Category: 2022-2023

Reviews of Two Modern Thrillers: “The Voyeurs” (2021) & “Sanctuary” (2022)

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The Voyeurs (2021) starring Sydney Sweeney, Justice Smith, Ben Hardy, & Natasha Liu Bordizzo

Pippa {Sydney Sweeney) and Thomas (Justice Smith) move into their dream apt [in Montreal, Quebec]. They notice that their windows look directly into the apt opposite- inviting them to witness the volatile relationship of the attractive couple across the street. But when they attempt to anonymously intercede in their lives, they unwittingly set in motion a chain of events that will lead to disaster.

Have y’all seen any of the Amazon original content? I recently saw one ep of the (V pricy) spy series Citadel; it was mainly mindless action. I have low tolerance for Priyanka Chopra (who was huge in Bollywood some yrs. ago). Richard Madden is wasted; maybe he needs a new agent (as he has been getting stuck in action/superhero roles). As for The Rings of Power, those are hrs. I’ll never get back; even the CGI and action looked unimpressive! However, I had (some) hopes for this erotic thriller after hearing an interview w/ the director (Michael Mohan) on the Fatal Attractions pod.

The setting is urban; the production design is sleek, clean, and modern. All of the actors are young, fit, and attractive; they dress, act, and speak like today. Pippa (an optometrist) and Thomas (a musician who now composes for commercials) have lost the spark in their relationship after a few yrs. together. They joke around a LOT and act more like besties than lovers. You’ll be reminded somewhat of Hitchcock’s Rear Window, as they get TOO interested in their (sexy/dramatic) neighbors- a hunky fashion photographer named Seb (Hardy) and his elegant wife- Julia (Liu Bordizzo). After some time, we see problematic elements in these strangers’ marriage. Spying on them is no longer fun for Thomas (who was the most sympathetic character), though Pippa gets more obsessed (after meeting Julia at her eyeglass store). In the last act, the movie goes off the rails (you can see for yourself)! There are explicit scenes and nudity; this could put off some sensitive viewers. Sadly, the plot drives the story, NOT the characters (who needed to be developed more). The running time (nearly 2 hrs) felt TOO long.

[1] The story gets preposterous at the end, I feel like it had one too many twists, literally just one less at the end and it’ll be fine by me. […]

As a whole, feels like it was stuck in-between two minds, whether to make it an erotica or not.

[2] I liked the overall tone, aesthetics, cast, acting, concept… But the ending was too much. The unreal twists have kind of broken the spell for me. I’d love to see this movie with a simpler more realistic third act.

[3] I really think that the twists and turns that come after were put in as an afterthought when the director realised nobody was going to buy what he had sold up to that point.

He should have just made an erotic thriller. […] The attempts at seriousness or social commentary come to nothing, and in the final act, are totally abandoned.

-Excerpts from IMDb reviews

Sanctuary (2022) starring Christopher Abbott & Margaret Qualley

Follows a dominatrix and Hal, her wealthy client, and the disaster that ensues when Hal tries to end their relationship. -Synopsis

This indie film is available for rent on Amazon Prime; I learned about it from TIFF vids on YT. I had high hopes here, BUT it failed to impress me. It’s hard to care about the two characters. We keep wondering IF Hal (Abbott) and Rebecca (Qualley- daughter of Andie McDowell) are just playing a game or if they could be in love. One reviewer commented that it looks like Film School 101. The movie was filmed over 18 days in one location (an elegant hotel room). The dialogue is (sadly) NOT strong and some of the directorial choices didn’t make sense. Hal’s daddy issues are V obvious. If you’ve seen HBO’s comedy Girls, you know that Abbott (who mainly works in theater and indies) is a pretty good actor (who can convey vulnerability). Both actors throw themselves into the story. There is no nudity here (and it lacked heat/sexual chemistry); there are strong words (insults) tossed about that may be offensive to some viewers. The ending was unexpected and ineffective!

