Weekend Watch - Speak No Evil

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week’s topic, as voted by the blog’s Instagram followers is the remake of the 2022 Danish horror film of the same name, Speak No Evil. The Blumhouse-produced remake stars James McAvoy and Aisling Franciosi across from Mackenzie Davis and Scoot McNairy as a pair of couples who meet on vacation in Italy and then decide to spend a long weekend together in the country upon their return to the U.K. The film released in theaters this weekend to solid audience reviews so far and looks to be one of the early successes of 2024’s spooky season. Let’s get into it.

Letter Grade: B; while not necessarily the most adventurous film, it’s still solidly entertaining.

Should you Watch This Film? If you have seen and loved the first film, I have a feeling that this film won’t be for you, but if you’re looking for a relatively tame but thrilling horror film, it’s worth checking out.

Why?

                Speak No Evil (2024) does a lot of taming down of the story and themes from the original, making the final product much more palatable for a broad audience, already reflected in the films’ respective IMDB, Tomatometer, and Popcornmeter scores, all of which favor this year’s high-tension remake over the subtler and darker European original. To its credit, this year’s film offers a highly entertaining, fairly safe, and solidly acted horror film. It features some quality comedy that cuts through the tension at appropriate moments without ever losing how uncomfortable the characters rightfully are. At the same time, the writing loses some of the plot by playing most of the twists and third act fairly safe, and it gets a bit too heavy-handed with communicating its themes, straight up stating its main idea in a third-act monologue from McAvoy’s antagonist, Paddy. It’s nowhere near a perfect film, but it mostly accomplishes what it sets out to do, offering some good tension and scares to elevate the heartrate that should satisfy most audiences, especially if you can separate it from the original in your mind.

                The real highlight of the film is McAvoy as the film’s primary antagonist, whose twisted motivations become more apparent as the couples’ weekend at Paddy and Ciara’s (Franciosi) farmhouse unfolds. He brings a physicality and eeriness to the character that really sells the ever-increasing tension that the film needs to execute its premise well. He starts out as this hot, abrasive British dad, slowly devolving into a sinister, narcissistic not-quite-mastermind as everything unfolds. It’s a commanding performance that’s sure to stick with everyone who goes to see the film, and it definitely elevates the film above what it might otherwise have been with the same plot and writing.

                The film’s exploration of family dynamics, commentary on society’s people-pleasing tendencies, and critique on our unwillingness to ever just say no land relatively well. None of what the film wants to say is particularly earth-shattering, and it is sometimes delivered with a tendency to tell rather than show. However, the themes aren’t really the point of the film, more just window dressing to give it a sense of weight while the tension and its eventual release keep the audience gripped.

                A fun, if a bit sanitized and simple, horror thriller, Speak No Evil is carried by James McAvoy’s startling performance as the villain, bolstered by some strong tension building, culminating in a solid final act. It definitely won’t please fans of the original, but it should be what those looking for a fun, not too involved, horror film in the early phases of spooky season want from their theater-going experience. You can currently find it in theaters from Blumhouse if you need something like that in your world right now.

Weekend Watch - Furiosa: A Mad Max Saga

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week’s topic, as voted by the blog’s Instagram followers, is George Miller’s prequel to his critical hit Mad Max: Fury Road (2015) – Furiosa: A Mad Max Saga. The prequel stars Anya Taylor-Joy as the titular heroine, the younger version of Charlize Theron’s character from Fury Road. She is joined by Chris Hemsworth as her nemesis Dementus, Tom Burke as her mentor Praetorian Jack, Alyla Browne as the child version of Furiosa, George Shevstov as the History Man, and Lachy Hulme as Immortan Joe. It follows Furiosa from her childhood when she’s taken from her lush home and out into the wasteland through her adolescence and young adulthood pursuing vengeance against Dementus and a return to her lost home. The film opened to a solid critical response and strong audience reception this weekend. Let’s get into it.

Letter Grade: B+; it’s a far cry from living up to its predecessor in terms of pure energy, but the technique and worldbuilding are still there in spades.

Should you Watch This Film? If you enjoy the Mad Max films or just a solid postapocalyptic action thriller, this film is definitely worth the watch. It’s not quite as transcendent as Fury Road, though, so I don’t know that everyone has to see it.

Why?

                For starters, Furiosa takes on an entirely different scale than Fury Road did and, therefore, ends up with a slower pace, which bogs it down in exposition and uneven movement from beat to beat, weakening the overall story. It seeks to tell Furiosa’s full life story leading up to the events of the previous film, and as such, lives up to its name as a “saga”, which will probably result in some division in the audience. If you’re okay with a slower burn, but equally as brutal, character study/revenge thriller, Furiosa probably won’t feel like much of a fall off and will still make for a solid theatrical experience. If, however, you’re hoping for a repeat of the high-octane, nonstop car chase that was Fury Road, you’re going to come away with a definite sense of disappointment. Comparison aside, it’s a feat of filmmaking with gorgeous visuals, fun action sequences when they come, and a decent, if shallow, story to keep everything engaging.

                The performers all do admirable jobs with what they’re given, with Taylor-Joy shouldering the load of action heroine quite well even with her fabled twenty lines of dialogue – she masters the physicality and emotive performance that an action lead requires refreshingly well for an actress with her resumé. For me, though, it was Chris Hemsworth who kept the film worth watching. His Dementus shows up in each new chapter of the film as an evolved iteration of the villain, becoming more unhinged and more nihilistic at each turn, his devolution mirroring the evolution of Furiosa. It’s a weird but incredibly memorable performance that feels right at home in the postapocalyptic world that George Miller has created. Together, the two characters and the two actors make the film what it is, giving the audience that compelling revenge narrative of an unexpected underdog coming after the once great warlord. Its culmination is one of the best moments in the film, so I won’t spoil it, but I will say that the ending definitely makes Hemsworth’s performance, if not Taylor-Joy’s feel oh-so worth it.

                Technically, Miller is once again at the height of his form, giving us gorgeous visuals of this postapocalyptic landscape that draw you into all of the weirdness, violence, and off-putting beauty that his world has to offer. The score, sound, and cinematography all make for an excellent moviegoing experience, and they deserve to be witnessed in as epic a format as can be found. The technical aspects also go a long way in making up for some of the predictability and slowness that creeps into the film’s story. With so much of the story being told through the visual, rather than auditory, offerings of the film, it can feel overly expository at times, slowing down with each new chapter start to catch the audience up on what’s happened in the meantime with lots of establishing shots and broad landscapes. At the same time, all of that is great to look at and listen to, so I can’t complain too much about it.

