I went into Migration with no expectations. The first announcement teaser rubbed me the wrong way with how heavily it relied on using clips from Illumination’s other movies, i.e., Despicable Me, The Secret Life of Pets, and The Super Mario Bros Movie. The song they used was Pharrell Williams’s “Just a Cloud Away,” a song written for Despicable Me 2. Whenever a movie markets the IP more than the story, it sets my expectations low (case in point, the final The Marvels trailer). Therefore, you can imagine my surprise when I ended up loving this movie.

I never thought I would see the year when I would like an Illumination movie more than anything that Disney, Pixar, or DreamWorks would have to offer. When it comes to this year’s animated movies, we’ve had Wish, Elemental, Trolls Band Together, and Ruby Gillman, Teenage Kraken. Nothing those three studios created this year gave me the amount of laughs and joy that I had during Migration. When I started belly-laughing during the opening scene, I knew I was in for something surprisingly funny. The opening reminded me of The Croods, which featured a father telling a horrifying story to his children. This one does that concept very well, and I found myself laughing just as much as the kids in the theater.

The premise surrounds a family of mallards who convince their overprotective father, Mack (Kumail Nanjiani), to let them migrate to Jamaica. The concept opens itself up to the quintessential road trip hijinks. Unlike most road trip movies, Migration follows our ducks flying through New York City and going through an unpredictable series of antics. What can I say? I had a blast with this movie. It’s actually a hilarious adventure that the whole family can enjoy. While it won’t be as commercially successful as Illumination’s other movie from this year (The Super Mario Bros Movie), this is a funnier, better-written film that tells its own story and has fun with the concept.

Believe it or not, Migration was written by Mike White. You may know White as the creator, writer, and director of HBO’s The White Lotus. Although White has writing credits on successful shows like this and the School of Rock movie, his prior animated movie writing credit was The Emoji Movie. Let’s just say that all is forgiven for The Emoji Movie because he really steps up to the plate with some hilarious comedy in this movie. It’s a well-paced, well-structured story that has its setups and payoffs.

Director and co-writer Benjamin Renner also brings so much hilarity to the way the characters are animated and directed. My favorite character in the movie is Gwen, the young, innocent, lovable daughter portrayed by Tresi Gazal. There’s a reason why she’s at the forefront of the film’s merchandising. Not only is she cute, but she’s hilarious in the film. There’s a moment earlier on in the film where she’s trying to protect her brother that I got the best kick out of. The gags in Migration are really smart, never relying on low-brow toilet humor the way other films do. Whenever the film does anything close to that, there is another layer of wit that allows it to be genuinely funny.

As for the cast, there is a lot of talent on display here. Nanjiani has always proved himself to be a funny actor in his movies, and he gets to shine as a voice actor here. His anxious character is so funny, and Elizabeth Banks complements him very well as his character’s wife. It’s apparent that the creators of this movie had the same idea as the creators of Jumanji: The Next Level. Similar to that film, we have Awkwafina and Danny DeVito in supporting roles. Awkwafina can be hit-or-miss for many, and I personally wasn’t a fan of her in this year’s The Little Mermaid. However, I liked how she threw on a thick New York accent for this role as the leader of a pigeon gang. She’s very good here, and I pray that she can carry that energy into her upcoming voice role in Kung Fu Panda 4.

DeVito is also funny as the family uncle. If you think about it, his character does not need to be in this movie at all. However, it seems as if they wanted to get Danny DeVito to do his Danny DeVito schtick. I’m not complaining because it means we get another wonderful performance from him. Another strong actor here is Keegan Michael-Key, who has been a booked and busy voice actor for the past two years in Hotel Transylvania: Transformania, Chip ‘n Dale: Rescue Rangers, Pinocchio, Wendell & Wild, and The Super Mario Bros Movie. He even appeared in Wonka, another December movie this year. This movie sees him throw on a Jamaican accent and give a wonderfully energetic performance.

Renner directs Migration with so much vibrance and a strong sense of comedy. There is a good chunk of the movie that uses a balloon for multiple comedic purposes. It’s genuinely wonderful how funny this film is and how it manages to get you invested in the story, particularly towards the back half of the film. We have a lot of exciting moments, and even though this isn’t the most emotionally deep or groundbreaking animated film of the year (we have Spider-Verse for that), it really caught me off guard. Unlike some family films, I would watch this movie again in a heartbeat.

SCORE: 8/10

As ComingSoon’s review policy explains, a score of 8 equates to “Great.” While there are a few minor issues, this score means that the art succeeds at its goal and leaves a memorable impact.

Disclosure: ComingSoon attended a press screening for our Migration review.

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If you saw the trailer for this movie and have seen any romantic comedy movie in your life, you know what happens in Anyone But You. This modern adaptation of William Shakespeare’s “Much Ado About Nothing” stars Glen Powell and Sydney Sweeney as a guy and a girl who meet, have a connection, and a wonderful first date but don’t meet again until a while later. When Ben’s (Powell) friend’s sister marries Bea’s (Sweeney) sister, these almost lovers find themselves stuck on an island together. While there, they decide to pretend to be a couple so that Bea can convince her parents to think she’s in a relationship and Ben can make his ex-girlfriend jealous.

Now that I’ve told you that premise and that it’s a romantic comedy, I think you can gauge where this story will go. My reviews rarely have spoilers in them, but it’s hard to spoil a movie that sticks to a tried-and-true formula to a tee. Anyone But You is directed by Will Gluck, who you may know for directing Easy A, Friends with Benefits, and Peter Rabbit. He has directed many comedies for many demographics, and this is his rated-R rom-com. His screenplay, co-written with Ilana Wolpert, does nothing unique with the genre. It doesn’t approach it from a fresh perspective, nor does it offer any commentary. It simply does every rom-com trope you would expect from a classic ’90s or ’00s movie in the genre.

For some, that will be a huge selling point. Many have missed the theatrically released rom-com, which has declined in recent years. Rom-coms are often seen on streaming now, but the idea of two people pretending to be a couple has been done before in Netflix’s To All the Boys I’ve Loved Before. It’s not a particularly fresh idea, and the execution is frustratingly generic. Yes, the story of two people who can’t stand each other being forced to act like a couple can be hilarious, but Anyone But You does not always push the humor or awkwardness far enough for the laughs to land. It’s occasionally funny, but it’s mainly going through the motions of everything you expect out of the genre.

The biggest draw of this movie is the two leads. This movie takes two attractive young stars—Powell (Top Gun: Maverick, Devotion) and Sweeney (Euphoria, The White Lotus)—and throws them together. It’s no wonder why they’ve had a chemistry-fueled filming experience and a flirty press junket (some of this has to be manufactured). Fans have speculated if Powell and Sweeney have been secretly dating, which is the exact publicity a movie like this needs. The chemistry exists throughout Anyone But You, as their characters exchange insults and don’t like each other but grow closer. This kind of movie with this kind of publicity is old-fashioned, but you can’t beat a classic.

When it comes to the comedy here, some of it works, and some of it doesn’t. The first gag surrounds Bea accidentally spraying sink water over her groin area and relying on the bathroom hand dryers to dry her pants off. This gag is taken directly from the 1997 Mr. Bean movie, except it was much funnier in that film. A few of the other gags in this film feel a bit manufactured and staged for an audience, such as another moment earlier on where Bea tries to steal a cookie in a plane and ends up in a compromising position. One of the funnier ideas is when Pete (GaTa) and Roger (Bryan Brown) stage a conversation for Ben to overhear. However, many of the antics are predictable, going for broad humor rather than anything organic.

Anyone But You also does not exactly give the joy that you would expect from a movie within this genre. The screenplay and cinematography are so pedestrian that the romance never becomes as cute as it could. It’s formulaic to a fault, but Powell and Sweeney are fun to watch. The strongest elements of this movie are their banter and the way their actions define their own insecurities and pasts. There is one character detail surrounding Ben’s mother that seems as if it was supposed to be elaborated on, but it is instead briefly touched upon and forgotten halfway through the movie.

By and large, Anyone But You is one of the most cliché, predictable films of the year. It hits every single beat you expect out of a rom-com, not going one step above or below it. A movie can follow a formula, but when the execution is this mediocre, it’s not worth seeing, especially if you can imagine what the story will be based on the trailer alone. Genre lovers may still enjoy this movie for what it has to offer. Similar to Gluck’s other film Easy A, he uses a Natasha Bedingfield song excellently. The end credits sequence is sure to have you leaving the theater with a smile on your face. But if predictable rom-coms make you roll your eyes, you can skip this one.

SCORE: 5/10

As ComingSoon’s review policy explains, a score of 5 equates to “Mediocre.” The positives and negatives wind up negating each other, making it a wash.

Disclosure: ComingSoon attended a press screening for our Anyone But You review.

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Not just any actor could have played Enzo Ferrari. To find the right person to play this motor racing driver, they needed a driver. And luckily, they found Adam Driver.

Okay, bad jokes aside, Ferrari is the latest biographical sports drama about the man, the cars, the races, and the machine (according to the title of the book this movie is based on). It’s directed by Michael Mann, who has helmed famous films like Heat, Collateral, and The Last of the Mohicans. This is his first feature film since Blackhat in 2015, and he has arrived with less of a bang than you may expect. Although there is a lot to appreciate about Ferrari, there is a lot about this film that does not work as well as it should have.

There is a lot of potential for a true story about Enzo Ferrari, a man whose name everyone associates with luxury sports cars. This film has a good amount of heart, surrounding his deteriorating marriage with his wife Laura (Penélope Cruz) and the death of his son. Movies surrounding this topic can be successful, with Ford v Ferrari in 2019 serving as a massive hit. That movie also featured an actor playing Ferrari, but this is the movie that put him at the forefront. What makes this movie surprising is how little it actually does for its audience by the time the credits roll.

What works about the movie? The performances are excellent. Driver carries the film with a very different look, accent, and set of mannerisms. The only issue here is the fact that he carries little to no physical resemblance to the real Ferrari, despite the makeup that was supposed to do that. Interestingly, Christian Bale and Hugh Jackman were previously in negotiations for the role, and Jackson would have had a greater physical resemblance. Regardless, Driver allows you to sit with the character as he displays strong emotion and authority throughout his performance. He elevates the material given to him in the script, but we’ll get to that later.

Cruz also shines as Laura Ferrari. From her opening scene, where she takes a gun and shoots a bullet near her husband, it can immediately be a worry as to whether the performance will work as a serious piece or if it will descend into a melodramatic caricature. Cruz teeters the line a few times, but she makes it work. Shailene Woodley and Patrick Dempsey are also serviceable additions to the film. However, the rest of the movie feels surprisingly lethargic. We have talent on the screen, but Ferrari lacks the energy that could make it as interesting as it could be.

