Review Category: Movie

BENEDETTA

For his latest film, Benedetta, Paul Verhoeven has turned his attentions to Catholic nuns in 17th-century Reformation Italy, delving into the political machinations, subverting the imagery, and challenging the viewer throughout. Much like in the masterful Elle, Verhoeven presents a strong, flawed woman as his primary focus, but here, the provocateur’s carnal instincts threaten to confuse the greater themes.

Based on a true story – although one suspects the Virgin Mary sex toy is an addition – Benedetta tells the tale of Benedetta Carlini, a real nun in Pescia, Northern Italy. Devout and headstrong, it is reported she experienced holy visions and received the stigmata, rising to the position of the Abbess of the Convent of the Mother of God. Amid accusations of a sexual relationship with another sister, she was stripped of her rank and imprisoned. Verhoeven focuses on the middle period of her life, expanding the visions into something almost comedic, and revelling in eroticism.

The performances are exceptional, with Virginie Efira engagingly unpredictable in the lead role, wildly fluctuating from sympathetic victim to possessed aggressor. Charlotte Rampling stalks the abbey almost wraith-like as Sister Felicita, harbouring her true allegiances, and it’s fitting she dominates the film’s most striking moment.

But Verhoeven’s intentions remain somewhat confused and out of reach.

Is he commenting on gender in medieval religion, and its predisposition for violence and abuse? Is this simply about sexually repressed nuns? There are a lot of ideas thrown at the screen, and while not everything works, Benedetta is a film that prompts debate and discussion, and that seems to be what Verhoeven really strives for.

Benadetta is in cinemas on April 15th.

FANTASTIC BEASTS: THE SECRETS OF DUMBLEDORE

It’s incongruous to call a Fantastic Beasts movie great, but here we are. After two so-so instalments, the Harry Potter prequel series has taken new shape with a surprisingly coherent third chapter. Where The Crimes of Grindelwald was clunky, dense, and unfocused, this third movie is actually taut, fun, and emotionally complex. It’s the longest Fantastic Beasts entry so far, but it justifies its existence with propulsive, evocative storytelling that neither of its predecessors possessed.

The Secrets of Dumbledore focuses on exploring new ideas rather than trying to explain old ones. J.K. Rowling has dedicated too much of the Fantastic Beasts franchise to answering questions no one is asking. The result is a set of prequels that feel too supplemental, too commercial, and too safe. Nagini’s return is perhaps the clearest example. Her inclusion in The Crimes of Grindelwald was contrived and heavy-handed, so much so that the filmmakers couldn’t justify bringing her back. And so she’s absent here, despite her prominence in the previous film.

Plot-wise, The Secrets of Dumbledore is mercifully straightforward. Newt Scamander (Eddie Redmayne), along with Albus Dumbledore (Jude Law), Jacob Kowalski (Dan Fogler), Professor Eulalie “Lally” Hicks (Jessica Williams), and a handful of others, embark on a secret mission to thwart the formidable Dark wizard Gellert Grindelwald (Mads Mikkelsen), who’s now the top candidate in a wizarding election that could give him a terrifying amount of control.

Redmayne endears himself further as the awkward Newt Scamander, the magizoologist with a heart of gold and the courage to oppose Grindelwald. But while Newt can’t match the dastardly Dark wizard in strength or skill, his cleverness, kindness, and love for others make him a lovable foil for the power-hungry villain. Redmayne sells the character’s quirkiness with aplomb; from putting his shy spin on a rousing pep talk to fumbling his way through a brief interaction with Tina (Katherine Waterston), Redmayne imbues Newt with the relentless likability that has helped make the character such a valuable part of these stories.

Everything about The Secrets of Dumbledore feels dialled up and dialled in. Unlike its immediate predecessor, this new instalment emphasises the heart, humour, and keen wisdom that helped make the Harry Potter series so popular. A lot of that appeal starts with Mikkelsen. His explosive, expressive take on the legendary dark wizard is leagues more sinister than Depp’s composed performance ever was, but there’s charisma buried under that malice that’s both welcome and narratively consistent. Mikkelsen’s layered performance gives us a clearer glimpse of the man Dumbledore loved – and the man he lost.

As great as the returning cast members are, the newcomers are arguably more memorable. Williams is the inarguable standout; as a professor at American Wizarding school Ilvermorny, she’s our best glimpse into the Hogwarts-adjacent magic school we’ve heard about but not yet seen. She eats up every scene and soaks up every moment. We hope to see more of her in the sequel.