                Furiosa: A Mad Max Saga is a solid, if imperfect, addition to the action/revenge genre, giving us two memorable leads, fun sequences of action, and excellent production design to overcome an unevenly paced and fairly formulaic story. It might not hit exactly the notes that everyone wants it to, given the more universal acclaim of the film that it follows, but it still does scratch that itch that can only be scratched by George Miller’s postapocalyptic automobile-themed wasteland. I’d say if you’re thinking about seeing it, you definitely should on the largest screen you can find.

Weekend Watch - Monkey Man

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week’s topic, as voted by the blog’s Instagram followers, is Dev Patel’s directorial debut Monkey Man that released in theaters this weekend. Patel took on multiple roles in this film, directing, starring, writing, and editing the revenge action thriller. He is joined in the cast by Sharlto Copley, Pitobash, Vipin Sharma, Sikandar Kher, Adithi Kalkunte, Sobhita Dhulipala, Ashwini Kalsekar, and Makrand Deshpande. After initially being slated to premier on Netflix, Jordan Peele screened it and jumped on-board as a producer to release the film in theaters because he thought it was so good. So far, audiences and critics seem to agree with him. Let’s get into it.

Letter Grade: B+, it’s a phenomenal debut film, but it still definitely has some of the rough edges of a debut film as well.

Should you Watch This Film? Yes! This is the kind of action thriller that we need more of – passion projects that involve underrepresented groups in Hollywood.

Why?

                What Patel has given us in Monkey Man is a thrilling blend of homage, passion project, and original film, and it works beautifully. His love of action films from around the globe and throughout film history comes to life in every action sequence (of which there are many); his decision to cast almost entirely South Asian actors and to tell a story set in that region that is steeped in its culture speaks to his desire to be true to himself, and what few missteps there are simply serve as a reminder that he is the one who basically singlehandedly made this film happen. It’s not a perfect film or even an entirely original film, but every inch of it is stamped with its filmmaker’s passion and his desire to make something epic and memorable.

                To start with a few nitpicks, the film does have a few places where scene continuity breaks down and where you can tell that different cameras were used probably out of necessity rather than choice. There’s one fight sequence in particular where the setup occurs in one location before the fight happens in another that he’s sent back to where the transition between locations feels just a bit clunky and doesn’t flow as smoothly as the chase that led up to it did or the fight that ensues after it does, which isn’t huge, but as someone who doesn’t always notice these things, I did this time, which I think speaks to the excellence with which most of the rest of the action sequences were cut more than it speaks to Patel’s shortcomings in making the film. It’s also been widely shared that multiple cameras broke during filming, which resulted in the use of Go-Pros and iPhones to capture some footage, and, while it’s not easily noticeable in any action sequences, there are a few of the film’s more dramatic moments that cut between two shots repeatedly where it feels like watching two separate definitions, most likely due to the cameras’ reception to light or something along those lines, but again, it’s one of those little things that could take you out of it if it wasn’t for the excellence going on around it.

                Story-wise, it’s a really well-executed revenge thriller. It never tells you more than it needs to, hinting at pasts so you know who’s important until it becomes time for them to receive their comeuppance. The supporting characters are fairly memorable, if occasionally underutilized. Pitobash plays a street-level drug dealer named Alphonso who acts as the Kid’s (Patel) gateway into the world of his enemies, and it’s arguably the film’s funniest role, but he gets sidelined for basically the entire back half of the film despite being integral to the Kid’s entrance and exit in this world of danger. Sobhita Dhulipala’s Sita makes for a beautiful and mysterious potential romantic partner for the Kid, but we never quite learn enough about her to make her a fully compelling secondary character. The villains, played skillfully by Sikandar Kher and Makrand Deshpande definitely have the most to do of the supporting cast, with Kher’s corrupt police chief Rana being the ideal heavy for Patel to face off against in the film’s final act and Deshpande’s overzealous spiritual leader Baba Shakti acting as the man behind it all who you do in fact love to hate. Together, they provide a compelling set of obstacles for Patel’s leading man to overcome and defeat on his way to making a mark on those who destroyed his home and killed his mother. The film’s most compelling subplot comes in the form of the transgender acolytes, led by Vipin Sharma’s Alpha, who save the Kid after his first run-in with Rana and his men. They comprise the focus of the film’s political and religious messaging, offering a look into modern political and religious issues in India for a Western audience with an issue that’s prevalent in this country as well. It’s a smart move by Patel, and Alpha and the other acolytes make for compelling supporting characters that keep the audience engaged in the slowdown that comes in the leadup to the film’s climax.

                Obviously, though, even with a perfect story, this film couldn’t succeed without excellent action sequences, and Patel delivers those in abundance. From the jump, we are given brutal hand-to-hand combat, starting with the underground fight ring run by Sharlto Copley’s Tiger where the Kid dons a monkey mask and faces down and loses to a slew of opponents. The action then takes off fully with a combination fight and chase sequence after the Kid’s first attempt on the police chief’s life goes sideways, giving us a glimpse at Patel’s skill in crafting action scenes that look original, feel brutal, and sound great with consistently well-timed and catchy background tracks for all of the action in this film. After a slowdown and training/healing montage that itself has some great musical cues, we are thrown into the film’s climactic series of action sequences, starting with a great underground fight with a classic massive opponent for the Kid to overcome before he sets out to disrupt the election night party where Rana and Baba Shakti will be. The sequence of fights that lead to the film’s conclusion are some of the best in the business, with a well-earned and even better choreographed kitchen fight, a brawl in a dining room, a showdown in a club, and a faceoff in a penthouse capping the film off. It’s one of the most intense and engaging climax sequences that I’ve seen in an action film in a while. I know it’s a bit reductive, but it really is right up there with the John Wick films in terms of its final act’s execution.

                With Monkey Man, Dev Patel has shown us his capabilities as a well-rounded filmmaker, offering a fresh take on the story of the revenge thriller while providing some excellent action sequences to top it all off. Some of the characters might fall short of their potential, and certain editing errors certainly exist, as should be expected from a rookie filmmaker, but overall, it’s a great time at the theater, and I really encourage you to go see it. We need to let producers know that these are the kinds of films that we want to see more of.