The script from Troy Kennedy Martin is the most underwhelming element of the film. It does very little to get you invested. Although the narrative is building towards Ferrari’s racing team entering the 1957 Mille Miglia, the movie executes the storyline in a way that does not pull you in. The dialogue and the structure don’t fully work. I would not have believed that I’d prefer Gran Turismo over this film, but when it comes to this year’s racing movies, that film scratched the itch I needed. Although this movie has been more popular with other critics, and you’ll find it on some end-of-year lists, I found Ferrari dull more often than I should have.

There are a few sequences that work very well in this film. One scene uses graphic violence in a way that will make your jaw drop. A few of the more emotional scenes between Driver and Cruz’s characters are also effective because the marriage we follow throughout the film is rough, flawed, and occasionally passionate. There are a few scenes where music is used well and a few scenes where the musical score arrives abruptly and distracts from the dialogue. The story does not push intrigue enough, nor does it get you as invested in the journey as it should have.

By the time Ferrari ends, it doesn’t leave you with a strong emotion of victory, defeat, or anywhere in between. Mann is an excellent director, but his choices here range from superb to mundane. The dialogue does not always grab your attention the way it should, and the film lacks momentum that could have gotten you excited. Even though the movie ultimately features some racing action, it isn’t enough to leave you with the strong impressions that other true story movies have this year, like Oppenheimer or Air. There are a few superb moments of tragedy that are gripping, but it’s too inconsistent of an experience to recommend.

SCORE: 5/10

As ComingSoon’s review policy explains, a score of 5 equates to “Mediocre.” The positives and negatives wind up negating each other, making it a wash.

Disclosure: ComingSoon attended the New York Film Festival for our Ferrari review.

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The DC Extended Universe is coming to a close. 2023 has seen four DCEU movies of varying quality and consistent box office underperformance, with Shazam! Fury of the Gods, The Flash, Blue Beetle, and now, Aquaman and the Lost Kingdom. The sequel to the 2018 film stars Jason Momoa as Arthur Curry/Aquaman. Here, we have a new superhero adventure where he must team up with his brother Orm (Patrick Wilson) to fight the villainous Black Manta (Yahya Abdul-Mateen II). I was a huge fan of the first Aquaman movie, and I can confidently say this is an underwhelming but serviceable sequel to that film.

My experience watching this movie started with a whimper, as my local AMC theater did not play the Nicole Kidman advertisement before the film started (even though she’s in this movie). But once the movie started, I had a sinking feeling that the movie would not be as strong as its predecessor. It starts with a group of pirates taking a bunch of people hostage on a ship, and then it immediately cuts to Aquaman arriving to save them. The buildup to his arrival feels weak, especially after how well-crafted his character introduction was in the first movie. From there, we have the opening action set piece, but it is narrated by our protagonist as he tells the story to his child.

This film sees Arthur settling down with his wife Mera (Amber Heard) and his young son, but David Kane/Black Manta is out for revenge on Aquaman for killing his father. From there, we have our adventure that’s a bit rough around the edges. The narrative beats can feel a little messy from moment to moment as Kane discovers a black trident that will help him destroy Aquaman. It seems simple enough, but as the movie progresses, the story gets a little bit too caught up in its world, and it’s not always easy to get invested in. There are many excellent set pieces in this movie, but the narrative holding everything together is somehow both thin and convoluted.

This arises with Dr. Stephen Shin (Randall Park), a character who made a cameo in the first movie and gets significantly expanded on here. Park is always a likable, welcome addition to any movie he’s in, and he’s no stranger to superhero fare after his role as Jimmy Woo in the MCU. He gets many moments to shine in this movie, and although his storyline is tied heavily to Kane’s goal, it feels like a few minutes could have been shaved off of this area. Everything surrounding the antagonists feels a bit disjointed, especially in the final act, but you always know what Kane’s motivation is and what he will do to get it.

While the first movie was a buddy adventure between Arthur and Mera, this movie focuses on Arthur and Orm. Although I prefer the first movie all in all, the buddy dynamic in this sequel works better because we have two brothers butting heads the whole time. Momoa and Heard don’t have too much chemistry together, but Momoa and Wilson are a fun duo. Aquaman is a funny, exuberant character, while Orm was the main villain of the first film. Orm maintains a few of his antagonistic qualities and prejudices here, and the way he plays off of Aquaman is great. In this comedy duo, he’s the straight man, while Aquaman is the funny man. It’s a bit of a globetrotting buddy cop action adventure that doesn’t always work but has many entertaining moments.

As far as the action goes, it’s not as good as the first movie. While the final act gives you all the underwater spectacle you’d expect, Aquaman and the Lost Kingdom can be a bit inconsistent. The first movie had a sweeping sense of geography, pulling out in flashy wides and involving everyone in the action. This sequel is fun at times but does not always know what to do with a strong reliance on CGI and logical leaps. One early battle doesn’t have Aquaman join until far too late, and never answers what he was doing for the first half of the battle. However, the movie does have a superb final boss battle where Wan knows how to frame the action in a way that’s kinetic, but you can always see what’s happening.

A disappointment with this movie is its use of the supporting characters. The big players here are Aquaman, Orm, Black Manta, and to an extent, Dr. Shin. However, Mera only shows up sporadically throughout the film and gets no further development. I can excuse this one because it seems as if Warner Bros. was cutting her scenes down due to the actress’s real-life controversies (it doesn’t help that she’s in the movie at all). Kidman is an exceptionally talented actress, but this movie makes no use of her besides giving the occasional exposition dump. She’s there; she’s along for the ride, but you’re not invested in her presence.

Willem Dafoe does not appear in the movie either due to scheduling conflicts. It’s not a terrible loss since Vulko was mainly relegated to exposition dumping in the first movie, but the writers simply kill him offscreen and barely use his death as an important character growth for the protagonist, even though Vulko was his mentor from childhood. The best elements here include Momoa, who pulls from his bag of charismatic tricks and has a ton of fun as this character, and the other main players who make this movie worth watching.

It’s time we bid farewell to the DCEU. It’s a surprise that this day has come, but Aquaman and the Lost Kingdom is a serviceable standalone swan song. There are a few heavy-handed themes about climate change that can feel forced, especially as there are sections where characters just watch long TV broadcasts of reporters talking about climate change. Not all of the comedy and emotional beats land, but this film is good enough to turn on and watch. It isn’t one of the stronger DCEU entries, but you won’t have a bad time watching this sequel.

SCORE: 6/10

As ComingSoon’s review policy explains, a score of 6 equates to “Decent.” It fails to reach its full potential and is a run-of-the-mill experience.

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Bradley Cooper has created a name for himself as a director. We’ve seen him act in many films, including this year in Guardians of the Galaxy Vol. 3 and a rather hilarious cameo in Dungeons & Dragon: Honor Among Thieves. However, we’ve seen him direct with A Star Is Born in 2018, which was a huge hit. Cooper has returned with another hit in Maestro, a film that follows the life of Leonard Bernstein, a famous conductor who you may know as the creator of the West Side Story music.

The piano music pulls you into this grand, sweeping symphony. It’s a grounded film that manages to feel epic in its scale due to Cooper’s work in front of and behind the camera. Directing and acting at the same time is not an easy feat, which is why not many directors try it. Cooper brings a lot to the two very distinct crafts. Much like A Star Is Born, he makes a film surrounding music, but it’s not always fair to compare this to his previous work. Maestro features more stylish camerawork, more black-and-white cinematography, and similar to A Star Is Born, features a strong, beautiful love story at the center.

It seems this has been the year of biopics. We’ve had Oppenheimer, Ferrari, Rustin, Priscilla, Napoleon, and Chevalier. What makes this one interesting is that it focuses heavily on his marriage, sometimes putting the music and the accomplishments of Leonard Bernstein on the backburner to focus on his romantic relationships. To some, that may be a disservice to the legend that Bernstein is. However, this screenplay from Cooper and Josh Singer manages to make everything you’re watching so engaging that not everyone will mind the fact that his impact on music is left to the sidelines.

The romance between Bernstein (Cooper) and Felicia Montealegre (Carey Mulligan) works really well in this film. They play off of each other very well, and you get a sense of their chemistry. Furthermore, the film manages to feature overlapping dialogue, overhead shots, and smooth transitions as Cooper flexes his muscles as a director in ways that he has not done before. There’s a lot to praise about what he brings to this film from a visual perspective, especially as he starts the film in black and white and turns everything into color. When the colors arrive, they pop off the screen with a strong sense of intention and execution.

Maestro expertly weaves elements of musicals and dance into a film that deserves it. Cooper showcases a strong vision behind the camera during every bit of these sequences, but he also knows when to pull back. He keeps the camera steady during a few moments when he wants the performances on the screen to tell the story. As an actor, Cooper shows a strong ability to direct performance, which is as necessary to a director’s job as the camera movements and shots. There is a story here built out of love and respect for Bernstein, and since Cooper co-wrote this screenplay, this is his voice telling it on the page, setting it up for the camera, and acting it out for the screen.

One thing the film showcases a lot of is Bernstein’s cavalier relationships with men and women. We see his love affairs not only between him and Felicia but also with him and many other people. Every time Felicia sees him do something adulterous, Mulligan’s tragic performance shines through. We see her conflicting feelings towards him and her devastation, and the film manages to get the audience attached to the central romance. We see the trials of the relationship as they don’t always listen to each other properly, and every directorial choice Cooper makes enhances the story tenfold.

We get into Bernstein’s head a lot throughout this film, as we get hints of his depression and his love of people. Cooper’s performance is fantastic, as he uses a mixture of his own persona and a very different voice and set of mannerisms to bring his portrayal of Bernstein to the screen. It’s a very physical performance that he brings his full body towards. However, Mulligan carries so much of the emotional heft surrounding the events of this film, especially towards the ending. There are moments in this movie that hit you hard, as characters must try to find happiness even in life’s darkest moments.

Maestro is a movie that may resonate with people who have lost loved ones before, and it can send you down a whirlwind of emotions. At the same time, there is at least one standout musical sequence that uses Bernstein’s work and puts it on full display, creating a breathtaking experience. And as wonderful as the music is in this film, one of the best moments occurs when the music is taken away from a scene, and we are left to focus only on Felicia’s breath. Directing a movie is much like conducting an orchestra. Cooper creates the best of both worlds, offering a piece of art that serves as one of the best, most spellbinding movies of the year.

SCORE: 9/10

As ComingSoon’s review policy explains, a score of 9 equates to “Excellent.” Entertainment that reaches this level is at the top of its type. The gold standard that every creator aims to reach.

