rhythmoriented Reviews

Crimes of the Future (2022)

David Cronenberg's perspective on human evolution

[7/10 · 4 June 2022]

Crimes of the Future features tremendous world-building and concepts, but is incomplete in its narrative. In addition to prompting one to fill in the pieces that led to this world, there also is a sense that there is more to say about characters and the world that is depicted. Those who love Cronenberg's past body horror outings may very well forgive the film's shortcomings, especially given the following vivid perspectives fully on display:

1. Evolution is rapid. Human bodies are changing in our world, but writer/director David Cronenberg further accelerates this timeline. Examples include interior changes in the body, from growth of new organs to altered gastrointestinal tracts. There are much softer current-day precedents for these concepts (just two examples include changing waist-to-hip ratios in females and lower testosterone levels in younger males) - with these and likely those in the film speculated as related to changes in sleep/exercise/diet/environment. The extreme examples in the film are presented as social commentary in the form of body horror, as this is a format with which Cronenberg feels very much at home. I do like how the horror is presented in two ways: visually, and through the discussion of the fear that humans may branch off into separate subspecies.

2. People are restless. Although there is no reference to the internet or social media in the world presented in Crimes of the Future, there is heightened interest in displaying changes in the human body in order to both grab attention and to feel a greater sense of personal fulfillment. Technology AND evolution have both fostered these innate and selfish desires.

3. People in the society depicted in the film are not easily shocked. Although the threshold to accept previously unacceptable behaviors has attenuated in our culture (at least in the First World), The Crimes of the Future's world is on another level. Many examples abound, but the following stand out: a. A child is murdered by his mother, and there is surprisingly little visible repulsion by those who are aware of the act.

B. Said child undergoes a public autopsy, with body entirely uncovered and displayed from the outset, and then abdomen is open for attendees to see internal organs. Laws preventing this activity, if at all present, are not enforced. In this dystopian future, characters reference that law enforcement and governmental agencies are not to be trusted, with characters linked with both fringe and governmental agencies accordingly shown to be unethical. This plays off of a theme that has been debated in recent years.

David Cronenberg constructs a world with some uniquely horrifying characteristics, and the superb performances by this cast accentuated by a top-flight production design and Howard Shore's haunting score, all beautifully tie together the film. As above, and with other reviewer's comments thus far, various narrative aspects appear incomplete. It would be interesting to follow up these and other themes presented, and see where they go in a sequel - with even some backstory added in order to help understand how humans reached the point depicted in Crimes of the Future. Although he has not done this in the past, and time may be running out in his creative life at the age of 79, more information with another installment would very much be welcomed.

The Cursed (2021)

Phew, this one's got it all!

[9/10 · 19 February 2022]

Grotesque body horror, creepy dream sequences, a few jump scares and that slow burn unease that is hinting at something bad just around the corner all made this a great theater watch for me. I'd also say that the cinematography and production design easily punch above its weight class as an historical horror film. This film kept me guessing until the end, with a pretty cool twist. HIGHLY recommend.

Sound of Metal (2019)

Superb performances all around, with themes that resonate

[9/10 · 4 December 2020]

Listen to yourself think, as there is lyrical and melodic beauty in seeking one's own peace. This and other weighty questions are asked and even pondered in Sound of Metal, an extremely well-conceived film from Amazon Studios. While Riz Ahmed has received much-deserved accolades for a tour-de-force performance as a drummer with rapidly progressive hearing loss, the supporting cast members should also be praised. Among them are Olivia Cooke (Me and Earl and a Dying Girl), who appears to have successfully transitioned from teen indie darling to first-class talent, Mathieu Amalric and especially Paul Raci - whose performance was strong enough to literally create tonal shifts in the film. With limited concert footage, Sound of Metal is recommended for those who seek a contemplative character-driven drama.

