because Doug Morrow (Tales From the Loop, Channel Zero), Kristin Watts (Channel Zero), and Aaron Merke are all experienced makeup artists who’ve created some gnarly effects before.
It’s nice seeing Devon Sawa and Nick Stahl back in a critically-lauded film, and their performances are believably gruff and menacing (They’ve been around for a long time. They know how to do it). However, the true star of the film is Camille Sullivan, who has to carry the heaviest scenes on her blood-covered shoulders, and she does so superbly. I have no clue how she was able to get into certain headspaces, but she really does an excellent job of capturing madness and determination.
If you are in the mood for a taute thriller that doesn’t take it easy on the viewer, it doesn’t get any better than Hunter Hunter.
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John’s Horror Corner: Shakma (1990), another killer monkey movie.
MY CALL: Riding the coattails of Monkey Shines (1988), Shakma is the much more basic (and more violent) approach to cash in on another killer monkey movie. MORE MOVIES LIKE Shakma: Monkey Shines (1988) is the obvious double feature choice, and far superior to Shakma albeit more of a thriller than horror.
Well, Monkey Shines (1988) did well with a killer monkey; Shivers (1975), Poltergeist III (1988) and The Dark Tower (1989) brought horror to tall buildings; and Mazes and Monsters (1982) had fun with live-action roleplaying games. So why not do a mach-up of all three?
Playing a computer-modulated live-action game in their building, Sam (Christopher Atkins; Beaks: The Movie) and his med school classmates wander the hallways after hours with the lights out, armed with flashlights, trying to locate clues to make their way to “save the princess” and win the game. The only problem is that there is one more player they weren’t aware of… after a surgical procedure to control aggression in their test baboon Shakma, the animal went berserk and had to be put down. But no one had the heart to do it. Now loose and super-angry, Shakma prowls the halls with a violent score to settle.
Their medical school professor Dr. Sorenson (Roddy McDowall; Fright Night I-II, Mirror Mirror 2) is in charge of the game and in touch with his players via walkie-talkies. When some players stop answering, he knows something is wrong and (of course) wanders out in the dark to investigate.
When the cast of victims is co-starring with an actual baboon, we don’t expect much on screen violence. That’s the problem with animals in filmmaking—especially larger and more dangerous animals. It’s not like dealing with a well-trained undangerous capuchin in Monkey Shines (1988). So Shakma runs at his victims, maybe jumps at them, and then there’s a body after the fact with its face torn up or throat ripped out. But the gore is good, and Shakma’s raging attempts to open doors is surprisingly intense. It happens often and it’s actually really entertaining.
The acting is okay, the writing is middle-of-the-road for the genre and the time. But it’s fun enough. I certainly giggled every time Shakma sprinted and jumped towards the camera.
I’ll call this just entertaining enough for me not to regret this one-time-watch. The premise sounds fun, and it’s not horrible, but there are too many better movies out there for me to recommend this. This would be best enjoyed with a group of B-movie fans.
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The Movies, Films and Flix Podcast – Episode #338: A Knight’s Tale, Rock Music, and Chaucer
You can download or stream the pod on Apple Podcasts, Tune In, Podbean, or Spreaker (or wherever you listen to podcasts…..we’re almost everywhere).
If you get a chance please make sure to review, rate and share. You are awesome!
The MFF Podcast is back, and this week we’re talking about A Knight’s Tale. Directed by Brian Helgeland, and starring Heath Ledger, Paul Bettany, Shannyn Sossamon, Alan Tudyk, Rufus Sewell, and Mark Addy (great cast), A Knight’s Tale focuses on what happens when a likable young knight takes his shot at fame and fortune. In this episode, we discuss Chaucer, rock music, and the excellent chemistry of the cast. Enjoy!
If you are a fan of the podcast, make sure to send in some random listener questions so we can do our best to not answer them correctly. We thank you for listening, and hope you enjoy the episode!
You can download the pod on Apple Podcasts, Tune In, Podbean, or Spreaker.
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John’s Horror Corner: Monkey Shines (1988), George A Romero’s murderous monkey relationship movie.
MY CALL: This relationship and character-driven film feels more like an intriguing mystery than horror in its tense atmosphere. A very pleasant surprise and a big change of pace from most 80s horror. MORE MOVIES LIKE Monkey Shines: Shakma (1990) is the obvious double feature choice and… strangely coming to mind: Misery (1990).
After former college track star Allan (Jason Beghe; One Missed Call) suffers a crippling neck injury in a car accident, he is rendered a quadriplegic. Unable to cope with the dramatic change, his girlfriend Linda (Janine Turner; The Ambulance) leaves him for the very surgeon who saved his life, Dr. Wiseman (Stanley Tucci; The Silence). Likewise depressed, Allan isn’t handling his transition well.