Disclosure: ComingSoon attended the New York Film Festival for our Maestro review.

The post Maestro Review: A Spellbinding Music Piece appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More.

Every year, A24 throws a few hats in the ring for the best movies of the year. This year, we’ve had films like Past Lives, Dream Scenario, and The Zone of Interest. While each of these films had its merits, I knew that I found my favorite A24 movie of the year when I went to an early screening of The Iron Claw. From writer-director Sean Durkin, this phenomenal masterpiece follows the Von Erich family, a dynasty of professional wrestlers that were wildly successful in the 1980s. But in the midst of their glamour, they found themselves dealing with tragedy at every turn.

This movie is heartbreaking. But it does not start out that way. The film opens with a lot of traditional sports movie excitement, with wrestler Fritz Von Erich doing his signature move known as the Iron Claw. We learn early on that the family does not have a lot of money, but Fritz’s sons intend to carry out his legacy as the greatest family of wrestlers in the world. The film offers tons of exciting wrestling action that any fan of the sport will eat up. There are thrilling sequences that take you along for the ride as if you’re watching a real match, all allowing this to feel like the traditional feel-good sports movie.

Our protagonist is Kevin Von Erich, played perfectly by Zac Efron. Early on, Kevin takes after his father, and we get a sense of his skill in the ring. Durkin directs the wrestling action to perfection, utilizing the sound design to put you in his head. Just like many movies in the sports genre, when Kevin gets knocked down, you want to see him get back up. The soundtrack enhances the experience, allowing you to go through a unique time with this film. The music choices are excellent, and Durkin crafts something so beautiful and exciting.

At the core of this story is a family of brothers. The brotherly bond is strong throughout, and The Iron Claw does a great job of establishing their relationship early on. Setting up each of them as they all want to become the biggest wrestlers in the world. The film captures pure joy and pure tragedy in these moments, showcasing the euphoria of the good times and the horror as everything comes crashing down. It’s a grounded look at heartbreak and the complicated nature of familial relationships. There are relationships between the brothers, but there is also the complex connection between a father and son.

It’s a tale about toxic masculinity and what it means to “be a man.” Durkin showcases the paradoxical nature of what society expects of men and the costs that it can have. There are moments here that will make you gasp in a story surrounding a father who pushes his sons to the limits. It can be hard to watch at times because this is a wrestling movie that does not shy away from the horrors people go through in the sport. The true story of what happened to the Von Erich family is one that you don’t have to be a wrestling fan to feel every bit of tragedy and pain that they went through.

What starts as an exciting, hopeful wrestling movie eventually takes a tragic turn. The Iron Claw expertly subverts sports movie tropes in a fashion similar to Million Dollar Baby. We’ve seen the uplifting, victorious sports movies. Durkin’s phenomenal screenplay seems like it will take you there at first. However, you’ll soon find that this movie rips your heart out with its devastating turns. At the center of it all is Efron, who has spent much of his mainstream career in musicals and comedies. With his transformative, gut-wrenching performance as Kevin Von Erich, it’s a shame that he’s not getting nominated for more awards this season. He is outstanding.

But the ensemble cast meets him at every turn. We have Jeremy Allen White, Harris Dickinson, and Stanley Simons, who all bring something layered and tragic to their roles. Maura Tierney and Lily James both provide wonderful portrayals of their roles. Holt McCallany brings something exceptional to his role as a father as it can be hard to like him, but he’s so believable as someone who wants to see his kids succeed. Fritz Von Eich was not the best father, but he built something special that ended up coming crashing down. Everyone in this cast fully commits themselves to the story of the Von Erich family. It’s an exceptionally emotional movie, particularly toward the latter half of the movie. The final few minutes may bring tears to the eyes of any viewer as invested in this story as I was.

SCORE: 9/10

As ComingSoon’s review policy explains, a score of 9 equates to “Excellent.” Entertainment that reaches this level is at the top of its type. The gold standard that every creator aims to reach.

Disclosure: ComingSoon attended a press screening for our The Iron Claw review.

The post The Iron Claw Review: A Tragic A24 Masterpiece appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More.

The second cinematic adaptation of Alice Walker’s 1982 novel is arriving in theaters. The first time we saw Celie, Shug, and Sofia on the big screen was in Steven Spielberg’s 1985 movie. Now, we have The Color Purple, adapting the Broadway musical into a cinematic event unlike any other. This movie combines powerful harmonies and breathtaking dance numbers to create the best musical of the year. It serves as a showcase for the musical talents of every performer on screen while telling a rich, emotional story you won’t find anywhere else.

This movie is directed by Blitz Bazawule, who previously helmed critically acclaimed films like The Burial of Kojo and Black Is King. His third movie is likely his biggest project yet, and he shows all the promise of cementing himself as a household name in the Hollywood sphere. To put it simply, he nailed it. He understood how to bring a musical to life, translating it from the stage to the screen with grace. Bazawule manages to capture the perfect energy with these performers, using their vocals and the water in a scene to create something wonderful.

The Color Purple begins with a young Celie getting separated from her sister, Nettie. Celie is forced to marry Albert “Mister” Johnson (Colman Domingo) in a troubled, abusive relationship. It’s a tragic film with heavy subject matter surrounding physical and sexual abuse, along with the racism that black people went through during the early 1900s. Screenwriter Marcus Gardley expertly weaves through all of these dark moments that can be genuinely hard to watch without making the tonal shifts to the musical numbers feel jarring. It’s not the first story that you would expect to be adapted into a musical, but much like the Broadway show, it continuously proves its meaningful, valuable existence as an empowering work of art.

How amazing is it to see a beautifully feminist tale on the big screen? It’s a tear-jerking celebration of black women and the struggles they have faced for years. Bazawule captures a wide scope with both energetic sequences of music and dark, scarier moments of abuse, prejudice, and pain. It’s the perfect combination of Bazawule’s direction, fantastic songwriting and screenwriting, Dan Lausten’s breathtaking-as-usual cinematography with colors that pop off of the screen, and a sound design that brings the story to life perfectly.

The performances here are superb across the board. The big ticket here is Fantasia Barrino, who makes her feature film debut in this film. Having seen her performance here, I never would have guessed that this was her first time. She portrays Celia perfectly at many stages in her life, showcasing her power and ferocity that exists alongside her vulnerability. She is layered, tragic, and captivating to watch. Taraji P. Henson has been giving wonderful performances in films and TV for years, and she handles all her scenes as Shug Avery. She’s one of those characters who you wait to return to the screen, as she not only makes the movie better, but she also means a lot to our protagonist, Celia.

But the person in this cast who consistently blew me away was Danielle Brooks as Sofia. Sofia is sure to be a fan-favorite character among audiences. She brings a magnetic vibrance to the film, and there are scenes where every single line she has is absolute gold. Above all the sadness in this film, there is a sense of humor throughout, and we can thank Brooks for supplying a lot of that. But she’s not just the comic relief character there to tell jokes—she gets her phenomenal musical number in “Hell No!” and there are many scenes that are extremely challenging for an actor to pull off on the page. Brooks does everything right in this film, and she deserves a Best Supporting Actress nod for this one.

Another standout in this cast is Colman Domingo, who has been enjoying the spotlight as of late, promoting both this movie and Rustin during the awards season. It wasn’t until his recent role in Euphoria that I discovered what a marvelous actor this man is and how many movies I’ve seen him in and not noticed. He deserves every bit of recognition he has been getting, playing the villainous Mister wonderfully. His character is a monster who you hate, but Domingo never portrays him with that intention. He approaches the character like a flawed human being, which is the correct way to add nuance to a character that everyone who watches the film should be rooting against.

The Color Purple cements itself as the spellbinding musical event of the year. The supporting cast includes more modern movie musical alums like Corey Hawkins (In the Heights) and Halle Bailey (The Little Mermaid). There is no weak link in a film that hits every beat it should. The only issue is that a few of the songs are less memorable and can easily be overshadowed by others, such as “I’m Here,” a showstopping highlight in the film. The film balances the tone between humor and heartbreak while providing a truly special experience that will have you applauding, laughing, and wincing.

SCORE: 9/10

As ComingSoon’s review policy explains, a score of 9 equates to “Excellent.” Entertainment that reaches this level is at the top of its type. The gold standard that every creator aims to reach.

Disclosure: ComingSoon attended a press screening for our The Color Purple review.

The post The Color Purple Review: A Heartwrenching, Uplifting Experience appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More.

Oompa loompa doompety doo — I have a half-baked prequel for you.

Wonka is a fascinating little film. It’s not another adaptation of Roald Dahl‘s Charlie and the Chocolate Factory novel. Rather, this is an origin story for the iconic eccentric chocolatier Willy Wonka. This film tells an original tale that takes place years before Wonka sends out five golden tickets in his chocolate bars and hosts a tour of his factory. It’s not a story anyone was asking for, but if a movie can tell a story well, that’s all that matters.

Furthermore, Wonka is a Paul King confection. King is the director of the phenomenal Paddington movies. We also have Timothée Chalamet, one of the most popular young actors in the industry, in the titular role, with an all-star supporting cast that includes Olivia Colman, Keegan-Michael Key, Rowan Atkinson, and Hugh Grant. How could this movie possibly go wrong?

Well, it all starts when you try to capitalize on the success of an age-old story and approach it with the sensibilities of a modern event film while losing all the charm that made the 1971 movie the masterpiece that it is.

This is a prequel that borrows heavily from that movie. It features the same type of Oompa Loompas with the same song, only this time, we have the British charms of Hugh Grant chewing up the scenery in a role he hated playing. However, it doesn’t compare to that film at all. It’s better than Tim Burton’s oddly dark 2005 adaptation, but Wonka exists in the shadow of the 1971 movie for many reasons. Although the original movie definitely has its dark moments, it’s surprising how mean-spirited this movie can feel. The original story from Dahl was fun because it featured spoiled children getting consequences for their own terrible behavior. However, Wonka features the forced slavery and attempted murder of many nice characters, which is significantly less enjoyable to watch.

I’ve seen praise for Wonka’s lighthearted nature and family fun, but neither quality is present. We have wicked villains in this film, such as Mrs. Scrubbit (Olivia Colman) and Arthur Slugworth (Paterson Joseph). While family movies can feature dark villains, the way the film treats slavery and poor people left a bad taste in my mouth. The same goes with a running gag in the film featuring Keegan-Michael Key’s character, the Chief of Police, who becomes increasingly heavier as the film progresses. Putting an actor in a fat suit for a laugh has been outdated since Nutty Professor II: The Klumps. While the movie will cut to Key’s appearance as a cartoonishly overweight man obsessed with chocolate for laughs, laughing was the last thing I felt like doing while watching this film.