Thankfully, The Secrets of Dumbledore is enough of a course correction that those willing to stomach more of Rowling will find plenty to enjoy. The performances are earnest and genuine; the action is fast, fun, and furiously shot; and ultimately it’s the closest the franchise has come to recapturing the magic of Harry Potter.

THE LAST RITE

This debut feature from writer/director Leroy Kincaide sets up a very British take on evil entities and possession that, while not breaking any new ground, has some very effective moments.

Lucy (Bethan Waller) has just moved in with her boyfriend Ben (Johnny Fleming) and begins to experience strange things. Figures in her peripheral vision, cupboards opening by themselves, and a crow killing itself by flying into her window are just the start. When things continue, and Ben’s workload causes him to behave like a dick most of the time, she is convinced there’s something wrong. A bizarre encounter with a woman in a pub toilet ends with her being told “don’t let him in”, worrying her even more. However, the nightmare is just beginning for Lucy as she tries to find out more about ‘the man in the hat’.

Touching on urban legends such as shadow men and genuine medical issues like sleep paralysis and night terrors, Kincaide’s film builds an oppressive atmosphere of dread in the first half before switching to a more conventional demonic possession tale later. It’s here that Bethan Waller demonstrates some fantastic acting, particularly when speaking in tongues. Renegade priests get involved as the film heads towards the climactic exorcism.

For a low-budget independent movie, The Last Rite has the potential to be accessible to a more mainstream audience thanks to Kincaide’s impressive cinematography and the overall production values. While the acting is variable, it’s proficient enough to keep the viewer engaged with the story.

The Last Rite is available on digital platforms now.

2LDK (2003)

Tensions reach a deadly boiling point in Yukihiko Tsutsumi’s 2003 Japanese cult classic, 2LDK.

Two actresses, Nozomi and Lana share a small 2 bedroom Tokyo apartment – however, that’s where the similarities between the two end. Nozomi is reserved and timid but eager to prove her worth whereas Lana is bold, brash and full of ego. One day, the two clash once more over their relationship with the same man and the fact that they are vying for the same lead role – however, this time it is the final straw and they are thrust into a battle to the death using household items and are trapped with each other in this tiny apartment.

2LDK is a part of a special project called “The Duel Project” in which Tsutsumi-san and fellow filmmaker Ryuhei Kitamura (Aragami) were both tasked with a challenge – to shoot a film in just one week, using one location and the same premise – two people fighting to the death. What makes 2LDK stand out from the other film Aragami is that it is a lot more relatable for those of us that have had annoying roommates and in our opinion, is more inventive as it takes the believable and elevates it.

The two stars Majo Nonami and Eiko Koike are both brilliant and their chemistry is electric. When things go awry and the battle begins, their comedic and physical ability really shines through – a particular favourite is a scene involving a small chainsaw that will have you reeling with laughter.

Smart, creative and innovative with a twisted punch, 2LDK is a must-watch for Asian cinema fans and supporters of independent films as this proves that no matter what budget or challenge you are set as a filmmaker, you can create something marvellous.

The Blu-Ray version of 2LDK is released in the United States on April 5th through Unearthed Films. It features a host of superb special features including a full commentary from the actors, a “making of” and interviews with cast and crew at various film festivals during its original release.

MORBIUS

Morbius is half-baked superhero fare that can’t escape the trappings of other similarly forgettable comic book adaptations. Stacked against other live-action Sony/Marvel outings, it’s unremarkable. 2018’s Venom coasted on a bizarre Tom Hardy performance and a tonal departure that was better felt than described. Its follow-up, Venom: Let There Be Carnage, was just as weird, wild, and mindless. Morbius would be lucky to have that much personality. Director Daniel Espinosa does what he can to make Morbius likeable and compelling, but the bones of a great story just aren’t there. It’s briskly paced and action-packed yet perfunctory and vapid, with isolated highs keeping it watchable.

Leto turns in an earnest performance as Dr Michael Morbius, a world-renowned scientist with a rare blood disorder. After a lab accident transforms him into a vampire-adjacent creature with a monstrous appetite, he must fight to sate his bloodlust and keep the people he loves safe.

We’ve seen better (Dallas Buyers Club) and worse (Suicide Squad) from Leto, but his performance here – like most of the movie – is largely mid-tier. He’s clearly committed to the performance and wants to communicate the character’s pain and loneliness. To that end, he succeeds.