Weekend Watch - Thanksgiving

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week’s topic, as voted by the blog’s Instagram followers, is Eli Roth’s new holiday slasher, Thanksgiving, which opened in theaters this weekend. The film, which follows the citizens of Plymouth, MA, who are being terrorized at Thanksgiving by a masked killer one year after a disastrous Black Friday sale left multiple people dead, stars Nell Verlaque, Patrick Dempsey (sexiest man alive 2023), Rick Hoffman, Milo Manheim, Addison Rae, Karen Cliche, Ty Olsson, Jenna Warren, Tomaso Sanelli, Gabriel Davenport, and Joe Delfin as its ensemble of potential killers and victims. Let’s get into it.

Letter Grade: B+; it’s got plenty of that tongue-in-cheek slasher humor and gory action to please any audience even if its story underwhelms in the final act.

Should you Watch This Film? Yes! This is a great time at the theater that never gets too serious or self-important, giving audiences just about everything they might want in a new classic slasher.

Why?

                Thanksgiving delivers up a fun, anti-Black Friday slasher ride that feels like Eli Roth at his most crowd-pleasing, never getting excessive with its gore while still maintaining the director’s twisted reputation with a collection of creative holiday-themed kills and injuries. It’s not a perfect film by any stretch of the imagination with a third act and mystery that end up fairly underwhelming in their execution due to an aggressively choreographed plot twist that even the most basic viewer can probably see coming from a mile away. There’s plenty of dangling plot details to potentially give us sequels if it does well enough, and I really hope that it does because the film’s themes of corrupt business owners, cross-town rivalries, and Thanksgiving-related shenanigans deserve to be further explored alongside its archetypal cast of characters.

                The best parts of the film are its moments of creative kills and attacks that often come out of nowhere. They had the audience in my theater absolutely losing our minds with creative use of industrial-grade ovens, corn cob holders, pilgrim axes, and the heavy doors of a restaurant’s dumpster. They are brutal in the most hilarious ways possible, living very much in the same space as Tarantino’s stylized gore. Each one leans into the film’s holiday motifs and feels like something you haven’t quite seen before in a slasher, at least not in this context. It’s fun to see this type of innovation in a genre that so often relies solely on tropes and familiarity, especially in recent years, to win audiences over.

                Story-wise, Thanksgiving jumps in with a promising premise – someone is out for revenge on the people responsible for a violent and deadly Black Friday mob one year later at Thanksgiving in Plymouth, Massachusetts, the home of the original Thanksgiving (purportedly). After showcasing the horror of a mob at a Black Friday sale, which also introduces us to the film’s collection of characters, it gets into its present-day setting, a town amping up for a Thanksgiving celebration with cross-town sports rivalries, a parade getting prepped up, and lots of hurt feelings as the town approaches the anniversary of the previous year’s disaster. Every bit of dialogue is loaded with potentially incriminating statements to keep the audience guessing as to who the real killer is and whether there might even be multiple killers operating in tandem. For anyone paying the slightest bit of attention, it’s pretty obvious who the perpetrator(s) is (are?), but there’s enough smoke and mirrors and plenty of fun violence to make up for that lack of mystery.

                Each of the characters are fun and decently fleshed-out, with a well-selected cast of lesser-known actors portraying them (2023’s sexiest man alive Patrick Dempsey notwithstanding). Dempsey delivers a performance that works well in building up the setting as Plymouth’s thick-accented sheriff, worried about the impact of the killings on the town’s annual celebration of Thanksgiving. Nell Verlaque does the most as Thanksgiving’s new final girl, occasionally making some questionable decisions but never losing the audience’s support in a passable performance as a burgeoning scream queen. Her band of friends, comprised of Milo Manheim, Addison Rae, Jenna Warren, Tomaso Sanelli, and Gabriel Davenport, fills out the cast well, giving the audience enough individuality to make us curious about who makes it out and who might be the killer.

                Thanksgiving might not have the most surprising reveals and suffers some in its third act, but its fun characters, innovative violence, and tongue-in-cheek humor more than make it a satisfying time in the theaters and a welcome addition to the slasher genre. It might not be perfect, but there’s plenty of potential to follow it up with Thanksgiving 2 (or Easter or St. Patrick’s Day or July 4th) if Eli Roth wants to give us more, and I certainly hope that he does. It’s currently showing in theaters, and I definitely recommend checking it out this week as a way to celebrate the holiday.

Weekend Watch - Expend4bles

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating and review. This week’s topic, as voted by the blog’s Instagram followers, is the latest in Sylvester Stallone’s action franchise, Expend4bles. The fourth film in the series sees the return of Stallone as Barney, the leader of the titular team of military contractors, as well as Jason Statham, Dolph Lundgren, and Randy Couture in reprisals of their respective roles. They are joined this time by Megan Fox (Transformers), 50 Cent (Escape Plan), Tony Jaa (Ong Bak), Jacob Scipio (Bad Boys for Life), and Levy Tran (The First Purge) as additions to the team, Andy Garcia as the team’s CIA handler, and Iko Uwais of The Raid films as the new villain – Rahmat. The film opened in theaters this weekend. Let’s get into it.

Letter Grade: D+, this film is probably a C+ in its best form, but a truly convoluted story and more misogyny than you’d even expect weigh it down.

Review:

                Expend4bles offers more of the same fare that we’ve all come to expect of the franchise – classic action heroes getting to show off that they’ve still got it alongside some decently well-known up and comers while they try to stop the bad guy from doing something that threatens world peace (or whatever). In this particular iteration, Statham is given more of a leading role, while Stallone takes a backseat, which works for the pacing of most of the film’s action sequences, but leaves it lacking a bit of the goofy heart that has made the films as successful as they have been (at least financially), since Statham is stuck delivering his one-liners to dead (or soon-to-be-dead) henchmen more often than his aging associates.

                The mission is another odd point for the film, considering the absence of Stallone’s Barney for much of its runtime. The Expendables are called on by the CIA to infiltrate a hijacked cargo ship that is carrying a nuclear device and stop it from entering Russian waters while also uncovering the identity of a shadowy figure from Barney’s days before the Expendables and bringing him to justice. That second point is what makes Barney’s absence from most of the back portion of the film so odd. The character motivations of everyone on the team not played by Stallone end up becoming fairly shallow when he dips out. It ends up becoming a film about watching people do their jobs, sometimes with some entertaining action sequences and decent one-liners.