I think the movie is about performance in so many ways. There are so many lines in the movie where characters say, “Say the words that I told you to say, the words don’t matter,” or, “I wrote the scenes, all you did was say the words, this is the question that you’re supposed to ask me next, I want you to stick to my script.” It’s funny because when I was developing the script with Micah Bloomberg, there was never any conversation where we were like, “Oh, this is about filmmaking or acting!” That never came up, but in retrospect, gosh, that is all over the story. -Zachary Wigon, director

[1] It’s an up and down ride of domination and submission, game or no game. Freedom or going with the narratives you’re assigned in life.

It’s also a love story of sorts, maybe not the healthiest, but that’s how it goes sometimes in life.

[2] Margaret Qualley is the indisputable show stealer here… […]

However, the film failed to create a similar impression.

And that’s mainly because the writing, the narration, it all felt too obtrusive, too pretentious.

[3] Two good performances by Margaret Qualley and Christopher Abbott weren’t enough to save me from this bloated talkfest that I felt just became more repetitive and unbelievable as it progressed. […]

It’s hard for me to surmise that all this photographed dialogue would be any more effective had the film have been shaped as a play; instead, I think “Sanctuary” would have had more impact as a twenty-minute short rather than increasingly struggling to stay on its feet for a full 96 minutes.

-Excerpts from IMDb reviews

Quick Reviews: Recent Documentaries of Actors

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Jane Fonda in Five Acts (2018)

A look at the life, work, activism and controversies of actress and fitness tycoon, Jane Fonda.

Julia Louis-Dreyfus: Does a woman have to be single to be her authentic self?
Jane Fonda [at age 85]: Well, it depends on how you’re brought up. I grew up thinking it was my job to make men love me.

-From the podcast Wiser than Me with Julia Louis-Dreyfus (April 11, 2023)

Director Susan Lacy captures Jane Fonda’s complex life in this V informative, entertaining, and emotional doc (available on Max). The film is divided into 5 stages of the iconic actress’ life: Henry (her childhood/early yrs. w/ her father/family); Vadim (her older/French director hubby); Tom (her activist/lefty hubby); Ted (another American icon/”Alpha man” who became her hubby in middle age); and the last chapter- Jane (her important “3rd act”). The actress is open and honest w/ facts and freely gives her opinions (and we wouldn’t expect less). It was a BIT tough for her to get the confidence to pursue acting, which she began studying at 21: “I grew up in the shadows of a national monument- my dad!” Fonda is also known for her activism (which went way beyond the social media engagement of the young celebs of today), V popular fitness videos (in the ’80s), and entrepreneurship. We hear from her exes, family (incl. son Troy Garity), friends, and collaborators (incl. Alan J. Pakula, Sydney Pollack, Robert Redford, and Lily Tomlin). I will have to check out more of her work.

Rita Moreno: Just a Girl Who Decided to Go for It (2021)

A look at the life and work of Rita Moreno from her humble beginnings in Puerto Rico to her success on Broadway and in Hollywood.

She is an original, and she can’t help but be that every minute of her life. So one gets lost in her personality, happily and feels better for being with her. -Norman Lear

There was nobody that I could look up and say “That’s somebody like me”. Which is probably why I’m now known in my community as ‘La Pionera’, or the Pioneer. I really don’t think of myself as a role model. But it turns out that I am to a lot of the Hispanic community. Not just in show business, but in life. But that’s what happens when you’re first, right? –Rita Moreno

This doc (which I saw on PBS) is shown in interviews w/ the iconic actress at age 87. Rita Moreno (who I 1st saw on The King and I as a kid) is one of the few artists who is an EGOT (Emmy, Grammy, Oscar, Tony) winner. She became successful as a petite/minority/woman in entertainment; she hails from Puerto Rico w/ humble roots. Like many young women of her day, she started out as a dancer; in an early role, she danced w/ Ricardo Montalban! Moreno (healthy, energetic, and blunt-talking) expands re: many difficulties she faced as young woman: the “casting couch;” being typecast in “exotic” roles which only required her to look beautiful/speak in accents (even after the Best Supporting Actress Oscar win for West Side Story); and broadening her career to do work which interests her (even if NOT high-profile). She discusses how her low self-worth affected her romantic relationships; she was involved w/ Marlon Brando, then married to Leonard Gordon for 45 yrs. Moreno (who recently appeared on the family comedy One Day at a Time) is also an activist focused on women and minority rights. We hear from her friends, collaborators, and others she inspired, incl: George Chakiris (co-star on West Side Story), Hector Elizondo, American Ferrera, Norman Lear (iconic TV writer/producer), and Lin Manuel-Miranda.