As stodgy and hackneyed as it often feels, Morbius does boast fleeting moments of inspiration. Matt Smith’s villainous Milo injects energy and enthusiasm into an overly serious and dull script. Smith’s comical indulgence makes him the perfect foil for Leto’s Morbius, whose intensity and self-seriousness sometimes push against the story’s more self-aware elements. From cockily swaying his hips over the corpses of freshly murdered cops to primping himself for late-night gallivanting, Smith’s supervillain is an unapologetic monster and a blast to watch. It’s a shame that nearly everything else falls apart around him.

It’s ultimately easier to think of Morbius as a campy, marginally entertaining one-off rather than the franchise-starter it so obviously tries to be.

THE CONTRACTOR

Chris Pine is an interesting actor. Roles as Captain James T. Kirk in the Star Trek franchise and Steve Trevor in the DC Universe demonstrate his box-office credentials while Hell or High Water (2016) and Outlaw King (2018) indicate a willingness to challenge himself with more complex characters; flawed, reluctant heroes struggling with demons both internal and external.

The Contractor falls into the latter camp, but a weak script is the film’s undoing.

Discharged from the U. S. Special Forces James Harper (Pine) takes a private contracting job on the recommendation of friend and veteran Mike (Ben Foster). When events take a dramatic, if predictable, turn for the worse Harper is stranded, vowing vengeance.

You’ve seen similar takes before, such as in The Bourne Series of films, but director Tarik Saleh does attempt something a little different. The Contactor tackles several dark themes; suicide and drug abuse among them, themes that overpower the central plot somewhat. Saleh seems more interested in his actors, drawing strong performances from Pine and Foster, reigniting a natural chemistry seen in Hell or High Water and The Finest Hours (2016), who portray men broken by their experiences in service to a country now done with them.

The clearest sign Saleh lost faith in the script is his clear impatience to get the film over and done with, the final stand-off against Kiefer Sutherland’s obvious bad guy more of an epilogue than part of the ongoing narrative.

While The Contractor never quite reaches the heights it aspires to, the performances make it one of the better action thrillers of recent years.

Available in Theatres and On Demand and Digital on April 1st in the US.

NIGHT’S END

Geno Walker is Ken, suffering from social anxiety following a breakdown and the ending of his marriage. He hopes to make a new start of things in a new town and new apartment. Despite encouragement from his best friend Terry (Felonious Monk) and ex-wife Kelsey (Kate Arrington), Ken is resistant to leave the house to get a new job, he instead puts his hopes on getting some money doing video blogs. When Terry spots one of Ken’s stuffed birds fall from a shelf behind him in one of his videos, they entertain the idea that the flat might be haunted. Looking into the history of the place, Ken discovers a dark past. His videos begin gaining traction when he focuses on the paranormal side, but when an expert on the subject (Lawrence Grimm) takes an interest, things get out of control.

Single-location horror certainly isn’t a new concept, but with what we’ve gone through globally over the past two years, we can no doubt expect a whole lot more to appear. Director Jennifer Reeder (who helmed the fantastic Knives and Skin) attempts to make things bigger than they are by including the other participants via video link, but sadly it occasionally makes the film look cheaper. As do the effects that appear in the film’s climax. They look as though they were created with the most basic of After Effects filters. It’s a shame, as there are some creepy moments to be had at times and highlighting mental health struggles in males is particularly admirable. Walker, however, is consistently excellent in the lead role.

There’s an interesting concept in Brett Neveu’s script, but it would have likely worked better as a longer short than a feature.

Night’s End streams on Shudder from March 31st.

STOKER HILLS

A trio of film students get more than they bargained for when they attempt to make a horror movie for their course.

Ryan (David Gridley) and Jake (Vince Hill-Bedford) express a desire to make a picture featuring zombie hookers, much to the bemusement of their teacher (played by horror legend Tony Todd). They have roped their fellow student Erica (Steffani Brass) into starring in their film, which will be a found footage-style affair. When Erica is kidnapped right in front of their lens, their night descends into a fight for their lives.

Their plight is intercut with the police detectives reviewing the footage on the camera they found when they discover an abandoned car. As they attempt to find out what’s going on and potentially save the kids, time could be running out for the filmmakers as a deranged killer has them tied up in an unknown location.