It’s a comedy that does not deliver the laughs that you may expect. It’s filled with scenes that have King’s humorous charm, and his joy and wonder show up every once in a while. However, for the most part, the jokes don’t land very well. Something the marketing hid is the idea that Wonka is a musical. The songs from Willy Wonka and the Chocolate Factory have stood the test of time, from “The Candy Man” to “Cheer Up Charlie” to “I’ve Got a Golden Ticket”. Three days after I watched Wonka, a friend of mine asked me if I could recite any of the new songs. And I could not remember any of them for the life of me. I remembered a line or two, but the songs in Wonka are completely forgettable. The most memorable musical numbers in this film are the ones taken from the 1971 movie.

Now, let’s talk about Chalamet. With his growing popularity, some have grown tired of him as a performer. I think he’s given excellent performances in many films, but he was a little much for me in this role. It’s a challenging role because you have to find the right amount of eccentricity. There are moments where Chalamet gets it right, and there are others where he seems like he’s channeling a more over-the-top Jim Carrey or Nicolas Cage performance. One example is a scene featured in the trailer, which has him say, “I’m making chocolate, of course! How do you like it? Dark? White? Nutty? Absolutely insane?” His off-kilter delivery is so absurd that I cannot fathom why it ended up in the movie. It’s a far cry from Gene Wilder’s eerie, naturalistic approach to Wonka’s strange personality.

Wonka features songs that sound as if they are from an average stage musical. It boasts elaborate production design and a few lively moments, such as a scene where Wonka and his young assistant, Noodle (Calah Lane) fly into the air. Lane is excellent in the film, and the supporting cast members all feel like a natural part of this world of King’s creation.

Although there are a few fun moments and ideas that work well, it does not capture the magic of Mel Stuart’s 1971 . It can be challenging to buy into Chalamet as the character, and overall, it’s one of the more mediocre cinematic experiences of the year.

SCORE: 5/10

As ComingSoon’s review policy explains, a score of 5 equates to “Mediocre.” The positives and negatives wind up negating each other, making it a wash.

Disclosure: ComingSoon attended a press screening for our Wonka review.

The post Wonka Review: A Surprisingly Tasteless Confection appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More.

Director William Oldroyd adapts an Ottessa Moshfegh novel into the latest Christmas psychological thriller. Eileen stars Thomasin McKenzie as Eileen Dunlop, a young woman working at a corrections facility for teenage boys. Her world changes when a new psychologist named Rebecca (Anne Hathaway) joins the staff and lets Eileen in on a dark secret. This movie is a fascinating experience. Although it’s rough around the edges and far from one of the better films of the year, it explores its themes quite well and creates an atmosphere unlike many movies of recent times.

Oldroyd beautifully immerses you in 1960s Massachusetts. He and cinematographer Ari Wegner craft a snowy texture that feels unique to this time period in the days leading up to Christmas. For all intents and purposes, Eileen is a Christmas movie, but not like what you would expect. The opening scene features our protagonist watching a couple making out in a car in the distance. Aroused, she takes snow and shoves it into her pants. From the get-go, she is established as a character with strong sexual urges with a need to take control of them and find a way to quench herself.

The film wisely spends time not only on her work life, but her home life as well. We get a glimpse into her relationship with her paranoid, abusive father Jim (Shea Whigham). Jim has become a bit of a danger to other people in his neighborhood, and Eileen finds herself responsible of keeping him in check. Her home life, as tragic and uncomfortable as it is, has wonderful effects on the narrative. Eileen’s occasional fantasies of killing herself and her father persist throughout the film, shocking the audience as you wonder how dark this movie can possibly get. You wonder what the writers have up their sleeves and where they will push the titular character.

Suddenly, Rebecca joins the prison staff. Hathaway has been one of the most reliable actresses in Hollywood for years. She brings an aura to Rebecca unlike any other. She is alluring, showcasing her beauty and glamor and creating the feeling that all that attention-grabbing appeal is a facade. Rebecca and Eileen soon go to a bar together, where their encounters become increasingly close-knit, progressively inching you to its final destination in the third act. Much of the film reminds one of Todd Haynes’s Carol, which also featured the inexplicable bond between two women during the Christmas season.

The relationship between Eileen and Rebecca is the pull that draws you into a film like this. As Eileen becomes increasingly fascinated with Rebecca and as Rebecca returns the favor, we get the sense that something is not right. Coupled with Eileen’s hope to be free from her household with her father, there are multiple layers that tie this movie together, all centered around the protagonist. Eileen is portrayed excellently by McKenzie, who showcases the character’s desires, frustrations, and yearning with aplomb. Furthermore, the way she plays off of Whigham’s performance allows their father-daughter relationship to become the perfect mixture of organic and disturbing.

Perhaps the most fascinating moment of the film is the turn into the third act. The first two acts can meander, taking you through many different moments without feeling like there is a strong enough narrative structure to keep you as invested as possible. However, once the screenplay throws in a revelation about the setting the characters find themselves in, the wheels begin to turn, and you’re in for a treat. Eileen enters dark places with its narrative, arriving in places that feel earned while also crafting a shockingly gruesome experience as the film enters its uncharted waters.

Although it does ultimately enter the dark places you’re expecting, there are many moments where it feels as if the psychological thriller elements could have been pushed further. The relationship between Eileen and Rebecca is interesting, but it feels as if more layers were needed to give you the adrenaline rush a film like this needs. Furthermore, although the dialogue remains naturalistic, not much of it sticks with you long after watching it. Ultimately, Eileen is also quite a passive protagonist until the final act, when she gets to take shape and become someone new.

Overall, Eileen manages to tap into something not many films do. It’s a solid, effectively unsettling psychological thriller that could have used a few narrative tweaks to improve the experience. It’s not one of the best films of 2023, but it manages to leave an impression with two magnetic lead performances and a chemistry between Hathaway and McKenzie that works for the movie’s benefit. McKenzie continues to prove herself to be a wonderful actress with her performances in films like Jojo Rabbit, Last Night in Soho, and now, Eileen. It’s not an awards contender, but it may see a cult following in a few years’ time.

SCORE: 6/10

As ComingSoon’s review policy explains, a score of 6 equates to “Decent.” It fails to reach its full potential and is a run-of-the-mill experience.

Disclosure: ComingSoon attended a press screening for our Eileen review.

The post Eileen Review: A Twisted Christmas Thriller appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More.

The red carpet rolled out for the newest Searchlight Pictures film, Poor Things, a black comedy fantasy film starring Emma Stone, Mark Ruffalo, and Willem Dafoe. The film is directed by Yorgos Lanthimos (The Lobster, The Killing of a Sacred Deer, The Favourite), who attended the New York City premiere at the DGA Theatre. The event also saw stars like Robert Pattinson, Suki Waterhouse, Laura Dern, and the 2023 TIME magazine Person of the Year, Taylor Swift.

ComingSoon’s Jonathan Sim attended the red carpet and interviewed the stars of the film. Poor Things tells “the incredible tale and fantastical evolution of Bella Baxter (Stone), a young woman brought back to life by the brilliant and unorthodox scientist Dr. Godwin Baxter (Dafoe). Under Baxter’s protection, Bella is eager to learn. Hungry for the worldliness she is lacking, Bella runs off with Duncan Wedderburn (Ruffalo), a slick and debauched lawyer, on a whirlwind adventure across the continents. Free from the prejudices of her times, Bella grows steadfast in her purpose to stand for equality and liberation.”

When asked about the performances that inspired her portrayal of Bella Baxter, Stone said, “There were many. At the end of the day, after all of that, I think we had to kind of wash everything away and reinvent her from scratch because she’s such a brand-new creature that our attention was not to have her be derivative of these incredible performances or stories [that came] before, and so we tried to kind of invent something new and honor Bella in the way that she’s written by Alasdair Gray but also how she was written by us.”

Ruffalo, who portrays Duncan Wedderburn, explained why he wanted to take on the role and portray him with sincerity and humor. “It’s just nothing that I’ve ever done before,” said Ruffalo. “I thought I could be funny and physical and vulgar and all the thing that nobody expects me to do.”

Dafoe commented on his portrayal of Dr. Baxter and his approach to bringing him to life. “Well, the makeup is a big deal because it tells you a lot about the difficulties he’s had in life. Also, it isolates him because it’s his greatest fear. And he speaks like that. The process of putting on the makeup was quite involved, but it’s also an opportunity, you know? With a mask like that, when you look in the mirror, you don’t look like yourself [and] you don’t feel like yourself. And I also had some prosthetic pieces on my body. You move differently. That opens the door for you to pretend. That opens the door for you to leave yourself behind and become something else.”

One of the funnier aspects of the interview with Dafoe is that it ended with Stone walking up to him from behind and putting her finger in his ear, making Dafoe laugh as they shared a fun moment together on the carpet.

Composer Jerskin Fendrix also talked about working with Lanthimos on his first feature film musical score. “The way [Lanthimos] works as a director is really liberating. He gives you a great deal of trust and a great deal of independence, so basically, he told me what the film was by giving me the script and by giving me the visuals and concept art, set designs, all that kind of stuff. And that was evocative enough, to be honest. And then I went away and wrote a bunch of stuff assuming that he would make alterations to it, and then he just said, ‘Cool, that’s in the film. Can you come up with another half hour of music?’ And we kept doing that until the film was finished.”

As for what’s next for Fendrix, he says, “Let me do a Star Wars [score]. I’d be really good at it. I keep asking Disney and they won’t let me do it but I’d be so good at it. Or a Marvel [movie]. You know what I’d really love to do? I’d do a Disney musical like Hunchback of Notre Dame, Mulan, Hercules, that kind of style [with] music, lyrics, score—I would kill to do something like that. Let me do it! Let the barriers down!”

Poor Things is now playing in limited theaters. It will have a wide release on December 22, 2023.

The post Poor Things Premiere: Emma Stone, Willem Dafoe, Mark Ruffalo Talk Characters appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More.

ComingSoon’s Jonathan Sim recently spoke with actors Anne Hathaway and Thomasin McKenzie about their new movie Eileen, which is out now in theaters.

“In the 1960s New England, Eileen Dunlop is working at a prison when a captivating, glamorous counselor arrives and helps her access new facets of her personality but may be drawing her into something more dangerous,” reads the official synopsis.

Jonathan Sim: Anne, your character, Rebecca, is a mysterious force throughout the entire film. What was your process like for getting into Rebecca’s head and deciding how much of her you wanted to reveal to the audience and how much you wanted to keep hidden?