                The biggest saving grace that keeps Expend4bles watchable, like the other films in its franchise, are the action sequences. An opening villain takeover of a desert compound gets things going, showcasing Iko Uwais’s capabilities as a fighter for any unfamiliar with his other work as he dominates the grunts that try to come between him and his prize. The chase with military-grade ATVs, a cargo plane, trucks, and a Humvee makes for a solid wrap-up to the first act – nothing overly creative, but it still works to establish characters, conflict, and keep the audience engaged. Statham then gets his own infiltration sequence that works really well in the second act before being elevated by the addition of Tony Jaa and plenty of hand-to-hand combat for both of them. The big team-up moment is fine with enough gunplay and knife play to keep those hungry for action happy, even if the stakes feel fairly basic and understated. The final showdown is probably the weakest in terms of actual action, focusing more on reveals, elevating the stakes, and offering the audience payoffs, which leaves it somewhat underwhelming after a series of solid fights up to that point.

                Odd but predictable story choices, fun but mostly basic action sequences, and a marked lack of character development for anyone leaves Expend4bles as a disappointing and barely entertaining offering in theaters this weekend. This probably shouldn't come as a huge surprise to anyone who’s seen the first three films, but it would’ve been nice to see it improve just a bit in the direction of its second installment, which remains a decent B-level action flick, rather than the predictability and underperformance of the first and third installments. Nonetheless, here we are coming into the last week of September, so hopefully, we’ll be kicking back into gear in the next few weeks with awards season rolling ever closer.

Mission: Impossible - Dead Reckoning Part One

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week, in solidarity with the WGA and SAG-AFTRA strikes, I’ll be refraining from giving any actual recommendations, and just stick to reviews and ratings. The topic this week, as voted by the blog’s Instagram followers, is the latest in Tom Cruise’s Mission: Impossible franchise – Mission: Impossible – Dead Reckoning Part One – which opened this weekend in theaters. The film stars Cruise, joined by his usual gang of Ving Rhames and Simon Pegg alongside returners Rebecca Ferguson, Vanessa Kirby, and Henry Czerny from previous films in the franchise. Newcomers to the film’s ensemble include Hayley Atwell, Esai Morales, Pom Klementieff, Greg Tarzan Davis, and Shea Wigham. Dominating this weekend’s box office and receiving high praise from critics and fans, it looks like Cruise and McQuarrie have another action hit on their hands. Let’s get into it.

Letter Grade: B+; while not the worst film in the franchise by any stretch of the imagination, this feels like a clear drop-off from the past few entries.

Review:

                Mission: Impossible – Dead Reckoning Part One is a “part one” in so many frustrating and endearing ways. On the upside, none of the great action sequences feel rushed to get to a conclusion, allowing the audience to experience them in their fullness. For this, the film’s near-three-hour runtime doesn’t end up feeling nearly that long, and you’re left with a really fun theatrical experience. On the flipside, the film struggles to tell a complete story with compelling characters and stakes, which is something that the past few M:I’s have done incredibly well. Dead Reckoning Part One’s villain has what feels like a shoehorned connection to Ethan’s past to try to force the audience’s rooting interest, but it never really works since his motivations are left fairly ambiguous – both in the past and the present. Also, as a part one, the audience can tell that everything is building to what is going to be some sort of cliffhanger, and in this particular one, we’re left feeling that the stakes of the whole film were fairly small because of how it all ends up. Yes, you want to know how it all ends up, but not because of some looming threat to the heroes (which is a bit overplayed, I’ll grant you, but it works), rather because the audience has to know whether this whole film was actually worth the effort – is “the Entity” truly as devastating and world-threatening as the film would have us believe through exposition?

                Don’t get me wrong, the technical aspects and stunts of this film are excellent, and anyone saying otherwise probably walked into the wrong film (Sound of Freedom if I had to hazard a guess). It’s clear that McQuarrie has learned from the successes of Fallout and Top Gun: Maverick, utilizing some truly excellent visuals and camera work in all of the big action sequences to truly give the audience that feeling of being part of the action. It’s thrilling in the best way possible, and knowing that most of them are real stunts done by real performers just makes it that much more impressive. Cruise’s requisite highlight stunt in this film might not quite be as insane as his hanging off the side of a plane from Rogue Nation, but it still impresses as he jumps off a cliff on a motorcycle in the film’s climactic sequence. It’s fun and over-the-top in a way that reminds you of how great these films can be when firing on all cylinders.

                In terms of performances, none stand out as truly excellent, but none are terrible either. Cruise gives one of his more dynamic turns as Hunt, giving some humor in the midst of his single-minded dedication to the mission and his team. Atwell is a welcome addition to the franchise as career-criminal “Grace”, bringing a freshness to the film that is much needed even if her start is a bit slow before stepping into her own in the back half of the film. Rebecca Ferguson is a great actress, but she is tragically wasted in this film, serving more as a plot device than character, a disappointing deviation from her past roles in Rogue Nation and Fallout. Vanessa Kirby again holds her own as the White Widow, playing the role with all the charm, confidence, and menace that she did last time around. Shea Whigham and Greg Tarzan Davis bring a fun buddy comedy energy to their roles that fills in for the noticeably lessened roles of both Simon Pegg and Ving Rhames.

                Mission Impossible: Dead Reckoning Part One feels in many ways like a return to the median for the espionage thriller franchise, giving great action sequences and visuals with a less-than-compelling story, passable acting, and stakes that feel like they should be higher to set up for a truly satisfying conclusion in Part Two. There’s no denying the fun factor of Dead Reckoning, but its other entertainment pieces could definitely have been better executed, leaving it as a bit of a question mark going forward to its second half.

Weekend Watch - Fast X

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week’s topic, as voted by the blog’s Instagram followers, is Fast X, the eleventh film in the Fast and Furious franchise and tenth of the main continuity about Dom Toretto and his “family” of drivers, racers, and thieves. The film stars the usual suspects of Vin Diesel, Michelle Rodriguez, Jordana Brewster, Tyrese Gibson, Ludacris, and Sung Kang joined again by cameos (and a bit more) from Jason Statham, Helen Mirren, Nathalie Emmanuel, Charlize Theron, Scott Eastwood, and John Cena. The film also introduces the new faces of Brie Larson, Jason Momoa, Alan Ritchson, and Daniela Melchior to the ever-expanding cast of characters in this high-octane universe of mobile heists, double crosses, and family. Let’s get into it.

