Three Thousand Years of Longing - Review

 

When you make a movie as successful critically and commercially as “Mad Max Fury Road,” its understandable that your next project will likely have more creative freedom than what otherwise might be expected. That’s to say George Miller’s (“Happy Feet,” “Babe”) latest trippy, fantastical adventure “Three Thousand Years of Longing” is exactly the kind of weird, wonderful, and messy tale one expects from a director fully letting his ambitions run wild.

After accidentally unleashing an ancient Djinn, played by Idris Elba (“Molly’s Game,” “The Suicide Squad”), historian Alithea Binnie, played by Tilda Swinton (“Adaptation,” “Michael Clayton”), is granted three wishes from him. Worried about the potential twists from said wishes, Alithea refuses to make any, leading the Djinn to tell her the stories of his past masters in the hopes of easing her anxieties about making magical requests of him.

The film has quite a lot going on at any moment, and even a brief plot summary like that doesn’t get into nearly half of what the film has going on. Besides Swinton and Elba, the cast consists mostly of unknowns doing an absolutely fantastic job of filling out Miller’s fantastical world of Queens and Kings and mythological creatures. Highlights include Aamito Lagum as The Queen of Sheba and Burcu Gölgedar and Zefir, a genius inventor and one of the Djinn’s masters.

Elba and Swinton are both terrific, with Elba really taking on a larger-than-life persona due to both his narration and his portrayal of this ancient genie. He plays things up to portray this fantastical character, but without letting his performance ever get silly or veer into the cartoonish. Swinton maintains an oddball, awkward streak throughout her performance and its an easily likable character given her loneliness and the emotion put into the role.

The world of this adventure is absolutely fantastic, bringing this weird version of the past to life in a very Terry Gilliam-esque way, without sacrificing Miller’s love for the oddball. It’s a perfect blend of various filmmaking techniques, from visual effects to practical sets to some truly excellent cinematography from John Seale (“Mad Max Fury Road,” “Harry Potter and the Sorcerer’s Stone”), all draped in vibrant colors proving Miller can still serve up a feast for the senses even this late in his career.

However, the film’s plot and pacing aren’t nearly as fluid and fantastical. It’s a film that both embraces its segmented storytelling nature but also suffers from it. So much of the script, written by Miller and Augusta Gore, hops around from present day to past stories that when it finally stops hopping around and focuses on one story, it feels odd and out of place. Not that any of the stories are bad or lack Miller’s specific touch or attention, it’s just the natural byproduct of jumping around so many times for so much of the film. It also doesn’t help that this is a film that’s quite deliberately paced, moving at its own speed. It doesn’t feel longer than it is, but it’s certainly not a quick trip either.

Where “Three Thousand” succeeds with nary a fault is in the clear big beating heart of the picture. This is one of those big messy movies that a director gets to make once they’ve gotten to a certain point in their career, where it might not all work perfectly, but the central emotional core of the film is so solid that it makes up for a lot.

Miller has crafted a love letter to the simple act of telling stories and to what telling stories can tell us about the storyteller. It’s the big gooey emotional core at the center of everything and it really works. It’s impossible to say if it’ll win over everyone or make up for the film’s issues for everyone, but at the end of the day, this is a film about storytellers, made by a storyteller, that’s a love letter to telling stories that will most likely be the most beloved by those who love telling stories.

“Three Thousand Years of Longing” is a big, emotional, messy film. Elba and Swinton are great, as is the rest of the ensemble cast, all putting on some fantastic and fantastical stories in gorgeous locations shot with excellence and bursts of color at every moment. It’s a shame it doesn’t all feel as precise or smooth as it could have, but this is a film made with its heart on its sleeve and a grand story to tell, for better or worse. 4/5

Prey (2022) - Review

 

Few series are more iconic and also more turbulent as the “Predator” franchise. What started as a fun, low-budget alien action film that bordered on horror spiraled into a series of high budget action films with increasingly low box office returns and increasingly low audience satisfaction. So it makes sense then that the now Disney-owned 20^th Century Studios would drop this latest installment simply on Hulu. Which is a shame, because its arguably the best film in the entire series and might be the best action film of 2022 so far.