Anne Hathaway: I mean, so much of it had to do with talking about it with Will and talking about just what you were saying about that balance between mystery and information and making sure that underneath that layer of glamor that she has, which is very, very intentional and which is a huge part of how she moves through the world, that you get the sense that there is a human being under there. And my hope was that it was that sort of vulnerability that’s underneath all of that, you know, kind of confidence and power and bravado. That would be the sort of thing that would pull Eileen in more and maybe pull the audience more.

I love that. Thomasin, when playing the character of Eileen, where did you look for inspiration? How much of your process was finding her through research, and how much was finding it through just collaborating with [director] William Oldroyd?

Thomasin McKenzie: I was lucky enough to have the book as an amazing reference for the film. Like everything I could possibly have needed to know was answered in the book, so if ever I was unsure about something, which was quite often, or just needed to feel grounded again in the character, I’d open up the book and be able to reassure myself in those pages. So yeah, I’d say the book was a massive inspiration and tool for me.

And I did something before we started filming, which was pull[ing] hundreds and hundreds and hundreds of quotes from the book. Everything about what Eileen looked like, how she felt about herself, her relationships with Rebecca and Jim and her mom and her sister, everybody, her environment, her relationship with religion, with food, with her body, everything. I collated all of that information in a document, sent it off to a clinical psychologist who’d also worked as a psychologist in prisons, and asked her what she thought and what she got back to me with was really valuable. And [that] just kind of was able to wrap Eileen up in a nutshell for me. Also sometimes if you’ve got an entire book, if you’ve got all that information, it can be a bit overwhelming, and it can get a little bit messy. So it was nice to have it all kind of summed up.

Anne Hathaway: That’s amazing. No, when Thomasin came into rehearsal and she mentioned that she met with a psychologist and had done all that work, my jaw hit the floor. I mean, I was just like, “oh yeah, I’m working with a proper actress. Yes! This is so exciting.”

Thomasin McKenzie: Just a bit of a nerd and it kind of like—

Anne Hathaway: Great. More of that. Yes, please. Forever.

You’re both two of my favorite actresses and I’ve followed your work for a while. Are there any movies or shows that you think are underrated that you’d love for more people to watch in your filmography?

Anne Hathaway: Oh. I made a film called Colossal that I’m really, really proud of. It was directed by a wonderful director called Nacho Vigalando. And we were also a NEON film, actually. And yeah, it’s co-starring Jason Sudeikis, and I’m really proud of it. [Thomasin], how about you?

Thomasin McKenzie: This is a really fun, fun question about you. I’m gonna say a series I did called Life After Life because I’m incredibly proud of it. It was directed by someone called John Crowley and he’s amazing and the kindest person. So yeah, Life After Life, which is also based on a book called by Kate Atkinson. Really proud of that.

The post Eileen Interview: Anne Hathaway & Thomasin McKenzie on Characters, Underrated Movies appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More.

ComingSoon’s Jonathan Sim spoke with Eileen director William Oldroyd and writers Luke Goebel and Ottessa Moshfegh. Neon’s psychological thriller is out in theaters on December 1, 2023.

“In the 1960s New England, Eileen Dunlop is working at a prison when a captivating, glamorous counselor arrives and helps her access new facets of her personality but may be drawing her into something more dangerous,” reads the official synopsis.

Jonathan Sim: First of all, this is just such a fascinating thriller. It takes you on quite a journey, and I wanted to ask Ottessa and Luke, where did the idea for the novel originate from and how did it evolve into the film that we have today?

Otessa Moshfegh: Well, first and foremost, it evolved out of my growing up in New England and driving through these small coastal towns being sort of fascinated and horrified by how perfect everything looked on the outside. And wondering with the dark imagination of a five-year-old, which I still have, what the heck people were doing in there. And so that’s where Eileen was born as a, a young woman who desperately wants out of her day-to-day, doldrum shut-down life in XVille and finds a way out when Rebecca, the new prison psychologist where Eileen works, appears.

Luke Goebel: And translating it to film really began with the three of us meeting with Will Oldroyd and having a shared vision and a shared sensibility and a mischief and a dark streak and a humor that you know, and a responsibility to the novel and the characters truth and justice, Christmas, et cetera.

Will, how did you go about taking that script and bringing it to life? How did you bring your style to it and what was your process like for that?

William Oldroyd: I mean, I didn’t really know about my style. I mean, I’m amazed if people can see something which is identifiably mine, I’m certainly not aware of it. I just try as best I can to tell the story on screen, you know make sure that each moment is being given the care and attention that it requires to tell the whole story. And, you know, the funny thing about film I find is that it’s constantly changing that, you know, the idea that we had when these guys were adapting the book to the script, and then when we took it then, and we filmed it, the actors then bring their interpretation. We have the interpretation of the production designer, the way in which it’s shot, and so on.

Everyone is bringing in an idea. And it’s my job in a sense to sort of make sure that we are all telling the same story. I have sort of bringing the light and dark and adjust and so on, and make sure that it’s a sort of conduct, I suppose in that sense that we have all these different instruments playing. I gotta make sure that it sounds good on some level. But yeah, I hope I’ve answered your question.

No, you have. You definitely have. Yeah. so this one goes out to all of you. Were there any scenes in the script that you were particularly excited to see the actors perform and how did it live up to your expectations?

Ottessa: Luke, you wanna take this one?

Luke: Well, obviously the basement scene. Don’t wanna give anything away, but certainly, and that was the hardest, wrought, hardest one to get it just right. The most elements that needed to be accomplished and and done with the characters. I think the bar scene was another one. Yeah, that was a pivotal scene.

Ottessa: Also, Anne Hathaway’s character, Rebecca just punching some guy in the face. I really wanted to see.

Of course, who wouldn’t? Well, I think my last question is what are the themes that you wanted to tackle with Eileen? What do you hope that audiences take away from the film? This goes out to any of you.

William: Well, I mean, I think that if it’s Christmas and you’re fed up with the usual movies that are on at Christmas, here’s a fresh alternative. I think yeah, if the idea of a twisted dark and very funny thriller that’s set at Christmas is your Christmas movie, then this is it, the movie for you.

The post Eileen Interview: Director William Oldroyd and Writers Discuss Their Process appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More.

Every Halloween, many horror fans watch Halloween. Every Christmas, some horror fans watch Black Christmas. However, Thanksgiving-themed horror is a rarity. Fortunately, Thanksgiving carves a unique niche in the horror genre by serving up a blood-soaked feast with nods to classic horror tropes. Director Eli Roth ingeniously blends nods to Halloween and Scream while ushering in the novelty of a Thanksgiving-themed horror—marking its territory as a fresh, gory addition to the holiday horror canon.

The film starts with an audacious opening sequence, which unleashes bloodshed without the clichéd masked killer, cleverly subverting expectations from the get-go. It wears its inspirations on its sleeve while going in the opposite direction a few times. The first act can be a bit poorly written at times, as the film tries to develop your typical group of teenagers and a few adults. Every character needs to be in place to be a victim or a suspect, much like every slasher. Drawing inspiration from John Carpenter’s mastery, the film goes on to use suspense and a pulse-pounding score to great effect, setting the stage for a rollercoaster of terror.

Roth’s direction guides this gruesome tale, skillfully balancing the fine line between horror and dark humor. There are some horror movies that use gore for shock value and others that revel in it in a mean-spirited way. The most recent cinematic gorefest was Saw X, which very much felt like the latter. However, Roth’s over-the-top violence in this movie never feels like it’s meant to be anything besides fun. It’s an exceedingly unpretentious movie that knows what it is and features all the blood and guts you would expect from a Roth film. The violence is very silly and absurd in a way that allows you to enjoy watching it rather than make you feel like you’re going through a painful endurance test.

Thanksgiving doesn’t shy away from embracing the absurdity of its premise, creating a horrific yet oddly entertaining experience. Amidst the chaos, the film cleverly lampoons the frenzy of Black Friday, adding a touch of satirical commentary while showcasing Gen Z characters at the forefront. Though a few characters might grate on your nerves, it works as a whole. Like many slashers, we have a group of teenagers as the main characters. They’re portrayed accurately, and the committed performances elevate both the narrative and the kill scenes, which are fun, gory, and bloody as hell.

Few slasher movies can hold a candle to some of the greatest films in the genre. We have Halloween and Scream, but we also have recent slashers that don’t leave a lasting impression despite how decent they are, such as There’s Someone Inside Your House and Totally Killer. Fortunately, Thanksgiving is better than your average slasher film and is honestly better than the recently rebooted Halloween and Scream movies. The film’s ability to inject brief visual comedy amidst its horror-laden plot showcases its versatility, even if it’s not a full-fledged comedy. Roth knows how to play around with your expectations and give you a wonderful experience as you eagerly wait in anticipation for the next kill.

When a director opts to depict hard-R violence in a film, they’re not going to win over everyone. This movie isn’t for the squeamish, but most slashers aren’t. Roth and co-writer Jeff Rendell take an interesting approach to the villain, John Carver. John is your typical masked villain, but he also revels in the violence he creates. He does not just stab his victims; he creates a uniquely horrifying experience for them, creating elaborate deaths that are genuinely inventive. It can be brutal to watch, but it’s hard not to enjoy watching this new killer do his thing.

It’s incredible how this movie started out as a fake trailer for the 2007 film Grindhouse. It took years for Roth to figure out how to create a film that would live up to the trailer. There are a few kills from that trailer that are recreated to perfection in this movie. It’s a wonder that Thanksgiving exists, and it’s the type of movie that could finally become a yearly tradition every Turkey Day. There are dark elements to this film that are truly traumatizing, and that is a genuinely wonderful feat.

There are admittedly a few issues here and there. The main character is not as iconic as Laurie Strode or Sidney Prescott, and she feels unremarkable in the grand scheme of things. Although her performance is not bad, it’s not particularly memorable. There is also one logical leap in the final act surrounding the geography of the characters that does not make too much sense once the curtain gets pulled back. A few moments are not written or directed as well as they could be, but overall, Thanksgiving serves up a festive, gore-stuffed treat for horror aficionados. What do you expect from a movie that features the 2023 Sexiest Man Alive and TikTok star Addison Rae?

SCORE: 8/10

As ComingSoon’s review policy explains, a score of 8 equates to “Great.” While there are a few minor issues, this score means that the art succeeds at its goal and leaves a memorable impact.

Disclosure: ComingSoon attended a press screening for our Thanksgiving review.

The post Thanksgiving Review: A Surprisingly Fun Slasher appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More.