The Last Movie Stars (2022)

In this intimate six-part docuseries, actor/director Ethan Hawke explores the love story and enduring legacy of Hollywood legends Joanne Woodward and Paul Newman.

I think of Newman and Woodward as one of the (few) marrieds who made domestic life look fun! Ethan Hawke may win an Emmy for his (must-see for classic film fans) doc on Max. It features the voice talents of of many fine actors, incl. George Clooney (Newman), Laura Linney (Woodward), Zoe Kazan, Alessandro Nivola, and Billy Crudup. There are interviews w/ the iconic actors’/philanthropists’ daughters and excerpts from a many interviews (transcribed from tapes which Newman recorded in the early ’80s). We hear re: the actors’ (difficult) childhoods, their exciting days studying/working in NYC theaters, their (sometimes complicated) courtship/marriage, and much more. Did you know that Newman was Jewish!? Though I was familiar w/ several of Newman’s films discussed (From the Terrace, The Long Hot Summer, Sweet Bird of Youth, Hud, and The Sting), there are MANY that I’ve never seen (esp. from later in his career). I learned that Woodward made her mark (in middle-age) w/ TV movies (acting and directing); she won several Emmy awards. I will have to check out her work in the future; the couple also worked together on some projects. Though some critics felt that Hawke was “too present” in this, I didn’t mind this (unique) take on the doc. When he was V young, Woodward donated $10,000, so that Hawke could start a small theater company- wow! Woodward was a teacher/mentor/friend to Linney.

Being Mary Tyler Moore (2023)

Mary’s vanguard career, who, as an actor, performer, and advocate, revolutionized the portrayal of women in media, redefined their roles in show business, and inspired generations to dream big and make it on their own.

This doc (which came out this month on Max) was produced by Moore’s surviving husband Dr. Robert Levine; the director (James Adolphus) had access to home movies, personal memorabilia, family and friends. I read that Adolphus (who worked 20 yrs, as a cinematographer and producer) wasn’t familiar w/ the iconic actress’ work prior to making this movie; producers saw this as a positive. Moore started out w/ modeling, then got into radio progs and TV commercials. She was TV’s funny/pretty/housewife/mom (The Dick Van Dyke Show) before she transitioned to happily single/career gal (The Mary Tyler Moore Show). While Moore was in front of the camera, her (then hubby) Grant Tinker worked on the business side of the (iconic) comedy focused on TV news reporters in Minneapolis. We hear from those who knew her well and others inspired by her example (from several gens): James L. Brooks, Rob Reiner, James Burrows, Ed Asner, Valerie Harper, Oprah, Julia Louis-Dreyfus, Lena Waithe, Reese Witherspoon, etc.

Spoiler-Free Reviews of Two Indies (2023): “Polite Society” & “Joyland”

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Polite Society

A merry mash up of sisterly affection, parental disappointment and bold action, Polite Society follows martial artist-in-training Ria Khan who believes she must save her older sister Lena from her impending marriage. After enlisting the help of her friends, Ria attempts to pull off the most ambitious of all wedding heists in the name of independence and sisterhood.

-Synopsis (Focus Features)

Are you a fan of the (genre-defying) indie hit Everything Everywhere All at Once (2022) directed by the Daniels? Then, THIS is the next film (written/directed by a young woman- Nida Manzoor) is for you! Polite Society is an unique blend of action (incl. martial arts) and comedy w/ domestic drama and horror elements mixed in. A modern-day British Pakistani teen, Ria (Priya Kansara), aspires to be a stuntwoman like her idol Eunice Huthart (recently a stunt coordinator on Star Wars and Marvel movies IRL). Her parents, teachers, and peers are skeptical about her ambition. However, Ria is supported by her older sister, Lena (Ritu Arya), who left art school and is back home wondering what to do next. In their community of British Asians, there is a wealthy woman w/ a (single/doctor) son named Salim; when he meets Lena, they quickly hit it off. Ria is NOT so happy to see her sis dating (and maybe falling for) this man.