Splitting the action between the footage shot by the students – cue the traditional found footage tropes of shaky-cam and obtuse angles – and the traditional narrative involving the detectives is a wise decision from director Benjamin Louis and writer Jonah Kuehner. Particularly as once the camera has been found, we see the victims within the same cinematic thread as the police. This gives the found footage a purpose rather than just being a budgetary requirement. It becomes an integral part of the story as it is aiding the investigation.

Despite being the headline actor, Tony Todd’s appearance is essentially an extended cameo, but it’s an effective one as he dominates the screen with his presence. This is certainly above the ‘phoned-in’ jobs he’s had lately. There’s a decent build-up of tension and you’re likely to be willing ill on the two meat-head wannabe directors. The conclusion might be a tad obvious but it works, although some viewers might feel a little short-changed.

Stoker Hills is available on digital now.

SONIC THE HEDGEHOG 2

In the summer of 1991, SEGA and creator Yuji Naka unleashed a phenomenon upon the video gaming world, with varying degrees of success. 31 years later, and a successful movie released in 2020, the Blue Blur returns to the cinema screens in Sonic the Hedgehog 2. The first movie was an enjoyable family film, with some decent comedic moments and great performances from the cast. Does Sonic the Hedgehog 2 manage to up the stakes and top the original?

Set shortly after the events of the first movie, Sonic (voiced by Ben Schwartz), as well as human characters Tom (James Marsden) and Maddie Wachowski (Tika Sumpter) have made a home for themselves, with Sonic spending his night’s travelling to nearby Seattle to tackle bad guys using his trademark super speed and cocky attitude, with varying degrees of success. However, with the return of the evil Dr Robotnik (Jim Carrey) from the Mushroom Planet alongside new antagonist Knuckles (Idris Elba), Sonic is forced to team up with the new addition to the cast Tails (Colleen O’Shaughnessey) to help track down and locate an ancient mystical power before the antagonists do.

Fans of the video games will get massive hits of nostalgia with the sheer amount of references to SEGA’s original trilogy of Mega Drive games, but this will also delight kids who have grown up with the animated Sonic adventures. But that’s not to say there isn’t plenty to offer for the adults in the audience as well, with some very close to the mark jokes and dialogue that will completely bypass the younger audience members.

The pacing of the film ensures that there aren’t many wasted scenes, and barely suffers from issues with a slowing second act that sequel movies often struggle with. There are only a couple of scenes that could have either been trimmed or cut, which shows an excellent grip on the source material and familiarity that director Jeff Fowler and screenwriters Pat Casey, Josh Miller, and John Whittington have become accustomed to.

Each cast member is on top form, with a big standout player this time around again being Jim Carrey, channeling the inner chaos of his earlier film roles to guide Robotnik more towards the maniacal and evil genius that has been depicted through the history of the character. Colleen O’Shaughnessey also perfectly encapsulates and manifests a vision of Tails that is almost identical to the source material, as Sonic’s best friend and technological wizard.

Sonic the Hedgehog 2 is a perfect family film and an excellent follow up to the original. It manages to raise the stakes naturally without forgetting about the heart and comedic moments that made the first movie so enjoyable.

CHOPPER (2000)

Mark ‘Chopper’ Read was an Australian criminal who spent the majority of his life behind bars, convicted of crimes varying from armed robbery to kidnapping. Already notorious his reputation was further enhanced through his books, and any film based upon those exploits runs the risk of glorification.

Yet Andrew Dominik’s directorial début intentionally maintains an air of impartiality, the camera floating through scenes as if in awestruck surprise of what is actually being observed. While Dominik’s direction is accomplished, it is the performance of Eric Bana in only his second film role that elevates Chopper, his performance avoiding parody, being terrifying in both excess and subtlety. Bana is outstanding, displaying the paranoia and cruelty dominant in Read’s psyche. Whenever on screen he is dominant, captivating as if growing in stature to cast a malevolent shadow on his surroundings.

In positioning his film as impartial, however, Dominik perhaps misses an opportunity. It’s fair that, despite being based upon Read’s own writings, there is little sympathy for the character. But there are scenes of him evolving into something akin to an anti-hero, primarily targeting other criminals for his vengeance and his crime scenes becoming tourist attractions. Given Read’s self-confessed record, taking a stance in the judgement of his activities may have been appropriate. Only in the final scene of the film is there a moment of poignancy and self-awareness, but is it enough?

Chopper is an intriguing film, one that challenges the viewer through unpredictable, often excessive violence set against a palate of folksiness and sporadic black humour. And worth seeking out for Bana’s performance alone.

Chopper is available on digital platforms and selected cinemas now.