Director Ridley Scott and actor Joaquin Phoenix reunite for the first time since their work in the iconic 2000 film Gladiator. Twenty-three years later, they are back with another historical epic, Napoleon. Phoenix portrays Napoleon Bonaparte, Emperor of the French, during his rise to power and his tumultuous relationship with Joséphine (Vanessa Kirby). Scott’s grand cinematic spectacle demands the colossal canvas of the big screen. Although this movie has a few issues with its pacing and screenplay, and it’s far from Scott or Phoenix’s best work, Napoleon leaves a lasting impression.

The film plunges viewers into a brutal and bloody depiction of historical warfare, vividly capturing a horrifying chapter in history. No director paints an atmosphere quite like Scott, who has made incredible films like Alien, Blade Runner, and The Last Duel. He knows how to immerse audiences in the intricacies of the era through stunning cinematography that captures the essence of the period. He works with his longtime collaborator Dariusz Wolski to paint gorgeous settings that could hang on the walls of a museum. His eye for spectacle is a perfect match for this story that lends itself to unforgettable sequences of scope.

Scott does not refrain from depicting the merciless violence under Napoleon’s rule. With his steady hand behind the camera, he showcases blood, pain, and death at every turn. Millions died under the rule of Napoleon Bonaparte, and Scott graphically portrays the bloodshed during his battles. The battle sequences are a highlight in this film. They are a wonder to behold, leaving you gripping your seat. Although a few of them can end up feeling self-indulgent in their length, Scott proves himself once again as a master at creating riveting set pieces that stand out amongst other modern films.

However, one of the most prominent elements of Napoleon is the relationship between him and Joséphine. The film depicts how their intense love life was always in the spotlight, the same way that many public figures find their romantic relationships all over the tabloids today. It feels surprisingly relevant, especially as their relationship began to enter infidelity and an unspeakable passion. They find themselves drawn to each other at every turn, but with Napoleon’s obsessive control and both of their unfaithful natures, each event finds them under the scrutiny of the public eye.

The depiction of Napoleon is fascinating. Writer David Scarpa shows his dedication to his country and what he is willing to do for it. It also showcases his strategic mindset during war and how he manages to be two distinct people. We see who he is on the battlefield, and we see who he is at home with his wife. They can overlap at times, but Scarpa writes an intricate, nuanced portrayal of the character that can make you both respect him and despise him. However, there are a few issues as well. The dialogue occasionally veers into unintentional hilarity and overdramatization, diluting the seriousness of pivotal moments.

Furthermore, a few of the sex scenes feel awkward and passionless. It can be challenging to determine how much of this is intentional from Scott. After all, the marriage between Napoleon and Joséphine is a whirlwind of emotions, as these two could love and hate each other in an instant. However, if laughter and disgust are the emotions that your audience feels during moments that appear to be scripted as serious, that can be an issue. Unfortunately, the movie can also be inconsistent in its pacing. Parts of the movie offer some of the most epic, powerful filmmaking of the year, while other parts drag and don’t compare with how excellent other sections of the film are.

Phoenix’s performance as Napoleon is excellent. Although this is not one of the strongest performances in his illustrious career, he once again manages to vanish in character, even if his self-serious interpretation of the dialogue can be a detriment. The standout in this film is Kirby as Joséphine, who adds an alluring nature that cannot be understated. Everyone else in this movie, from the supporting cast to the stunt team, shines through with their commitment to the material. The production design deserves its due credit as well for submerging you in the 1700s and 1800s, grabbing your attention with ease.

Overall, Napoleon is another example of Scott’s shining work as a director. It’s rough around the edges, but it works as a whole. This movie is monumental, gorgeously shot with brutality and a fierce nature that pulls you into the experience. It’s an exciting film that feels like the type of movie Hollywood rarely makes anymore. However, with cinematic legend Ridley Scott behind the wheel and his unmistakable eye for visuals, you’re going into this film knowing that it’s an unforgettable cinematic experience, even if it doesn’t shine as bright as Phoenix and Scott’s previous collaboration.

SCORE: 7/10

As ComingSoon’s review policy explains, a score of 7 equates to “Good.” A successful piece of entertainment that is worth checking out, but it may not appeal to everyone.

Disclosure: ComingSoon attended a press screening for our Napoleon review.

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Welcome to the 10th Annual Hunger Games. Years after we last visited this franchise with The Hunger Games: Mockingjay – Part 2, it’s time to return to Panem for a story that takes place decades before Katniss Everdeen volunteered as tribute. The Hunger Games: The Ballad of Songbirds & Snakes is set 64 years before the first film. This prequel follows a young Coriolanus Snow (Tom Blyth) as he mentors the new tribute from District 12, Lucy Gray Baird (Rachel Zegler). This is an excellent prequel that recaptures everything a Hunger Games movie should be.

The Hunger Games movies have always been able to attract Oscar-worthy talent, with the original series bringing in people like Philip Seymour Hoffman, Julianne Moore, Mahershala Ali, and of course, Donald Sutherland as the first actor to play Snow. This prequel keeps up the tradition, bringing in West Side Story alums Zegler and Josh Andrés Rivera, along with the stunning talents of Viola Davis and Peter Dinklage as Dr. Volumnia Gaul and Casca Highbottom, respectively. Gaul and Highbottom appear early on in the film and leave a lasting impression. Davis brings a horrifying, unsettling aura to Gaul, while Dinklage portrays Highbottom with both charisma and sympathy.

The Ballad of Songbirds & Snakes follows a young Snow. It’s a fascinating perspective to tell a story about because he’s the antagonist of the original series, but he’s the protagonist of this film. It’s similar to what George Lucas did with Anakin Skywalker in the Star Wars prequel trilogy. The screenplay from Michael Lesslie and Michael Arndt, adapted from Suzanne Collins’s novel, needed to get us on Snow’s side despite knowing what he would become. His family is going through financial issues after the death of his father, and he wants to restore their former glory by winning a scholarship. We find ourselves supporting him through his journey as he becomes a mentor for the Hunger Games.

He is assigned to Lucy Gray, a singer who develops a connection with Snow. The bond they form feels very natural, and it makes sense for what they both want. Soon enough, we find ourselves in the middle of the games, where Lucy Gray must fight to survive. Witnessing an older version of the Games is a fascinating exploration, adding a fresh perspective to the established lore while maintaining the series’ essence. The film strikes a balance between the fun action-thriller element and devastating drama seamlessly, thanks to a fantastic screenplay that navigates through terror, suspense, and cruel moments.

The premise surrounding children killing other children is grim, and this movie handles that without making it feel painful to watch. Jason Schwartzman’s darkly funny performance as Lucky Flickerman adds a unique, chilling dimension to the narrative. Furthermore, the arena where the Games take place creates a very different atmosphere from the other films. The first two Hunger Games movies were futuristic, with incredible technology, as they found themselves in many different settings. As these Games are set in an arena with an analog feel, it’s a grittier movie with a retro production design, creating such a unique look.

Director Francis Lawrence returns to the series, and he crafts a very different setting than he did in the other films. He retains the elements of his other work in the series while creating something very new. There’s a freshness to this action-packed spectacle, and the decision to do a prequel instead of a sequel is wise. The characters this time around are very different from what we are used to. Blyth’s performance as Snow is multilayered, with a lot of complexity to him. This is his first big role in a film, and he owns every bit of his time on screen. He doesn’t get us to like or agree with Snow, but we understand who he is as a person.

Zegler gives a good performance as Lucy Gray. Her singing is stronger than her acting, but her singing takes center stage for the majority of the film. She portrays Lucy Gray very differently from how Jennifer Lawrence played Katniss because they’re very different characters. Katniss is a reluctant fighter forced to perform, while Lucy Gray is a performer forced to become a fighter. Rivera is also superb as Sejanus Plinth, a mentor who is strongly against the Hunger Games. He gets many moments to shine as this character struggles with anger and desperation during an unjust time.

Hunter Schafer portrays Tigris Snow, the cousin of Coriolanus Snow. She has very limited screen time in this movie, and while her performance is great, her existence in the film feels unnecessary. She has virtually no effect on the main story surrounding the Games. She mainly exists as a person in Snow’s life to enrich his character, but for the most part, her actions don’t affect who he eventually becomes. Furthermore, the film is divided into three parts. The first two parts are incredible, but the movie loses steam in the third. It’s never a bad movie, but by the nature of the narrative, the third part was never going to be able to live up to the first two.

Ultimately, The Ballad of Songbirds & Snakes sticks the landing with an emotionally powerful ending that provides fitting resolutions for all its characters. This is a strong movie filled with excitement, tension, and drama that will keep you watching. The performances are excellent, the screenplay is fantastic, and Lawrence shines again as a superb director. What can I say? The odds were ever in his favor.

SCORE: 8/10

As ComingSoon’s review policy explains, a score of 8 equates to “Great.” While there are a few minor issues, this score means that the art succeeds at its goal and leaves a memorable impact.

Disclosure: ComingSoon attended a press screening for our The Hunger Games: The Ballad of Songbirds & Snakes review.

The post The Hunger Games: The Ballad of Songbirds & Snakes Review: A Jaw-Dropping Prequel appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More.

It’s time for me to do what all rational adult men do: write detailed, in-depth thoughts about Trolls Band Together, an animated jukebox musical comedy movie made for children. As I type these words, my sanity slips even further. Not only because it’s late at night after a long day of writing but because I now must rack my brain and revisit my thoughts on the third Trolls movie. I watched this movie at 10:30 p.m. at night in 3D because that seemed like a good idea at the time. What was I thinking? I have no clue. This movie was awful.

Children’s movies often get a defense thrown at them, which is that it’s a kids’ movie, and adults aren’t the target demographic, so it doesn’t matter what adult film critics think. Admittedly, Trolls Band Together will entertain many small children who watch it. However, children deserve better entertainment than this. This is a DreamWorks movie here—the same studio that produced The Bad Guys and Puss in Boots: The Last Wish in 2022. How did we go from those excellent films to this movie in a year? DreamWorks is more than capable of crafting superb animated movies. How have we devolved into this?

Okay, Trolls Band Together. This movie sees Poppy (Anna Kendrick) discover that her boyfriend Branch (Justin Timberlake) used to be part of a famous boy band named Bro Zone. Years before, Bro Zone split up, with all five brothers making up the band going their separate ways. One day, former member John Dory (Eric André) arrives to bring the band back together to save one of them. Yes, this movie is a literal “get the band back together” story, and no, there are no surprises in this story. This is as predictable and surprise-free as you expect. The story happens, and the trolls sing.

Despite how superficially entertaining children may find this movie, the adults in the theater will not be having fun. Despite writer Elizabeth Tippet’s attempts to spruce everything up with a few adult jokes, just like in the other films, Trolls Band Together is a colorful, endless barrage of pop music and glitter. It’s suffocating because of how this movie seems to rush through everything, throwing giant colors at the screen without slowing down once for actual drama. the stakes don’t feel real because they constantly jump from plot point to plot point, almost as if they were scared to have one slow moment in this entire movie.