Joyland

The youngest son in a traditional Pakistani family takes a job as a backup dancer in a Bollywood-style burlesque and quickly becomes infatuated with the strong-willed trans woman who runs the show.

-Synopsis

I heard re: this film while watching the Independent Spirit Awards (which streamed on YT this Spring). The young director/co-writer, Saim Siddiq, was applauded for Joyland (his 1st feature film). The movie was originally banned in Pakistan, but the censors later cleared it; a ban remains in Punjab, (where the story is set). During an interview at Cannes w/ an Indian film critic, Siddiq said that he edited parts out for his native country: “though most directors would not allow it, I wanted this to be seen by a broad audience.” The film got an 8 min. long standing ovation at Cannes. It is Pakistan’s submission to the 95th Academy Awards. As one of the programmers at TIFF (a Canadian Indian young man) commented, this is “a story of family, desire, and who gets to express that desire.” It is the type of restrained story that is rare to see today; there isn’t much music (therefore no pushing to elicit emotions from the audience). Siddiq chose to use silence a LOT, as he felt that was more powerful.

In modern-day Lahore, a quiet/unassuming young man, Haider (Ali Junejo), serves the (unofficial) caretaker in his “joint family.” At first, you may think of him as a bystander in his own life. His wife, Mumtaz (Rasti Farooq- close friend/classmate of Siddiq), works at a beauty salon. The head of the household is Haider’s elderly father; he is a widower who uses a wheelchair. Haider’s older brother (Saleem) and his wife (Nucchi) have 3 young daughters; they’re expecting another baby soon (perhaps a son). After several yrs. w/o a job, Haider gets an interview at an “erotic theatre” (part of an amusement park- “Joyland”). A confident/fast-talking trans woman, Biba (Alina Khan), is one of the dancers; she also choreographs the routines. Biba needs 6 men to be her back-up dancers; Haider is NOT naturally a dancer, BUT the pay is V good.

Spoiler-Free Review: “Infinity Pool” (2023) starring Alexander Skarsgard, Mia Goth, & Cleopatra Coleman

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While staying at an isolated island resort, James (Alexander Skarsgård) and Em (Cleopatra Coleman) are enjoying a perfect vacation of pristine beaches, exceptional staff, and soaking up the sun. But guided by the seductive and mysterious Gabi (Mia Goth), they venture outside the resort grounds and find themselves in a culture filled with violence, hedonism, and untold horror. -Official synopsis

WTF did I see!? What exactly are the filmmakers trying to say? The writer/director of this horror/drama is Brandon, the son of veteran Canadian filmmaker David Cronenberg. Like his father, Cronenberg does NOT shy away from controversy; this film contains a LOT of blood, drug use, explicit scenes (w/ nudity), and dark (possibly unsettling) themes. It was originally rated NC-17 for “some graphic violence and sexual content.” After an unsuccessful appeal for an R rating, NEON (the distributing studio) edited it. The uncut version was screened at the Sundance Film Festival; the edited (R-rated) version was released in theaters.

James Foster: I actually came here looking for inspiration. To a resort. It’s quite pathetic.

Alban Bauer: So what do you do for money then? Do you teach, or?

Em Foster: He married rich.

Alban Bauer: That’s a good one. Well, its’ good for an artist to have a patron, isn’t it?

James Foster: Yes.

Em Foster: Oh, sure. I’m in danger of becoming a charitable organization at this point.

Alexander Skarsgard (son Stellan/brother of several other actors) is in his anti-hero stage; I was recently impressed by his (complicated) husband role in HBO’s Big Little Lies. The Swedish actor is considered one the most (classically) handsome men onscreen (V tall, blond, blue-eyed, w/ a trim/sculpted body). Well, there is NOT much “hot” (or even likeable) about the role of James! He’s feeling emasculated, being dependent on Em (his wealthy/young wife). James has been suffering writer’s block (after early success); Gabi Alban (Mia Goth- a Brit w/ a Latina mother) boosts his ego w/ her compliments… and more. I’ve only seen 2 movies w/ Goth; you may know her as the wife of (troubled actor) Shia LaBeouf. In a recent podcast, LaBeouf commented that being w/ him has hurt Goth’s career; she is known for her work in the horror genre. I don’t know the supporting actors; they all play unhinged characters.