The Undoing: The Missing (2020) Season 1, Episode 2

Brilliantly presented through Grace Fraser's perspective

[10/10 · 2 November 2020]

After an absolutely compelling first episode, several reveals come at the most inopportune and unexpected times in episode 2. Production design and camera work are seamless, as viewed through the eyes of Grace (Nicole Kidman in yet another stunningly good performance). The dizzying effect of each important revelation taunts us into wondering what's next. Bravo, David E. Kelly on creating The Undoing, and for hiring director Susanne Bier and company for a production commensurate with the quality we have come to expect from HBO. This is our new addiction!

Too Old to Die Young (2019)

Ten favorite aspects of this landmark series

[10/10 · 24 October 2019]

10. Not one character is a "throw-a-way," from Teller and Malone down to the minor characters - all were rich and immediately contributing to director Nicolas Winding Refn's (NWR) palette. 9. The visuals are absolutely stunning. As noted, any on-screen moment can be frozen, and that shot can be framed as a picture beautiful enough to hang in a wall. More specifically, the use of neon lighting in the darkness, and its contrast with surrealist daylight received the thumbs up from NWR's friend, director Alejandro Jodorowsky. 8. Attention to detail is evident. For example, even regional Mexican dialect was replicated. 7. Based on the casting in Too Old to Die Young, and her performance, I believe Cristina Rodlo is poised to be a breakout star. I hope to see her again soon 6. Surprisingly funny moments range from the police force (or police "farce"), to Billy Baldwin's quirks, the perfect use of Barry Manilow's classic song - Mandy. 5. Collaboration: Using Ed Brubaker (Cap Winter Soldier and Westworld) as a writer and the addition of a female writer Halley Gross are a sign the director NWR realizes his productions benefit from checks and balances (in contrast to Only God Forgives, a previous project with some shortcomings). Similarly, The Neon Demon's Jena Malone again acts as someone with whom to bounce off ideas. 4. Composer Cliff Martinez brought his game to a whole new level. The score was literally ear candy, created by his patented electronic sound elevated by the following acoustic embellishments: violin/viola (Starlight Cantina), piano and french horn (The High Priestess of Death), soprano sustained vocal tones (Viggo and Diana) and the ominous cello sounds (Naked Guy Murder, and especially Kill Me Clean and Fast). Bravo! 3. The themes are striking: child abuse, sexual deviancy, efforts at redemption, toxic narcissism, and even the creep toward fascism. 2. Shout out to Amazon for helping fund the project in which Refn can be Refn, and airing such a bold project. Now they should promote it more widely, so that others can even think to partake in true art. 1. More than just a TV series, NWR wrote this as a 13 hour film. Forever the film-maker and alchemist, he also is a visionary - who has recognized that film style and quality CAN translate to streaming services. I believe that time will prove him right.

Dolemite Is My Name (2019)

Eddie Murphy and gang deliver a highly watchable and fun comedy with some history to boot!

[10/10 · 24 October 2019]

Saw this with two other film buffs at our local indie theater to get a jump on the Netflix release, and we all enjoyed it a whole lot. Having been fans of Eddie Murphy from his earlier films and especially the way he carried SNL during the "lean" years, it was great to see him carry Dolemite is My Name.

Rudy Ray Moore, a rather likable dude who tries to reinvent himself after failing in various entertainment projects, goes through an odyssey of sorts. It's ironic how this is the role in which Murphy is also reinventing himself. While many critics are expecting a Golden Globe nomination and quite possibly a win in the comedy/musical category for best actor, those of us who already love Murphy are not surprised that he could pull this off.

Along the way, supporting characters (who are beyond the usual uni-dimensional ones seen in recent throw-away comedies), add a whole lot. Craig Robinson, Keegan-Michael Key, Wesley Snipes, Snoop Dog, Mike Epps and even Chris Rock are just great - yet Da'Vine Joy Randolph is probably the biggest surprise.