Sometimes, it’s good to let drama and fear play out. It’s good to let the audience sit in one sad emotion. This movie just wants to throw fun jokes and excitement at you at every turn, barraging you with pop songs. The musical sequences are not even good this time because they go through 3 or 4 songs a minute. What happened to letting songs have contained moments to arouse the crowd and get people excited? At some point, the music just feels like noise, constantly blaring in the background as you desperately hope for some peace.

But if peace is what you seek, peace you shall not get. The narrative here is a mess. There’s a storyline surrounding Poppy and Branch trying to get the band back together, but there are more antics from the Bergens, voiced by Christopher Mintz-Plasse and Zooey Deschanel. Why are they still in a movie where the central plot no longer follows the Bergens? I don’t know, but they needed something to do. They get married in this one and soon find themselves sharing the screen with Poppy’s long-lost twin sister, Viva (Camila Cabello).

When I tell you everything is done wrong surrounding this twin sister, I mean everything. Firstly, it barely plays into the main story; it just feels like since they gave Branch some long-lost brothers, they should give one to Poppy too. This is done with the most obvious foreshadowing at the beginning of the movie. Secondly, they do a twist with Viva and her actions, but the movie doesn’t stay on this long enough for it to have an effect on the story. It just happens and then is forgotten about for half an hour. There’s drama that could be pulled from this moment, but it does not feel genuine. Story beats just happen in this movie without getting you to care about any of them.

Trolls Band Together has the audacity to try to give Viva a character arc. Her arc is unearned. She has strong feelings about something in one scene, and then in the very next scene we see her in, she has a complete change of heart. That’s not a character arc. It is a very sudden shift surrounding a subplot that does not need to be in this movie. There could be so much tearjerking emotion in this storyline because there’s a sad layer to it, but no, this movie needed another pop song musical number.

This movie is a disjointed piece of non-stop stimuli. It’s an attack on the senses where the set pieces blend into each other. It genuinely feels like an acid trip at times. It goes through the motions of telling a story and hitting three-act structure while not getting you invested in any of it. Even the final act, where they’ve been building up to a big moment, feels supremely anticlimactic. It’s not as bad as animated movies like Norm of the North or Foodfight! But that’s not saying much. It’s not completely insufferable, but that’s not saying much, either. It will entertain the kids for an hour and a half, but once again, kids deserve much better entertainment than this.

SCORE: 4/10

As ComingSoon’s review policy explains, a score of 4 equates to “Poor.” The negatives outweigh the positive aspects making it a struggle to get through.

The post Trolls Band Together Review: A Merciless Sensory Overload appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More.

Director Emerald Fennell has returned to the big screen with another incredible film. After her award-winning 2020 feature film debut with Promising Young Woman, many have wondered where she would take her career. Her sophomore feature is Saltburn, a psychological black comedy thriller starring Barry Keoghan as Oliver Quick, who gets drawn into the world of an Oxford classmate Felix Catton (Jacob Elordi), and is invited to spend a summer at his eccentric family’s estate. This is a riveting experience that sucks you into its world and characters and achieves a lot with its premise.

Fennell immerses you into a world teeming with enigmatic characters, a pulsating narrative, and a visual style that’s as captivating as it is unique. At the heart of this magnetic experience are the compelling performances of Keoghan and Elordi, whose on-screen chemistry forms the spine of this absorbing tale. Keoghan portrays our protagonist and he has a tricky job at the center of this film. He is magnetic and effortlessly engaging. He breathes life into an alluring and mysterious character, drawing viewers into his world with a charm that’s hard to resist. His portrayal invites audiences to latch onto his intriguing journey, which develops a lot from the beginning to the end.

Opposite Keoghan, Elordi shines as Felix, utilizing his undeniable sex appeal and charm to his full advantage. His charismatic presence on screen adds complexity to the character, showcasing a depth that extends beyond the surface. He has already impressed audiences this year with his role as Elvis Presley in Priscilla and continues to shine as an emerging movie star. Oliver and Felix share a chemistry together, but the draw is how Felix manages to get many people enamored with him while hiding who he really is.

Fennell’s script and direction in Saltburn are a departure from her previous work in Promising Young Woman, delving into diverse themes while maintaining her signature wit and sharpness. The film navigates through multifaceted layers, exploring relationships, absurd comedy, and unexpected twists that keep the audience engaged and entertained. Although the movie contains a few structural similarities to Fennell’s previous work, this gothic thriller manages to provide an experience unlike anything else you may have seen this year with its biting satire and darkly sexual nature. Saltburn seduces you into its remarkably lavish setting and pulls the rug out from under you in the final act.

The musical score is an entrancing force, pulling viewers deeper into the film’s immersive world. Its well-chosen and well-timed selections heighten emotions and amplify the impact of certain pivotal moments, complementing Fennell’s direction and enhancing the experience. The final scene is a shining example of the biting soundtrack. Anthony Willis’s musical score works perfectly with Linus Sandgren’s breathtaking cinematography. Much like Promising Young Woman, Saltburn is a gorgeously shot film with a strong aesthetic that shines through in nearly every frame, accentuating the shocking imagery.

Rosamund Pike’s brilliantly humorous line readings inject the film with a dose of wit and levity, adding another layer to the already rich tapestry of the story. Carey Mulligan’s presence further elevates the film, contributing to the sharp sense of humor that permeates the narrative. Archie Madekwe is another shining light in the film, providing an antagonistic force that counters our protagonist at every turn. Furthermore, Fennell’s directorial prowess shines through not only in her unique visual style but also in how she directs each person’s performance on the screen.

Despite its brilliance, a few areas could have been further explored or refined to elevate the overall experience. Furthermore, Saltburn may not hold up on a rewatch for a few viewers, especially when they know what happens in the final act. Nonetheless, the movie stands tall as a testament to Fennell’s prowess as a filmmaker and the exceptional performances delivered by its cast. Keoghan and Elordi are as enchanting to watch as always, and this movie shines whenever we get a glimpse into Oliver’s dark obsessions and sexual fantasies. It’s absurd and disturbing, and as much as you want to look away, it pulls you back in.

Fennell has created a setting bursting with flavor, and the events that transpire in this mansion are a wonder to behold. This exceedingly well-crafted narrative starts out as a wonderfully warm look into a story of friendship, but with Fennell’s work, nothing is ever that simple. If you’re looking for an enchanting, vibrant satire on class with a dark twist, look no further than this gem of a film. It’s dark, funny, and an unforgettable experience.

SCORE: 8/10

As ComingSoon’s review policy explains, a score of 8 equates to “Great.” While there are a few minor issues, this score means that the art succeeds at its goal and leaves a memorable impact.

Disclosure: ComingSoon attended a press screening for our Saltburn review.

The post Saltburn Review: A Dark, Riveting Experience appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More.

ComingSoon’s Jonathan Sim recently spoke with director Kristoffer Borgli, who helmed the new A24 movie Dream Scenario, starring Nicolas Cage in the lead role.

“Hapless family man Paul Matthews finds his life turned upside down when millions of strangers suddenly start seeing him in their dreams,” reads the official synopsis. “When his nighttime appearances take a nightmarish turn, Paul is forced to navigate his newfound stardom.”

Jonathan Sim: What were the themes that you wanted to explore when you were writing the script for [Dream Scenario]?

Kristoffer Borgli: Well, it actually started with the character I was interested in, in this character that I had in mind of a middle-aged academic who feels entitled to recognition for work he hasn’t even written. That was a character that was like in my mind and I wanted to do something with that.

Then — on the other side — I was also toying around with ideas of, like… I wanted to do something with dreams. I’ve been wanting to do that for forever. And I was reading about Carl Jung and the Collective Unconscious, which is a sort of theory around why it is that we have ideas and symbols and stories that emerge at the same time, different parts of the planet at the same time in history.

And the idea being that there’s some sort of cosmic connection between our minds and consciousness which, you know, led me to think about Nightmare on Elm Street and Twilight Zone and HP Lovecraft, and that type of high concept mystery. I wanted to rip such an idea out of its genre and place it somewhere else.

I thought of that character that I had in mind, this middle-aged professor. What if that was something that happened to him? How would that look like if we honestly looked at it through the lens of our current culture? And that’s how the whole sort of story started unfolding.

What was it like to work with Cage in developing a character like Paul Matthews?

It’s a character on paper who is supposed to be unremarkable and bland and someone who’s socially awkward, a sort of beta male. And the challenge then of casting Nicolas Cage, who is maybe one of the most recognizable people on the planet with […] natural charisma, that became a huge challenge. We worked together on, on like, how do we make Paul Matthews come alive? It’s something that would have to sort of go against Nicholas Cage’s natural instincts in a way because he has said himself, this is the character who’s least like me.

And so, we were just talking about how a socially awkward suburban father acts and how does he look? Like, we wanted to make Nicolas Cage — the icon — disappear a little bit. So in the movie, he’s bald, he wears you know, extremely normcore dad clothes. He even had a prosthetic nose on in the whole movie. Everything, all of these little things, all the details was to ensure that we had this sort of uncanny feeling of seeing someone that you hadn’t seen before.

Did you ever feel like there were any parallels between Paul Matthews and that persona that Nicolas Cage has developed over the years?

Oh, definitely. I mean, that was I think one of the reasons that Nicolas Cage wanted to do the movie was that he could relate to it on a personal level. You know, for me, I’ve seen Nicolas Cage become a sort of mythical icon in the culture. And he’s been meme-ified, he’s become a sort of an idea. And that idea has changed over decades. It’s no longer in the control of Nic Cage, the person.

So here we have a great discrepancy between the person and the persona and the representation of self, which is exactly what the movie deals with. It deals with someone who starts living in everyone’s heads outside of his control and everyone has an opinion about him because of what they see in their dreams. It felt to me and to him like it resonated with what has happened with Nicolas Cage.

What were the movies that inspired Dream Scenario and your style of filmmaking?

It’s kind of hard to quantify. I think a lot of the movies that I watched early on in my teenage years working at a video store became sort of what I call my vibe setters. They set the tone and vibe for what type of movie that I liked. And, early on, people who were really influential were Lars von Trier, of course, being a Scandinavian. [And] David Lynch, Luis Buñuel — they all dealt with humor and darkness and dream logic in different ways that I’ve come to appreciate.

What it was like behind the scenes to film a few of those dream sequences that we see in the film?