I have to admit I did like the scene where Gabi (boldy) touches the hollow of James’ throat to illustrate a point on the beach. Who acts that way w/ a stranger!? When the married couples go out to dinner at the Chinese restaurant, Gabi looks at James like she wants to eat him up! Modern viewers sometimes complain re: the overuse of close-ups; there are TOO many here (and often unsettling). If you are squeamish re: blood, then I recommend you avoid this movie. I just didn’t like the style of directing, incl. the use of (discomforting) graphics. The music is disturbing; if I knew more on this topic, I could say more. It is rumored that Robert Pattinson was offered the lead, but passed; he would’ve made it worse than it already is IMO! The ending is just frustrating, as is most of the film. I learned that some viewers walked out at Sundance.

[1] I just felt like it didn’t really amount to anything except for shock for the sake of shock and weirdness for the sake of weirdness. […] The visuals were admittedly cool and the overall aesthetic of the movie was well done, but what was the point? It ultimately just amounted to being a very pretentious, try hard, extreme film for commercial audiences.

[2] The story makes no sense with cloning being the predominant theme. Skarsgard, Goth and the entire cast are wasted with a silly script and story.

[3] Sad no one spends the time to think things out and develop a scary story and use atmosphere and tension.

This movie has atmosphere and tension, but it’s of the lower kind .

If this movie is trying to say something it’s that people with connections and money get away with murder .

[4] This film had the potential to be something new and creative in the horror genre, but writer/director Brandon Cronenberg settles for more of the same of his usual style with little in the way of an understanding of why these events are occurring or even caring that they are happening. […]

All the acting is very well done; Mia Goth is always a sure bet when playing a sinister crazy person. Alexander Skarsgård, unfortunately, isn’t given enough material here to truly shine in his role. He’s a practically one dimensional shell of a character, and that is one of the main reasons the film did not work for me. I felt nothing for his character, and the character makes some of the worst decisions I’ve seen on film. Barely any of the film makes sense, if I’m being honest. Best not to ask why to any of the questions you have because, more than likely, they will not be answered.

-Excerpts from IMDb reviews

#Oscars: “Tar” (2022) starring Cate Blanchett, Noemie Merlant, Nina Hoss, Sophie Kauer, Mark Strong, & Julian Glover

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Set in the international world of Western classical music, the film centers on Lydia Tár, widely considered one of the greatest living composer-conductors and the very first female director of a major German orchestra. -Synopsis

Lydia Tár: Don’t be so eager to be offended. The narcissism of small differences leads to the most boring kind of conformity.

Conductor/composer Lydia Tár (Cate Blanchett), the first female principal music director of the Berlin Philharmonic, is at the top of her game. She is known as a trailblazer in the male-dominated classical music world. Lydia prepares for the release of her memoir while tackling work and family. She is preparing for one of her biggest challenges: a live recording of Mahler’s Symphony No. 5. However, forces she can’t control chip away at Lydia’s facade, revealing her dirty secrets and the corrupting nature of power. At the 95th Academy Awards, Tár received 6 noms: Best Picture, Best Director, Best Original Screenplay, Best Actress, Best Cinematography, and Best Editing.

Lydia Tár: You want to dance the mask, you must service the composer. You gotta sublimate yourself, your ego, and, yes, your identity. You must, in fact, stand in front of the public and God and obliterate yourself.

Writer/director Todd Field wrote the film specifically for Blanchett and wouldn’t have made the film w/o her; they previously planned to work on a different film that Field could not acquire financing for. Focus Features told Field that they would produce any film that he wanted as long as it was at a certain budget. Blanchett had to re-learn the piano, learned how to speak German, and learned how to conduct an orchestra for the role. Scenes of the orchestra playing are 100% real; Blanchett was actually conducting the Dresden Orchestra. Hungarian pianist and professor at the Hungarian Academy of Music, Emese Virág, helped Blanchett prepare for her role. To bring Tár’s (carefully cultivated) speaking voice into being, she listened to recordings of Susan Sontag.

Lydia Tár: Unfortunately, the architect of your soul appears to be social media.