Letter Grade: B+; for the most part, this is a really good Fast and Furious film, it just has a few too many ill-delivered one-liners, unexplained cameos, and a wild cliff-hanger keeping it from joining the upper echelons of the franchise.

Should you Watch This Film? If you’re ok with a pure thrills film, this film is great for that – entertaining and heart-pounding as all get out. If you’d rather only consume thought-provoking media, you can probably skip this one.

Why?

                Fast X fully embraces the niche that the franchise has carved out for itself, containing a plethora of cheesy one-liners, ridiculous car chases, enemies becoming friends, and some classic street racing to keep the fans happy. There are times when the film almost seems in on its own joke, particularly a high-intensity conversation between Brie Larson’s Tess and Alan Ritchson’s Aimes – high-ranking members of the Agency discussing how to treat the pattern of destruction that Dom and his team consistently leave in their wake. Its story defies the logic of even the suspension of disbelief, seeing the team travel to all points of the globe on thin leads and thinner motivations as Momoa’s Dante Reyes carries out his vengeful plan to divide and destroy Dom’s family. Momoa is himself the highest point of this film, fully committing to a completely unhinged villainous performance that just might be the best baddie of the franchise so far. It’s obviously a film designed to get your heart pounding and your adrenaline up, and it succeeds there even if it fails in its writing – there’s no denying that it’s a good time.

                The action sequences of Fast X are its defining trait, and each one delivers something different and new and ridiculous, which is why this film ends up working as well as it does even with its poor writing and vaguely frustrating cliffhanger ending. The opening sequence serves up a reshoot of Fast Five’s vault heist to establish Dante’s villainous origins – nothing too crazy, but it’s still fun to watch that scene on the big screen again. The Rome heist ends up becoming a giant game of pinball with cars and bombs rolling through the streets of the iconic city in insane but gripping fashion. Jason Statham and Sung Kang get a fight scene that goes a long way in quashing their characters’ beef, as does the reportedly directorless fight between Rodriguez’s Letty and Theron’s Cipher. There’s a solid character-establishing race in Rio between Dom and Dante that features some higher stakes than your typical F&F race, keeping the scene fresh. And the film’s final sequence, featuring John Cena’s Jacob’s “cannon car”, an army of nondescript black chase cars, Dom’s requisite muscle car, Dante pulling the strings, and a surprise twist and cliffhanger, delivers that gut punch that you want in a film setting up a duology/trilogy with enough action to still be satisfying.

                A next-level villainous turn from Jason Momoa might be the real piece that keeps Fast X in the top half of the franchise rankings. From front to back he full-sends the most outrageous villain that’s ever graced the screen in a Fast and Furious film. He matches the ridiculous energy that the franchise seems to have hit with its last few installments and cranks the whole thing up to twelve with flamboyant outfits, more cocky swagger than a WWE entrance, and an unhinged level of cruelty on par with the Jokers and Anton Chigurhs of the world, minus the cerebral films built around them. He had my jaw dropped for most of his screentime with how committedly over-the-top his performance was, and I look forward to seeing more stuff like this from the actor.

                The familiar high-adrenaline action of the Fast and Furious franchise delivers again in Fast X, keeping it a solid action film with the help of Momoa’s time in the villain’s seat despite some poorly constructed dialogue and a story that strains incredulity. It’ll leave audiences with plenty of thrills and high-octane fun even if it’s not among the best the franchise has to offer overall. This is a theatrical experience for sure if that’s what you’re looking for. If it’s not, I won’t recommend going out for a hate-watch. At this point you know whether you like the Fast and Furious movies or not, and this is not a big deviation from the formula.

Weekend Watch - Beau Is Afraid

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week’s topic, as voted by the blog’s Instagram followers, is Beau Is Afraid, Ari Aster’s latest directorial exploit, starring Joaquin Phoenix in the film’s titular role, supported by Patti LuPone, Amy Ryan, Nathan Lane, Kylie Rogers, Parker Posey, Zoe Lister-Jones, Armen Nahapetian, Julia Antonelli, and Stephen McKinley Henderson. With its wide release coming this weekend, the film has already received the monicker of “divisive” from both critics and audiences – praising the film’s direction and performances but coming down less cohesively positive on the story. Let’s get into it.

Letter Grade: B+; this film simply isn’t going to be everyone’s cup of tea, but it could have been made slightly more accessible with just a few edits (maybe just one, honestly).

Should you Watch This Film? I don’t exactly know who this film is for, but I think if you’re looking for a film that captures the feeling of an anxiety-induced nightmare, then you’ll leave feeling satisfied.

Why?

                Beau Is Afraid, for me, is the best of Ari Aster’s feature films (I still don’t think he’s reached the pinnacle of cinema that is his short film The Strange Thing About the Johnsons yet). In this film, the polarizing up-and-comer has stepped into his own vision, possibly even his own genre, driven by Freudian psychology, existential dread, and some truly excellent filmmaking choices. Aster never misses with his casting choices, and Beau Is Afraid again hits those character choices right on the nose with its ensemble of character actors and headliner of Phoenix. He also has managed to create a near-perfect rendering of a stress nightmare, not really terrifying for any conventional reasons, just incredibly off-putting with a constant waiting for the other shoe to drop.

                With its easily recognizable themes of parental manipulation, guilt, and the societal disconnect that comes when mental health issues are not properly and positively addressed and treated, Beau Is Afraid sometimes strays a little bit too far from the new road that it seeks to pave. The Freudian themes and symbols of Beau’s oedipal complex sometimes gets carried away, serving to distract from the film rather than enhance it. Don’t get me wrong, a phallic symbol here and a yonic symbol there tends to be par for the course in any film that even touches on human sexuality, but usually there’s not a large monster that derails your focus on the entire third act because you’re trying to figure out what it was there for. I won’t go into any more detail than that for fear of spoilers, but I feel like however that particular scene is interpreted (and if you’ve already seen this film, you know exactly the scene I’m talking about), it doesn't actually make the film better, it just makes it weirder. For the rest of the film, the weirdness is set to just the right scale to not derail the themes or the story, but that single choice knocks the whole film down a notch for me because it’s all people seem to be wanting to talk about. They breeze over the excellence of the first two acts and don’t really engage with the creativity of the film’s last scene just to talk about this one other scene. It’s undeniably memorable because, clearly, I’m in the same boat, but I feel that the film is just as memorable and noteworthy without that particular interpretation of Freudian expression.