In terms of constructing these dream scenes in the movie, what was important to me is that the audience gets to experience what the dreamer experiences. Meaning when we dream, we turn off our skepticism and we accept the most absurd things as logical. But when you wake up and you have your normal functioning wakened brain sort of reminiscing over the dream it feels different. It feels suddenly ridiculous. Why did I feel scared in a dream that was so ridiculous? So I wanted to avoid that. I wanted the audience to feel what the dreamer experiences. And so there was a limit on how abstract or strange the dream could be before it starts just feeling kind of ridiculous. I wanted the stakes and the tension inside of the dream to feel logical for awake, you know, a person who is awake.

So that became a great sort of map for me to stay with him. And then shooting those scenes was just like a great thrill as a director. I get to construct these mini-movies that I could make that could be, I could do anything. I could have a huge earthquake with 300 extras. I could have real live alligators inside of a house. All of these things that normally wouldn’t make sense in my scripts. So I got to really play as a director. I got to have fun with, with visually just extreme and exhilarating things. And everything that you see in the movie is in camera. There’s no special effects. It’s all practical. So me being on the set those days, I was in the presence of real alligators. We were making this whole huge space turn into an earthquake with people stunned, people falling, you know, from the, the second floor and into the ground and, and explosions and everything. It just felt like a great joy.

What are you hoping that the audiences who watch this movie take away from it?

I feel like one of the aspects, if there’s any message in it, I feel like it is about appreciating what is right in front of you. And not sort of chasing external validation as a means to self-worth and that, you know, this character looks at the negative space of his life. He looks at what’s missing, even though he seemingly has a really good life, and he has to go through this whole journey of this movie to realize what he had at the beginning was more than good enough.

And I think he goes through all of this so that we, the audience don’t have to but ultimately I want the audience to have just a really fun experience. I want it to be a little bit mysterious. I want people to take the movie home with them and let it live in their heads, hopefully have strange dreams after. I want them to be inspired, by art and creativity.

The post Dream Scenario Interview: Kristoffer Borgli on Working with Nicolas Cage appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More.

Nicolas Cage is a gem. His career has spanned decades, and this year has seen him in films like Renfield, Sympathy for the Devil, The Retirement Plan, The Old Way, and even a brief cameo in The Flash. His sixth movie of 2023 is an A24 film produced by Ari Aster and directed by Kristoffer Borgli. Dream Scenario plunges audiences into the surreal yet oddly relatable existence of Paul Matthews (Cage), a man whose life takes an unexpected turn when he discovers that the entire world dreams of him.

At the heart of this film lies Cage’s portrayal of Paul, a character oozing with insecurities, seeking recognition for his work, and grappling with the weight of how society perceives him. Cage masterfully embodies Paul, navigating a complex emotional landscape that oscillates between self-deprecation and a desperate yearning for validation. We see how this connects with his past, and Cage makes Paul feel like a truly lived-in character. Cage wears makeup to make him look different from how we’re used to seeing him, and it helps him realistically look like a college professor. Not only does Cage look the part, but he captures the vulnerability of a man caught in the unforgiving glare of public opinion.

One of the most brilliant aspects of Dream Scenario is how Paul uses his newfound fame to his advantage. The premise is original and lends itself to surreal, fantastical moments. While we do get the wild visuals of Cage walking through an earthquake, the most exciting aspect is how Paul capitalizes on his fame by attempting to receive the recognition he never got for his work decades prior. He is not content with his life as a college professor, and he sees his shot at fame by becoming a cultural phenomenon, even though everything in the dreams is out of his control. Borgli’s screenplay delicately weaves the darkly humorous moments with profound introspection, and Cage delivers these nuances effortlessly.

The chemistry between Paul and his wife, Janet (Julianne Nicholson), is played with exquisite authenticity. Their dialogue brims with genuine emotion, presenting a realistic depiction of a relationship strained by fame’s pressures and an undercurrent of jealousy. The humor that peppers their exchanges adds a layer of warmth and relatability to their struggles. Borgli navigates the themes of cancel culture and the court of public opinion with finesse. The narrative delves deep into the ramifications of society’s judgmental gaze, exploring the consequences of being thrust into the spotlight without consent.

Dream Scenario features the type of premise that seems so simple you wish you would have thought of it. Although the beginning is an easy-to-understand concept, it only gets darker and funnier as the film progresses. The actions that Paul performs in the dreams start as nothing but then become increasingly darker. Cage commits to this perfectly, and the dream sequences feel authentic to the pictures we see when we sleep at night. Borgli’s direction seamlessly blends the surreal elements with a grounded, human story, creating an immersive experience that keeps the audience engaged from start to finish.

And speaking of the finish, the ending is nothing short of breathtaking. Cage’s portrayal of Paul reaches a crescendo of tragedy and redemption that lingers in the mind long after the credits roll. It’s a beautiful payoff that pulls at your heartstrings. At the core of Dream Scenario is Borgli’s exceptional screenplay and direction. The way he crafts each scene is a testament to his storytelling prowess. His ability to extract raw, compelling performances from the cast elevates Dream Scenario to a league of its own. The film manages to be hilarious and brutal to imagine at the same time.

This movie offers a uniquely powerful experience. Cage has had a remarkable movie career, which makes the fact that his character is so unremarkable a beautiful juxtaposition. Michael Cera makes a meal out of his limited screen time. Furthermore, even though it can be uncomfortable to watch movies attempt to represent Gen Z accurately, this movie does a superb job. Paul is a fascinating protagonist because he’s not the person you would typically imagine as a main character in a film. He’s dull, but he has a lot going on underneath the surface. And when he gets catapulted into this unfamiliar situation, he is a fish out of water, fighting to adapt as the circumstances get darker and stranger.

Borgli taps into something truly spectacular with Dream Scenario, a film that will take you by surprise at every turn. It’s a movie about the popularity of “trauma,” the idea of playing the victim, and the fact that people will turn on someone with horrifying ease. It’s not a smug send-up of modern reality as much as it is a hilarious, beautifully told story of seeking recognition and wanting to become something greater than yourself while not seeing all the good in front of you.

SCORE: 8/10

As ComingSoon’s review policy explains, a score of 8 equates to “Great.” While there are a few minor issues, this score means that the art succeeds at its goal and leaves a memorable impact.

Disclosure: ComingSoon attended a press screening for our Dream Scenario review.

The post Dream Scenario Review: Another Nicolas Cage Triumph appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More.

Sofia Coppola has made a name for herself as a director with a unique and distinct voice. Her films, such as Lost in Translation and The Virgin Suicides, are known for their dreamlike atmospheres and intricate character studies. Coppola once again showcases her directorial prowess in Priscilla, a captivating exploration of the life of Priscilla Presley, the woman who stood beside the King of Rock and Roll, Elvis Presley.

One of the most remarkable aspects of Priscilla is Coppola’s unmistakable style. From the opening shot, you get a sense of the type of filmmaker she is, and the atmosphere she creates is unforgettable. Her films are often characterized by their subtlety, attention to detail, and ethereal aesthetics. Priscilla is no exception to this, as Coppola skillfully immerses the audience in the world of the Presleys, sometimes in the glitz and glamour of Elvis’s fame and more often in the quieter, more intimate moments of Priscilla’s life. The cinematography from Philippe Le Sourd features soft lighting and elegant compositions, which perfectly complement Coppola’s signature style.

Coppola’s adaptation of Priscilla’s 1985 memoir Elvis and Me allows the audience to connect with the characters on a profound level. Not only do we find ourselves enriched in the makeup, lipstick, and 50s soundtrack, but she takes a refreshing approach, focusing more on Priscilla Presley than on Elvis. This shift in perspective brings Priscilla’s experiences, struggles, and growth to the forefront, giving the audience a fresh and nuanced portrayal of a woman married to the most famous person in the world.

Jacob Elordi’s portrayal of Elvis Presley is nothing short of phenomenal. While Austin Butler’s recent portrayal of the iconic musician in Elvis received critical acclaim and an Oscar nomination, Elordi brings a different, more subdued take on the character. He captures Elvis’s charisma and magnetic stage presence while delving into the man’s vulnerability and complexity. We see a side of Elvis that we don’t see portrayed in media very often. He exists through the eyes of Priscilla this time around, and that creates a perspective that allows us to not only respect him but be puzzled by him and sometimes fear him.

However, Cailee Spaeny’s multifaceted performance as Priscilla Presley truly steals the show. Playing Priscilla at various ages throughout the film, Spaeny embodies the character with depth and authenticity. Her ability to convey the transition from a young and starstruck teenager to a woman with her own identity is nothing short of remarkable. The chemistry between Spaeny and Elordi on screen is palpable, making their portrayal of the iconic couple both convincing and emotionally resonant. Spaeny’s portrayal of Priscilla’s journey, from a young girl mesmerized by Elvis to a strong, independent woman, is one of the film’s emotional anchors.

Priscilla is not your everyday biopic; it is an intimate character study that transcends what we have seen from the genre lately. Coppola’s approach allows the audience to delve into Priscilla’s inner world and the complexities of her relationship with Elvis. Through her lens, we witness the highs and lows of Priscilla’s life, from the exhilarating moments of sharing Elvis’s fame to the quiet struggles of finding her own identity in the shadow of the King. It takes itself as seriously as a romance movie, but the hook here is that one of them is a rock and roll legend. Seeing scenes of Priscilla’s exciting life with Elvis juxtaposed with scenes of her in high school really drives Coppola’s point home.

Although the film can sometimes suffer from feeling one-note, it takes you on quite a ride. We see the way Priscilla gets looked at, the things she wears, and how Elvis shapes her into the woman he wants her to be. We see her reaction to his high-profile love life, and Coppola always knows when to leave the camera on her face. As the movie ends, it feels as if it tapers off without drawing any surprising emotions. However, her journey is quietly powerful and remarkable to behold.

Priscilla is a cinematic gem that pays tribute to Priscilla Presley, providing an intimate, emotionally resonant portrait of her tumultuous life. Sofia Coppola’s directorial voice and style shine brightly in this film, bringing her unique approach to the world of biographical cinema. Elordi’s faithful portrayal of Elvis Presley and Cailee Spaeny’s mesmerizing performance as Priscilla must be seen to be believed. Priscilla is a compelling drama that showcases the power of love, sacrifice, and growth. It’s a testament to Sofia Coppola’s skill as a director and her ability to craft emotional, powerful stories that transcend the ordinary. Although it has a few issues here and there, this is a must-see film for anyone who appreciates thoughtful and visually stunning cinema.

SCORE: 7/10

As ComingSoon’s review policy explains, a score of 7 equates to “Good.” A successful piece of entertainment that is worth checking out, but it may not appeal to everyone.

Disclosure: ComingSoon attended the New York Film Festival for our Priscilla review.

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