It's also worth mentioning the historical context of this film. Although Blaxploitation films were already gathering steam at the time, Moore's projects were indie to the core, and show the roots of independent film. Similarly, we the audience are given an angle on performers who acted as precursors to the rap movement.

Finally, the stylistic elements were superb in our opinion. The production designers nailed 1970's Los Angeles, costumes were fun, we thought the window into collaborating on films on a very thin budget was cool, the interspersed songs set the mood aptly, and the nudity/sexuality was presented in a fun (and funny) way. Despite the nostalgia aspects, the pacing/editing kept the film refreshing.

With the exception of some smart independent comedies (eg., Edge of Seventeen, Eighth Grade) and outliers (such as The Favourite), comedies in the 2010's have really lost popularity and critical praise. Raunchy comedies have been losing money for years, perhaps because of the same tired in-your-face sight gags or poorly written stories that lack even a modicum of creativity. Many have not been grounded in relatable stories, so most of us just stopped going. Dolemite is My Name changes that. We expect it to be popular on Netflix, and can only hope that those making the next generation of comedies take notice. Bravo!

Jexi (2019)

Frustratingly Bad

[2/10 · 11 October 2019]

There is something about Adam Devine that just tickles my funny bone. He was so funny in Mike and Dave Need Wedding Dates and other ensemble comedies. That's probably what, unfortunately, makes it frustrating to see him stuck in such a poorly written film. Jexi starts off with a cute premise, lands a few laughs, but its downhill from there: some jokes fall short, while others are in-your-face and moronically over the top. Nothing quite works. I should have suspected that there was a reason it wasn't screened for critics. I hate to say it, but my recommendation is to pass this one up...even when it moves from the theater to streaming (which I'm sorry to say based on the reaction of people in the theater, and number in attendance, will probably be soon).

The Beach Bum (2019)

More of an "experience" than a film

[6/10 · 29 March 2019]

In Matthew McConaughey's earnest effort to show his fans a good time, we are left wondering whether he and a generous cast of celebrities (who appear to be improvising considerable chunks of The Beach Bum) are having more fun than the audience. Harmony Korine's film-making style is to create "experiences," shooting music videos in the context of a larger story. This was done with greater success in his previous work, the divisive-but-brilliant-at-times Spring Breakers, and less successfully here. The aforementioned's avant garde style devolves into a more scattershot product in this effort. Stoners may find comfort in knowing that their genre may actually be alive, well, and kicking between Miami and Key West. The rest of us may just enjoy this as a 95 minute party, or better yet, as an ideal film to have on as background for a party.

A.I. Rising (2018)

Worth the watch for Sci fi fans.

[8/10 · 10 March 2019]

This has what most of us want in a Sci fi film: 1. An unfamiliar (in this case future) setting - in space. 2. A central character who struggles dealing with an unusual and unexpected circumstance. 3. VERY good visuals with a score that enhances (and doesn't drown) it. 4. A time investment commensurate with the payoff: only 85 minutes. 5. Some plot twists. It's the latter point, a relatively thin plot, that costs this a higher score. On a somewhat related note, the folks who complain about the sexual content lose one of the most important points of the film. It is the sexual dynamic in male/female attraction and relationships, specifically the power struggle, that adds to (and does not define) this film. The real theme (and goal of the viewer) is THE MISSION. Once the viewer uses this as the premise for watching and solving the "puzzle" the screenwriters are throwing at us, the viewing experience of Sci fi fans like me becomes a worthwhile undertaking.

Sharp Objects: Fix (2018) Season 1, Episode 3

Episode 3 provides a chilling cyclical narrative

[10/10 · 23 July 2018]

Not a second was wasted in this heartbreaking episode in which implications of Camille's return to her home town of Wind Gap is expanded from the two previous episodes. Significant backstory is delivered in a chilling manner. We learn much more about the cutting addiction, along with the girl in her flashbacks from the first two episodes. The performances are top-notch, with dialogue that is nothing short of what we would expect from Gillian Flynn.