                The rest of the film works incredibly well, though. Joaquin Phoenix delivers yet another performance as a disturbed man living in a world that seems to be aggressively against him (whether that’s just in his mind or not). He’s asked to do a lot by Aster’s script, but he delivers on it all, playing the harried, guilt-ridden son with just the right amount of untrustworthiness to get the film’s setting to feel off for the audience. The rest of the cast fills the world out incredibly well. LuPone’s performance as Beau’s mother Mona might be one of the best “villain” performances in such a film – feeling like maybe the only real and honest character in the whole film with her overt selfishness and callousness toward the rest of the world. Amy Ryan, Nathan Lane, and Kylie Rogers have all the makings of the ideal family with a dark secret just under the surface, and they play their part in Beau’s story with just the right blend of levity and ominousness. Like I said, Aster is a master of putting his actors in the best possible situations for their skillsets.

                Visually and in its pacing, Beau Is Afraid truly feels like an extended nightmare/dream sequence, alternating depending on the vibe of the scene. Every frame of the film feels just off enough to instill in the audience the same sense of unease (and sometimes dread) that Beau feels, sometimes with comic results, sometimes with heart-pounding ones. Combine that with the film’s pacing, sometimes frenetic, other times methodical, and you get a film that never really feels as long as its near-three-hour runtime would lead you to expect. The level of detail in every shot help to accentuate the film’s immaculate vibes, with plenty of Easter eggs and visual comedy for the observant members of the audience, moving things along that much quicker.

                Beau Is Afraid is a well-designed, excellently acted, and mostly well-written piece of filmmaking whose last act is marred somewhat by the only bit of the film that can truly be called divisive but that manages to stick its landing – uncomfortable, strange, and unique as it is. Fans of Aster’s non-horror works will probably be more pleased with the way this film plays out than other audience members, but I do think that it’s possible to enjoy most of this film for most adult audiences. That last act might be a dealbreaker, though, and I totally understand if you never watch this or at least put it off until it’s out of theaters.

Weekend Watch - John Wick: Chapter 4

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week’s topic, as voted by the blog’s Instagram followers is John Wick: Chapter 4, the latest (and final?) chapter of the Keanu Reeves action saga about the hidden world of assassins and intrigue run by the mysterious High Table. This film features the return of Reeves in the titular role as well as Laurence Fishburne, Lance Reddick, and Ian McShane reprising their roles from the previous films. Joining the cast in this iteration are Clancy Brown, Marko Zaror, Bill Skarsgård, Donnie Yen, Hiroyuki Sanada, Shamier Anderson, and Rina Sawayama to round out the action film’s ensemble of players. The film currently sits as the best reviewed of the franchise, so let’s get into it.

Letter Grade: A-; the film delivers everything we’ve come to expect from the John Wick franchise and then some with very little to gripe about.

Should you Watch This Film? Yes, but only if you’ve watched the previous three or at least read detailed synopses of them, otherwise most of the film’s stakes and references will make little to no sense.

Why?

                John Wick: Chapter 4 is the culmination of the story and violence of the three previous films. Picking up a short amount of time after Chapter 3, this one again hits the ground running but this time with John as the pursuer rather than the pursued. This film unfolds differently than its predecessors because of this shift, focusing on the High Table’s response to John’s aggression against them, resulting in more time to breathe between set pieces but also more character development and exploration of the saga’s central themes of revenge and cyclical violence. Obviously, the action remains the highlight, but the characters are given space to live and die here as well.

                Chapter 4 might be the best of the John Wick franchise because of how it brings closure to the story of the first three. From the simple revenge tale of the first to the frustration at being drawn back into a life of violence of the second to the repercussions of his actions from the second in the third, everything is brought home in Chapter 4. John’s desire for freedom from his past life, his vendetta against the High Table, the political machinations of the Bowery King and Winston – all of them are brought to a close in one way or another in this chapter. The world gets a bit more fleshed out but only as far as it needs to in order to understand how John can possibly attain his goal of escape. The true highlight of the film is John’s attempt to answer whether he can have a life outside of the killing – the question at the heart of every John Wick film. In this case, he seems to have decided that one final push of killing anyone in his way just might give him the opportunity to answer that question satisfactorily (a fascinating and tragic contradiction). Unfortunately, his decision to untether himself from specifically motivated vengeance leaves him on a fairly destructive and self-destructive path that he can only be wrested back from through human (and animal) connections. The story reminds us of our need for others in life, particularly in the hard times, to keep us from devolving into something worse – a plea for society, yes, but specifically good and supportive society as opposed to the toxic and parasitic one that John is seeking to break from.

                The action remains fairly creative in this one, with a few more faceless henchmen in the first few sequences than I’d usually care for, but that error is quickly alleviated with a solid heavy fight in the middle of things and a high-octane final sequence that ends with a brilliant bit of simple one-on-one combat, which might be my favorite of the series on gravity alone. Overall, I’m still inclined to give Chapter 2 the props for best top-to-bottom action, but the implications present in every scene of violence in Chapter 4 definitely help it make up a lot of ground. I should also point out that Donnie Yen is the best addition to the John Wick cast, and I don’t totally understand why it took so long to get him here. His scenes are arguably better than Keanu Reeves’s for most of the film, but it really peaks when the two of them are facing off or working together (it alternates from scene to scene).

                If you have loved the ride of the previous films in the saga, John Wick: Chapter 4 brings it all together for one last hurrah, sending the assassin off with its most weighty action sequences and plenty of closing thoughts on its world and story themes. In terms of pure action, it might not be the top one of the saga, but it carries plenty of energy to keep its fans happy. This film is currently available to see in theaters, and I encourage you to check it out if you can.

Weekend Watch - Scream VI

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week’s topic, as voted by the blog’s Instagram followers, is Scream VI, the latest film in the wildly successful meta slasher franchise. This film takes the franchise to the Big Apple, following Sam (Melissa Barrera), Tara (Jenna Ortega), Mindy (Jasmin Savoy Brown), and Chad (Mason Gooding) from last year’s soft reboot, Scream, as they go to college in NYC and are again pursued by the Ghostface Killer. The film again sees the return of Courteney Cox as reporter Gale Weathers and Hayden Panettiere as Scream 4 survivor Kirby Reed, now an FBI agent. Josh Segarra, Jack Champion, Liana Liberato, Devyn Nekoda, and Dermot Mulroney join the cast as newcomers to help round out the roster of potential killers. Let’s get into it.