Set in 1719, “Prey” follows Amber Midthunder (“Legion,” “Roswell, New Mexico”) as Naru, a young Comanche warrior who wants to prove herself to her tribe and older brother Taabe, played by Dakota Beavers in his film debut, by completing “kuhtaamia”, a hunt of something that also is hunting you. Mix a young Predator and his more primitive weapons in and you have an interesting twist on the formula put in place by countless other films in the series.

Midthunder is absolutely incredible. She’s a fierce force during the action sequences, staking her claim as a potential future action star with her ability to throw herself into the set pieces. But she also nails the films emotional moments, with many harrowing encounters with the harshness of the wilderness and her tribe showcasing some great understated, and sometimes wordless, acting.

Beavers is also a standout. His is a great character in Taabe, balancing his support of Naru and his concern for her as well. He’s an absolute highlight and when he and Midthunder are on screen together, the movie shines. The supporting cast is rounded out with some great performances as well, like Michell Thrush (“Blackstone,” “Bury My Heart at Wounded Knee”) as Naru and Taabe’s mother Aruka, and some others that won’t be spoiled here.

Writer/director Dan Trachtenberg (“10 Cloverfield Lane”) and co-writer Patrick Aison (“Treadstone,” “Wayward Pines”) craft a consistently engaging action film that works on multiple levels for multiple reasons. Some are obvious, like how the film spends time characterizing the Predator himself, showcasing some of the ways he’s different and younger than those we’ve seen before. They also make sure the events of the film are paced perfectly to build tension and to make the arcs emotionally satisfying.

When the action starts to fly, it really starts to fly, and some impressive practical effects work and cinematography helps to sell the chaotic, alien action of it all. These are people who are far outmatched by the Predator and watch it all unfold is an adrenaline rush of an experience. It never feels cruel or mean, always set up and planned in effective, inventive ways, making sure to never lose track of the people at the center of the scenes, even as they might be getting butchered.

Outside of the action, the film is still exceptionally well shot. Cinematographer Jeff Cutter (“10 Cloverfield Lane,” “A Nightmare on Elm Street (2010)”) shoots the natural landscape with clarity and an eye for the beauty of the wooded landscapes. It serves as an effective contrast not only for the action that takes place within these landscapes, but also helps to calm the audience and characters once the action has subsided momentarily. The nighttime footage is also incredibly gorgeous, and there are multiple sequences of natural beauty so calming its almost arresting.

“Prey” is also the second film Trachtenberg has directed based on a property he did not initially create, after “10 Cloverfield Lane” and its also the second film in which he’s shown his innate talent to twist a familiar property into a new and unique vision without sacrificing what made it initially interesting. Anyone looking to revitalize their franchise who isn’t thinking of hiring him to do it should reevaluate their priorities.

If there’s anything to critique “Prey” for, its one thing outside of Trachtenberg and Midthunder’s control, and that’s the well-documented lack of a theatrical release. Why Disney decided to dump this straight to Hulu is a mystery, but where you watch it doesn’t change the fact that this is an exceptional action film, not only an easy high for the franchise, but also a movie that knows how to balance blood and adrenaline with emotion and deep characterization. It’s carried by Midthunder’s excellent performance, and one can only hope this isn’t the last fight we see between her and these alien hunters. 4.5/5

Bodies Bodies Bodies - Review

 

Is there any target more ripe for ridicule and parody then that of the self-obsessed “gen Z” youth? Well, yes, there are plenty of targets just as equal, but “Bodies Bodies Bodies” sets its sights squarely on the rich and privileged; the young folk who seem to have all the money in the world and none of the consequences of it.