Metaphorically, the circular nature of the central character's dilemma is developed visually - expanding on the previous ceiling fans, LP records which now occupy Camille's childhood home, to the roller skates of an unfettered half-sister Amma, and even glimpses of the cylindrical silos and bales of hay shown in episode 3. They now appear to represent the cyclical nature of life in Wind Gap, as she is taken through the same loop: small town cheerleaders, parking lots as venues for practicing night moves, inebriation, "tomboys" and especially compulsions - ranging from mother Adora's eyelash pulling (trichotillomania) to daughter Camille's more serious obsession of 'cutting.'

Sharp Objects (2018)

Hauntingly beautiful

[10/10 · 9 July 2018]

Haunting first episode of a show that had me and my wife entranced for the full hour. The editing, cinematography (particularly the framing), mixture of original score and Led Zep songs, casting and performances were all 10/10. It's interesting that Amy Adams, the best working actress without an Oscar, might win an Emmy first if the rest of the series is any indication.

Westworld: Les Écorchés (2018) Season 2, Episode 7

Human Lives Matter...except on Westworld Season 2

[6/10 · 4 June 2018]

The writers of cable TV's most thought-provoking drama continue to tell the story from the hosts' perspective. Although creativity points should be awarded for this idea, the further reduction of the value of human characters (with the notable exception of Charlotte Hale) continues Westworld down a trajectory that will probably further dog its ratings. A revenge tale through the eyes of Delores may have been a fresh idea briefly, but when paired with predictable tropes from this lead and other characters (such as Angela) the adjusted "perspective" starts to become stale. Positive notes: as always, performances are seamless, and Jeffrey Wright continues to weave a Bernard character that almost impossibly has more layers with each episode. Also, action sequences in S2 E7 make the hour fly by quickly. One can only hope from the evocative S2 E8 teaser that the final three episodes of this season will pull together a narrative that is more engaging and original.

Westworld: Phase Space (2018) Season 2, Episode 6

Westworld is back to asking the "big" questions

[10/10 · 28 May 2018]

I would rank this episode among the best of the series, behind the S1 finale (The Bicameral Mind) and S2 E4 (The Riddle of the Sphinx). In S2 E6 we learn more about "the cradle," get a better look at the relationship between William and his daughter, and the series finally moves ahead on the story-line of Maeve's quest to find her daughter (no spoilers in this review). Most importantly, Westworld is back to delving into perhaps the most important theme of this season: choosing one's fate. This theme has been thoughtfully depicted in recent sci-fi films Ex Machina and Blade Runner 2049, but now can be developed in an ongoing television series with less constraints inherent to a feature film's running time. As a plus, the strongest points of the previous episode - dominated by Shogun World - are carried forward (primarily aesthetics), and melded nicely into the ongoing self-determination theme . Finally, combat scenes are less chaotic and more meaningful. When it comes to sci-fi action, Westworld cannot compete with other productions such as Netflix's Altered Carbon, so I'm pleased to see writers back to emphasizing its strongest points: character development, layered storytelling, and asking the "big" questions.

Westworld: Akane no Mai (2018) Season 2, Episode 5

Kind of a let down, rather lazily written, yet superb performances again

[4/10 · 21 May 2018]

After the masterpiece that was S2 E5, a "reveal" of a primary motivation for the development of Westworld itself, we were highly anticipating the foray into Shogun World. While we were again treated to superb performances by Thandie Newton and company, I could not help but be disappointed by the writers' decision to use mind control as the default means of getting out of a bind. Too simple, and that massacre toward the end of S2 E5 sure looked like it was lifted from the first Kingsman installment's church massacre scene. And we continue to wonder when HBO will move away from massive pubic merkins, and actually display more realistic female anatomy (male anatomy has been realistic). I could go on, but the point is that Westworld is too good a show to cut corners on its writing and visual depictions. Keep it real, keep it original, and you'll keep the audience's respect and attention.