A scientist researching human brain tissue’s effects on capuchin monkeys, Allan’s friend Geoffrey (John Pankow; *batteries not included) is under tremendous pressure to please his shady dean (Stephen Root; Barry, True Blood, Get Out, Bad Milo). After trying to experimentally increase its intelligence, Geoffrey has one of his capuchin test subjects trained as a care companion to tend to Allan at home.
As the film advances we observe a tangle of interpersonal relationships. Trained by Melanie (Kate McNeil; The House on Sorority Row), this adorable care companion monkey is named Ella, and she immediately wins Allan’s heart (along with the hearts of viewers). As Melanie continues to train Ella with Allan, Melanie and Allan grow closer as Ella seems increasingly attached to Allan. Allan’s live-in nurse also comes to form an adversarial relationship with Allan and Ella. And Allan distances himself from his well-intended but mettlesome mother. Meanwhile, Geoffrey continues his research (including sneaking an injection of “brain fluid” to Ella) as his job comes under threat from his dean.
The nurse and Allan are at each other like a cat-hating dogger lover and a dog-hating cat lover. The nurse seems more concerned with her noisy annoying pet bird than with Allan, and Allan clearly appreciates Ella more than his nurse. It comes to a predictable yet satisfying end.
Following the “psychic phenomena” trend of 80s horror, Ella and Allan develop a sort of telepathic link, or so it seems, and Ella carries out Allan’s aggressions for him. But the standout component of the film is its relationships. Wereally feel Allan’s frustrations with his mother and nurse, likely many of us can relate. We we really feel the affections for Ella… eventually turning to fear.
Writer (in part) and director George A. Romero (Dawn of the Dead, Knightriders, Creepshow) was an observant student of human behavior in his films. His use of different and various relationships to drive the story is a less common approach that cultivates a mood more steeped in suspense than horror.
This isn’t at all gory or scary or even creepy. Tension mounts for sure, but it’s hardly intense or dreadful—more what you would feel watching a mystery unfold. This film relies instead on a very engaging story which amplifies through its numerous character relationships. So even though it’s not scary or gory, it still feels very mature and entertaining.
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Deep Blue Sea – The Podcast – Episode 27: Burgeoning Romance, Demon Fish, and Decapitations
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Jay and Mark are joined by Justin Gott (mrjustingott) and Pete Conway (@peteconway46) of the The Rambling Ramblers Movie Podcast (@TRRMoviePodcast) to discuss “To the Top. Amen,” the 27th chapter on the Deep Blue Sea DVD. In this episode, they discuss demon fish, prayer scenes in movies, and decapitations. Enjoy!
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Shadow in the Cloud is a fun low-budget throwback creature feature that hopefully will build a large cult following.
Directed by Roseanne Liang, and starring Chloë Grace Moretz, Shadow in the Cloud draws from Gremlin-lore during World War II to tell a story about a Flight Officer named Maude Garrett (Grace Moretz) having an incredibly rough ride inside a B-17 bomber named “The Fool’s Errand.” Not only does she have to transport a mysterious package, but she has to deal with a hostile male crew, and a murderous gremlin hell-bent on taking down the bomber that is also being attacked by Japanese planes (it’s a lot).
The 83-minute film (including an opening cartoon and the closing credits) flies by quickly, and features some truly memorable visuals, and gives us a badass new action hero who front kicks a gremlin into oblivion. Grace Moretz is excellent as Maude Garrett, an flight officer who flies non-armed transport planes across the pacific during the war. Her nightmarish experiences aboard the “The Fool’s Errand” are handled well, and contrary to what the action-packed movie trailer suggests, the first 30 minutes of the movie feature her wedged in a gun turret. This isn’t an issue, as Grace Moretz, puts the film on her shoulders (which are cramped inside the tiny gun turret), and gives an excellent performance that is equal parts badass and paranoid.
To give away more would be a disservice. Just know that there’s a moment in which Maude falls out of the bomber, and is blasted back inside by an exploding Japanese fighter plane (it’s wonderful). Grace Moretz has been kicking the crap out of people ever since 2010, when her Hit-Girl character In Kick-Ass shocked the world, Since then, after solid performances in Let Me In and Carrie, she’s emerged as a badass action hero who looks comfortable hanging on the outside of an airplane, AND kicking gremlins in their faces. Her final brawl with the gremlin is a thing of beauty as she unleashes a brutal barrage on the jerky creature who quickly realizes it messed with the wrong person.
It’s a shame that writer Max Landis has his name attached, as the allegations against him hurt the credibility of the film. However, it helps knowing that Liang rewrote the majority of the script, and the production distanced themselves from the oft-accused writer/director. Also, the IMDb scores and the Audience Score section of Rotten Tomatoes showcase a dispiriting amount of people complaining about the “man-hating” that is supposedly featured in the movie. These complaints are dumb, and not worthy of your time. Why? Shadow in the Cloud is a rollicking film that wants to tell a thrilling story. It doesn’t have an “anti-men” agenda, it has a “badass soldier fighting a gremlin” agenda.
Movies, Films & Flix 