Letter Grade: B+/A-; it all depends on your willingness to buy into the nature of the Scream franchise and on how much you enjoyed last year’s reboot – there’s good gore and fun twists either way though.

Should you Watch This Film? If there’s nothing you enjoy about slashers, then Scream VI probably isn’t for you; otherwise, it’s a great time at the theater and entirely worth your time.

Why?

                Scream VI continues in the footsteps of last year’s reboot, focusing on the new characters while sticking with the meta humor and intense slasher violence that have made the films so popular, and it works even better here as the new characters start to come into their own, even if the absence of Neve Campbell’s Sydney does put a bit of a damper on things. The violence is bigger and more intense than in past installments, amping up the gore to new levels in places, making the requisite fake-out deaths even less believable than usual. The performances in the reveal moments are over-the-top in ways that would make William Shatner proud, but even that feels true to the nature of the franchise – making light of itself and other horror films with a solid blend of parody and homage.

                Scream VI’s story feels a bit more contained (even set in the nation’s most populous city) than 5 or 3, focusing most of its action in three locations, allowing the characters to play off of each other and establish themselves as the focus beyond simple connections to the past films. Obviously, much of Melissa Barrera’s Sam’s development focuses on her connection to Billy Loomis, but since it’s all out in the open now, she manages to imbue her character with a deeper sense of self, no longer shrouded in mystery. Jenna Ortega’s Tara continues her streak of rebellious youth characters, but here, she comes into her own as a proverbial “scream queen”, putting herself less in the shoes of the younger sister character and more on the level of a true “final girl” with a performance totally unlike her characters in either Wednesday or X. Even siblings Mindy and Chad manage to establish themselves as something a bit more than one-note, both through romantic ties. Mindy’s knowledge of horror tropes remains endearing, but her genuinely emotional connection to the new character of Anika gives her a bit more depth. Similarly, Chad is no longer just the jock nephew of Randy Meeks, he is now an emotionally invested potential love interest for Tara. Altogether, this feels like a more establishing film than 5 and promises an interesting future for the franchise.

                On some level, the Scream films do seem to have become a bit predictable, and Scream VI is no different. It offers a phenomenal opening scene, playing with the tropes of the past films in new and interesting ways before morphing into a fairly telegraphed whodunnit. This predictability might also stem from my marathon of the rest of the films that I held with my wife last week, putting all the twists and connections fresh in our minds, but suffice it to say that we were only mildly surprised at the inevitable third act reveal. Knowing what was up didn’t really do much to detract from our enjoyment because they did a good job of making us question what we thought we knew thanks to fake-out deaths and red herrings, including a great tease for a surprise return.

                Ultimately, Scream VI is a solid outing for the new “core four” of the franchise, establishing them while providing an entertaining, if mildly flawed, “sequel to the requel” that lands somewhere on the level of 4 and 5 in terms of greatness, better than 3 but not as good as the first two classic films. It’s a great time at the movies with a blend of jump-scares and gore that is sure to please most slasher fans without trying to do too much.

Weekend Watch - The Menu

                Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week’s topic, as voted by the blog’s Instagram followers, is The Menu, starring Anya Taylor-Joy, Ralph Fiennes, Nicolas Hoult, Hong Chau, and many others in an ensemble dark comedy. This social commentary set in the world of high-end restauranting hit theaters this weekend. The Mark Mylod directed film has been creating quite a buzz since it was first announced. Let’s get into it.

Letter Grade: A-; it’s the most fun I’ve had at the theater in a while, but there’s a few things to nitpick.

Should you Watch This Film? Absolutely! Unless you’re the third grader that came with his family to our screening who I don’t necessarily think was old enough to appreciate how good this film is.

Why?

                The Menu combines elements of a lot of different films to create a unique meal all of its own. From the eerily subtle horror elements of Midsommar to the intense kitchen shots of Chef or Burnt or Boiling Point and the on-the-nose social commentary of The Big Short or Succession, each piece of this film feels a bit drawn from elsewhere, but in the end, it is undoubtedly its own film, making something relatively new out of its old parts. Its thrilling elements play well with the darkly comedic releases of tension, keeping the audience in an ebb and flow of intensity and relief as we unravel what the evening has in store for the twelve dinner guests and their cooking hosts. At certain points, the film drifts a bit further toward the absurd than it might need to, creating discomfort with the film rather than with its characters, but it never goes so far afield as to be unable to reel its audience back in. By the time the meal’s story (and that of the film) has been told, the audience is left with a combined sense of disgust, satisfaction, and awe, just as Chef Slowik (or is it director Mark Mylod and writers Seth Reiss and Will Tracy) intended.

                Aiding in the film’s delivery of its assortment of film styles is its ensemble cast, mostly of faces you’ll recognize but can’t quite put names to and a few big hitters to supplement it all. Ralph Fiennes leads the kitchen as Chef Slowik, bringing all the menace of his Voldemort performance while maintaining a bit more humanity, keeping the audience sure that he’s not the one to root for but not convinced that he’s the one to root against. Anya Taylor-Joy brings mystery and intrigue to the evening as Margot, a last-minute fill-in as Nicolas Hoult’s Tyler’s date to the dinner. She shines as a burgeoning scream queen here (though not really screaming, more as the ideal “elevated horror” final girl), exploring the mysteries of the restaurant’s staff and consistently going against the grain of the rest of the guests in satisfying fashion. Hong Chau (who you might know from Downsizing or HBO’s Watchmen) brings a worthy combination of comedy and intensity to her role as the restaurant’s hostess, Elsa, a matter-of-fact second-in-command to Slowik whose character arc is just as mysterious and complicated as the leads. The rest of the guests, headlined by Nicolas Hoult as an annoying Instagram influencer and John Leguizamo as a washed-up actor looking to rebrand as a travel host, bring the rest of the flavor to this menu, each bringing his or her own brand of flawed wealth to the screen exactly as you’d want an ensemble to work, accentuating the film’s central themes with performances just memorable enough to be unique without overshadowing the film’s main characters.