Set in the midst of a “hurricane party,” the film follows a group of 20-something friends: Bee, played by Maria Bakalova (“Borat Subsequent Moviefilm,” “The Bubble”), Sophie, Bee’s girlfriend, played by Amandla Stenberg (“The Hate U Give,” “Dear Evan Hansen”), Sophie’s childhood friend David, played by Pete Davidson (“Saturday Night Live,” “The King of Staten Island”), his actress girlfriend Emma, played by Chase Sui Wonders (“Daniel Isn’t Real,” Genera+ion”), podcaster Alice, played by Rachel Sennott (“Shiva Baby,” “Call Your Mother”), her older boyfriend Greg, played by Lee Pace (“Guardians of the Galaxy,” “Pushing Daisies”), and another childhood friend of Sophie’s Jordan, played by Myha’la Herrold (“Industry,” “Plan B”), dealing with a potential killer in their midst after the power goes out and one of them ends up dead.

The script, written by Sarah DeLappe from a story by Kristen Roupenian, is absolutely razor sharp and doesn’t do any of the film’s big egos any favors. Even as events seem dire, biting comments and acidic critiques are thrown back and forth, setting tensions high. Director Halina Reijn (“Instinct”) uses it like a kind of exercise in intensity that’s bolstered not just by the whodunnit nature, but also the crumbling friendships amongst it all. It stumbles a bit with some of the specific turns of phrase that leave it sounding less authentic than it seems, but the underlying wit is strong throughout.

With such a small cast, it’s a good thing everyone manages to be pretty fantastic. Pace and Davidson are both pillars of male idiocy toxicity in the best way, and each of the girls manages to carve out their own personality. For as much as the satirical elements want to paint these types of party girls as bad people, DeLappe at least puts effort into making them realized, fleshed out people by the end.

Even if the entire cast is stellar, the film is carried by Bakalova and Stenberg’s performances. Sophie and Bee are an engaging couple and are also extremely likable from the start. As things get more and more desperate, their likability might falter, but the performances never do. Bakalova in particular is the heart of the movie, easy to understand and empathize with the moment the shit hits the fan.

What might be the most impressive feat of this low budget whodunnit is the camerawork. For a film set almost entirely in the dark, illuminated by iPhone flashlights and glow sticks, there’s a lot of fantastic framing and cinematography from Jasper Wolf (“Dead & Beautiful,” “Monos”). It maintains a level of chaos and mystery, inviting audiences to lean forward and squint at the screen alongside the characters to try and see what might be around a corner or hidden in the pitch black. It’s a kind of controlled darkness and misinformation that works exceptionally well alongside the chaotic, almost malfunctioning electronic score from composer/musician Disasterpeace (“It Follows,” “Marcel the Shell with Shoes On”).

The film’s biggest weak point isn’t something that’s executed poorly, rather it’s a hurdle that most won’t be able to overcome with the actual premise. It’s a bloody, nihilistic movie that could leave some viewers in an exasperated cold sweat by the end of its 95-minute runtime. The satirical nature of it all makes it a bit easier to swallow, but the ending twist especially could set some off with just how dreary things get. It’s a bleak affair and certainly not for everyone, but those who were already on board with the trailers will likely have a blast with this acidic, pitch black, bleak comedy.

If nihilism is your cup of tea and you’re in the mood to see some rich, narcissistic 20-somethings dead on the ground, run, don’t walk to A24’s latest horror party. With an acid-tipped wit and performances that embrace the unlikability of their characters, “Bodies Bodies Bodies” is a trip not for everyone, but tailor made for a certain group that will easily eat it up. 4/5

Bullet Train - Review

 

Sometimes, all you need is a good premise, some committed actors, and some action to make a fun, popcorn flick ready and made for audiences to just have a relaxing time at the movies. That might sound like damning with faint praise but given the glutton of forgettable action films that release each year, it’s a triumph that “Bullet Train” maintains a steady level of enjoyment, even if it doesn’t raise the bar.

