Nosferatu (2024)

Gothic hardly covers it. Every frame of this film teems with expressions of the gothic ethos, making it an especially rich and evocative viewing experience, especially if you are familiar with the source materials. It is actually refreshing to see the vampire genre not treated as a mere fashion show for the pretty and perfect but as a story much closer to the folkloric roots of the thing (literally): as a true horror of pestilence, existential fear and death. Romance is underplayed in the face of primal forces—because, after all, we’re talking about a walking corpse here. The cast does a fine job of conveying all of the above with sincerity, and the script stays true to the roots of the tale, yet adds a few interesting twists and at least mildly provocative details. Finally, this film makes the point that horror, though certainly bound to blood and gore at its core, is not necessarily limited to over the top violence, slasher action or shock moments, but that atmosphere can deliver the basics of the genre, when it is done right. I wouldn’t guess what Stoker would have to say about this, but I suspect Murnau would be most pleased to see such a stylish and sophisticated expansion on his earlier masterwork. Great stuff. 

The Fall Guy

A strange viewing experience. The leads are likable, the script shows that it has something on its mind, the action is good (though it does occasionally lag)—what’s the problem? That’s what makes it so strange: I don’t really know. But something is missing here. The issue may lie in the fact that this movie is in love with movies, and if you personally are not so enamored, the film’s enthusiasm may fall flat for you (pun vaguely intended). Perhaps there’s also a lack of any sense of true stakes; the core drama lies in whether or not Emily Blunt and Ryan Gosling will make it up with each other--and frankly, few of us can really burn a lot of calories worrying about whether or not impossibly pretty people will be able to work out their love lives. The movie is, overall, not deserving of a HISS; there are too many good moments within its running time for it to get less than a middling MEOW. But it is, most emphatically, less than what it could have been. Less an awe inspiring stunt, more of a pratfall.

Tenet

Be your own Bond. It’s a certainty that recent rumors about someone Black taking over the role of world’s preeminent movie spy informed the casting of this film’s lead. And it raises a good point: why take over someone else’s franchise when you have the opportunity to develop something wholly fresh and new? Of course, the trick there is to do the developing and actually create something that is fresh, and new—and well done. That goal is somewhat accomplished here. This is a spy film that’s so devoted to its on-screen skulduggery that it even keeps its secrets from the audience. The viewer is never really informed about who the players are here, which side is which, or what, or whomever. Add that to the deep humbug about winding and rewinding time and everything starts out as clear as mud…and pretty much stays there throughout. You can just let those aspects slip and choose to view the scenery; there is enough audacious action sequences that it can be enjoyed simply on that level. You can also appreciate John David Washington’s cool, always in control performance as the (strangely unnamed) man making the moves, in one timeline or another. Is that stuff positive enough to build an enduring franchise a la 007? Well, that remains to be seen, in the future…which may be the past…or something like that.

Kick-Ass 2

Lighten up, Jim. Yes, this is an extremely violent movie, but given the story it tells it could hardly be otherwise. In fact, I'll take this in your face violence over the sanitized, inconsequential violence we've been fed in so many Stallone or Schwarzenegger movies. The real problem here is not the graphic nature of the action, but the lack of freshness in the overall work. Such shortcomings are inevitable, perhaps, in a sequel like this, when the original was so fresh and...yes...original. What pulls this one through is the characters; we like and believe in Kick-Ass and Hit Girl, and want them to come out on top, whatever fight they're in. Just relax and let this one be what it is, and you'll have some fun watching it.

Godzilla (2014)

Mild spoiler alert: some of the stuff in this movie doesn't make much sense. In other words, it's a monster movie. Go figure. So why the positive PURR? It may be nonsense, but it's entertaining nonsense. There is perhaps a little too much teasing going on before the big guy starts messing shit up old school, but the flick does ultimately delivers on its promises. (The ending of the climactic battle, for sure, delivers quite a jolt.) It's somewhat ridiculous to judge these movies on any criterion other than the most obvious one: do you have a good time watching it? I certainly had a good time watching this one, so it's a go from this end. Enjoy.

Anna Karenina

The strengths of this movie lie in the visuals and the performances. Much of this film is a feast for the eyes; only rarely are these scenes played plainly and on a small scale. Add to that some very good actors performing at the top of their games--Jude Law in particular is a marvel of conveying emotion through a veil of restraint--and you get movie that moves well and holds the attention all the way through. One negative critique: I’m not sure this presentation really needed the extra bells and whistles (scenes, especially transitions, are often portrayed as stage pieces); sometimes a director needs to know when to get out of the way and let his story do the storytelling.