Is this a real person!? You wouldn’t be alone in wondering this, like my friends and I did when we watched it (Amazon). Near the start of the movie, Tár (who is fictional) is interviewed by Adam Gopnik, a New Yorker reporter, in a V long scene supposed to be taking place at the mag’s annual festival. Her book is being published by Nan Talese at Doubleday. Tar’s suits are tailored by Egon Brandstetter, who plays himself. Even the young Russian cellist, Olga Metkina (Sophie Kauer), is played by a British-German musician who recently got into acting.

The very first scene we shot was a post-rehearsal scene… at the Dresden Philharmonie that’s supposed to be after the very first rehearsal that we see of the Mahler. It was the three of them, it was Cate Blanchett, Nina Hoss and Noémie Merlant, and I remember that first take, and it just, it took my breath away because that’s a part of filmmaking… It’s the magical part of filmmaking. It’s beyond the camera, it’s beyond the lighting, it’s beyond your lens choice, it’s beyond all of – art direction, everything else. It’s human beings in front of a camera that can do MAGICAL things. And that part of it felt like a long overdue homecoming. -Todd Field, on returning to feature filmmaking after 16 yrs.

Can you separate the art from the artist? During a lunch convo btwn Tar and her mentor/friend Andris Davis (Julian Glover), he mentions several real conductors: James Levine, Charles Dutoit, and Wilhelm Furtwängler. In 2017, Dutoit was accused of multiple sexual assaults over several decades; he resigned as artistic director/principal conductor of the Royal Philharmonic. In 2018, the Met announced that James Levine, their principal conductor since 1972, had been fired in the wake of multiple sexual assault allegations and investigations. Wilhelm Furtwängler was principal conductor of the Berlin Philharmonic (1922-1945); though he made symbolic nods toward independence, he was the most prominent conductor to remain in Germany during the Nazi regime and was known as Hitler’s favorite conductor.

She’s always been a key reference for me. I like to re-watch my favorite scenes of hers, sometimes right before I shoot a scene myself; not to copy her, just because it gives me energy. Working with her was mind-blowing. -Noemie Merlant

This film looks and sounds authentic; the viewer is taken (perhaps too deep) into the world of classical music. It’s obvious that Field was given a LOT of freedom to make his vision come to life. Yes, it’s V long (as w/ most movies lately); I think this is one of it’s few weaknesses. Blanchett continues to impress; she can truly play any role! All the supporting players do a fine job; the acting is subtle and realistic IMO. Merlant (who is French) continues to be one of the young’uns to watch; I think she did FAB in Portrait of a Lady on Fire (2019). I got a kick out of seeing Mark Strong (wearing a hairpiece) playing a wealthy businessman who is an insecure conductor. FYI: He is still my fave Mr. Knightley.

[1] Tár is a dense film. Thick with dialogue and emotional power. It’s also a bit tricky to get in to and might be a bit much for the casual viewer. That’s a shame though as it’s great.

[2] I seriously doubt that I’ll ever skip a Cate Blanchett movie. She’s won two Oscars and has been nominated six times. She’s consistently the best part of her movies, and often the best in a full year of movies. […] Ms. Blanchett is fascinating and mesmerizing to watch. She is at the top of her game playing a perfectionist who is at the top of her game. However, it’s clear this film isn’t likely to strike the right notes with mainstream audiences.

[3] The central topic emerges rather quickly (abuse of power), but there are diversions which support character development, yet drag on the narrative, which is probably why many reviews here find the film frustrating. […] Field expects viewers to interpret a lot on their own, which is bold and demanding, but with this approach it is crucial to keep focus on an underlying message, otherwise it gets lost. […] In conclusion, “Tár” has all the ingredients for a masterpiece – interesting characters, great performances, nice camerawork – but weak storytelling ultimately reduces the film’s potential.

[4] Near perfection from Blanchett. It’s a steamy, slow burn with a massive payoff, even at 150+ minutes. Cate Blanchett’s range of emotions exhibited through her acting is superb. The closeup orchestra rehearsal scenes are extraordinarily insightful for those who maybe have never been a part of a performing ensemble.

-Excerpts from IMDb reviews