The plot, strictly speaking, of this film isn’t exactly straightforward. Based on the Japanese novel written by Kōtarō Isaka, it follows Brad Pitt (“Interview with a Vampire,” “Moneyball”) as Ladybug, an assassin who takes a harmless snatch job after turning over a new leaf. However, he ends up wrapped up in a larger conspiracy after learning the briefcase he was sent to steal is being sought after by a pair of assassins named Lemon and Tangerine, played by Brian Tyree Henry (“Atlanta,” “Widows”) and Aaron Taylor-Johnson (“Kick-Ass,” “Nowhere Boy”) respectively, and a young assassin posing as an innocent schoolgirl named The Prince, played by Joey King (“The Kissing Booth,” “The Act”).

Eventually the plot ends up also involving a gaggle of other assassins such as Andrew Koji (“Warrior (2019),” “Snake Eyes”) as The Father, Hiroyuki Sanada (“The Last Samurai,” “Mortal Kombat (2021)”) as The Elder, Bad Bunny as The Wolf, and Zazie Beetz (“Atlanta,” “Deadpool 2”) as The Hornet, just to name a few.

It definitely is a jam-packed and chaotic film. Characters, cameos, and punches fly by with nary a moments notice. If anything, “Bullet Train” does manage to maintain a high level of energy and enthusiasm throughout the entire film which is certainly commendable. Pitt is rolling with all the punches, keeping up a demeanor that could be best described as if The Dude from “The Big Lebowski” became an assassin. He’s certainly having a blast, but honestly the film’s biggest successes are Henry and Taylor-Johnson as Lemon and Tangerine. The pair of British assassins have the best rapport, the best jokes, the best arc, and Henry in particular the best running gag throughout the film. They’re just a delight to spend time with and if the film had just been about them, its hard to say it wouldn’t be just as good.

Koji and Sanada are also great, effectively playing the straight men in this world of overblown craziness. They’re effective, but its hard to call them memorable against so many other actors who are, regardless of skill, playing everything at eleven. Bunny and Beetz are fine for their roles, but they’re closer to cameos than fully fleshed out performances. Meanwhile Joey King is… certainly doing some acting. She’s fine for the most part, but the more she amps things up, the more annoying she becomes. And not in a fun “she’s annoying the characters but not the audience” kind of way.

Thankfully, when you get a director like David Leitch (“Atomic Blonde,” “John Wick”) behind the camera, you’re going to have at least a base level of quality action filmmaking. While not nearly as inventive or seamless as some of his past works, there’s still a lot of fun action choreography here and its without a doubt far better than your average blockbuster. The train is also a highlight, with multiple cars fully built out practically and slowly being destroyed throughout the film. The production design is just top notch, and even the few brief glimpses we get at various train stops are filled with color and life. It’s a delight to watch the carnage unfold, and only really devolves into CGI unwieldiness in the last 15 minutes.

Meanwhile the script, adapted by Zak Olkewicz (“Fear Street: Part Two - 1978”), is certainly choked full of odd scenarios and one-liners. It’s hard to call the overall plot good, but it’s certainly serviceable and coherent enough. Every actor delivers their lines well and with the right amount of comedic emphasis. There’s also something to be said for the twists, as the movie keeps audiences and Ladybug on the same page throughout, allowing them to put the pieces together as he does. There are numerous threads to follow and breadcrumbs throughout, making it a fun mystery to puzzle out in between all of the chaos.

It's hard to call “Bullet Train” bad. It’s absolutely derivative of other R-rated action-comedy romps, but the cast is committed, for better or worse, and the action is particularly solid throughout. Package that with a puzzling story to solve and a backdrop of colorful and gorgeous landmarks and you’ve got the makings of a pleasant, if not particularly revolutionary, popcorn flick that should easily satisfy those who seek it out for those thrills and not much else. 3.5/5