                The Menu’s blend of thriller, dark comedy, and food, delivered by a satisfying ensemble cast, will leave audiences full and satisfied by the time the credits roll, even if not every bit of the meal lands perfectly. Watching it in a theater with plenty of other viewers certainly adds to the experience, and I recommend it if you are able to make it. If not, when this comes to streaming, it should definitely hit the top of your watchlist. Check it out when you can.

Weekend Watch - Don’t Worry Darling

                Welcome back to the Weekend Watch, where each week we take a look at a new piece of film or television media and give it a rating and review. This week’s topic, as voted by the blog’s Instagram followers, is Olivia Wilde’s newest film, Don’t Worry Darling, starring Wilde, Florence Pugh, Harry Styles, and Chris Pine among others. This psychological thriller had its wide release yesterday after opening with poor to mixed reviews at festivals earlier this month. The drama surrounding the film’s publicity and release has perhaps become bigger than the film itself, as media outlets have been discussing beef between the director Wilde and her lead, Pugh, as well as footage of Harry Styles possibly spitting in Chris Pine’s lap at the film’s premiere. It’s been a crazy time, but I’m gonna focus on the film itself in this review from here on. Let’s get into it.

Letter Grade: C; this film is much better than its review numbers might indicate, but it’s by no means perfect or even great.

Should you Watch This Film? If you’re interested in seeing it, I won’t dissuade you from doing so. It was a fairly enjoyable theater experience and looks great on the big screen. If you weren’t interested, there’s not much here to suggest you should though.

Why?

                I want to start out by saying that Don’t Worry Darling is a film that looks great. From its cast to its production design to its costuming to most of its cinematography, the film is beautifully done, and Olivia Wilde’s skill as a director carries over from her success in Booksmart. The film’s idyllic 50’s-esque setting works well at slipping the audience into an equal sense of comfort and unease depending on the scene, which plays well with the film’s more psychological nature. It is also beautifully acted from its leads. Olivia Wilde’s performance as Bunny, the neighbor/friend of Florence Pugh’s Alice, is a solid reminder of her multiple talents, showcasing a depth of emotion and passion beyond what some might have brought to the role. Chris Pine as the mysterious leader of the community, Frank, brings all of his charisma to bear in what is a truly menacing role as the film’s antagonist, absolutely working it from start to finish. Obviously, Florence Pugh’s performance carries the film. Her ability to take any role and make it the central one of all of her scenes shines here as the true lead, something we haven’t really seen her take on since Midsommar back in 2019. Her emotionally fraught performance is the biggest highlight of this film and makes it much easier to overlook some of the worse aspects of the film. Speaking of worse aspects, many have criticized Harry Styles’s performance as Alice’s husband, Jack, saying it’s weak or phoned-in and saying it would’ve been better had Shia LeBeouf not been cut from the role. Without speaking to the Shia piece, I feel like Styles brings a solid performance to the table, especially in the film’s otherwise weak third act, which I won’t spoil here. It’s not the best by any stretch of the imagination, but he does what needs to be done to allow Florence to shine in her role, which is probably better anyway – Frank isn’t a character that should be stealing scenes. The film’s true weakness – and the reason it’s not getting glowing reviews – lies in its story. The first two acts do a phenomenal job setting up a fascinating psychological thriller, albeit with a few forgivable plot holes. Unfortunately, it fails to stick the landing with weak reveals and a plethora of unresolved conflicts in the third act. While I appreciate the commitment to not giving the audience everything with the ending, there is so much that is left out on the table by the time the credits roll that it feels more dissatisfying than a J.J. Abrams series finale/third act/final film. With so much greatness packed into its first two acts, the conclusion takes too much wind out of the film’s sails and leaves its audience at least a little bit disappointed. Also, if you’ve watched other films with similar plot twists, the film’s reveal might feel not just unearned but also derivative, as it did for my wife who called it before we even got to the theater. Strong performances, beautiful filmmaking, and a solid first two acts don’t do quite enough to cover all of the flaws in Don’t Worry Darling’s incredibly messy third act. Fans of Wilde, Pine, Pugh, and Styles will not be entirely disappointed with the film, nor will people looking for excellent production design. Unfortunately, the film’s story falls short of getting a glowing recommendation. If you want to see this film, I recommend seeing it in theaters. If you don’t want to see this film, I’ll say you’re probably okay missing it.

Weekend Watch - Barbarian

                Welcome back to the Weekend Watch, where each week we take a look at a new piece of film or television media and give it a review and recommendation. This week’s topic is the surprise hit horror film that dropped last weekend, Barbarian, starring Georgina Campbell, Bill Skarsgård, and Justin Long. The film is about two people who have unintentionally double-booked an Airbnb and then discover some surprising secrets in the house’s basement. Since its release, it has taken critics and audiences by storm, surprising most viewers with a remarkably original story and take on the genre. Let’s get into it.

Letter Grade: B+; the film’s originality and willingness to bend the mold doesn’t mean that it has fully broken out of some of the more predictable tropes of horror films.

Should you Watch This Film? If you are looking for a new horror film as spooky season approaches, this is one of the better ones out right now for sure.

Why?

                Like most fans and critics have already said, Barbarian succeeds at holding its audience’s attention with some of the most surprising twists and turns in recent horror history, creating a refreshingly original experience in the process. What starts out as a fairly straightforward stranger danger horror flick soon morphs into something much more interesting than that initial premise. The film’s blend of suburban horror and social satire comes through in a way that never feels derivative of anything else. The biggest issue most people will have watching this film will be with some of the wild choices made by the film’s protagonists, which is true of most horror films, but which also works to set up some of the better parts of the film, including its quick and stressful climax. For horror acting, the leads – Georgina Campbell, Bill Skarsgård, and Justin Long – overdeliver in their performances, doing work that is rarely surpassed within the genre, at least in films with comparable budgets. Campbell’s idealistic Tess makes a solid “final girl” that the audience can easily root for even through her many questionable decisions. Skarsgård’s enigmatic Keith works well in the role marked out for him, walking the line between dangerous villain or lovable sidekick as the audience gets to know him (his past role as Pennywise in the It films probably lent a lot to his character’s ambiguity as well, solid casting choice). Long’s problematic and troubled AJ serves as a great foil for Tess and solid comedic relief when needed as well. Honestly, each of them delivers perfectly on what the script asks of them, and it’s a very impressive outing from the trio. The fun originality of Barbarian’s disjointed story pairs with some solid acting from its leads to create one of the biggest surprise hits of the year. Check it out in theaters if you get the opportunity.