47 Meters Down: Uncaged (2019)

47 Meters Down: Uncaged (2019)

Directed by: Johannes Roberts. Starring: Sophie Nélisse, Corinne Foxx, Brianne Tju. Runtime: 1h 30 min. Released: August 16, 2019.

47 Meters Down: Uncaged follows a quartet of girls who go diving in underwater city. As they’re exploring, they learn they’re trapped with a group of evolved sharks in the claustrophobic labyrinth of caves.

Uncaged follows in the footsteps of the original film in terms of its characters, as their development isn’t the greatest. Mia (Sophie Nélisse, The Book Thief) basically gets picked on at school for some reason… She seems nice enough so the being picked on aspect seems random.

There’s not much empathy from her new stepsister Sasha (Corinne Foxx), but their chemistry becomes fine enough as the film swims along. Basically they’re given tickets by their parents (Mia’s father Grant is played by John Corbett; Sasha’s mom Jennifer is played by Nia Long) and then they ditch that to go to the caves with Sasha’s friends Alexa (Brianne Tju) and Nicole (Sistine Rose Stallone). They know about these caves because Grant leads the exploration of the underwater city.

The cast in the film is fine, but we just don’t get to know these characters, especially Alexa and Nicole. To be fair, we don’t really get to know Mia or Sasha that well, either, but their sisterly bond works for the film, it’s just very much akin to 2017’s 47 Meters Down.

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John Corbett, Sophie Nélisse and Brianne Tju in  47 Meters Down: Uncaged. (IMDb)

By the way, the firt film was made for $5 million and intended to go straight-to-DVD and this film is made for $12 million and was always intended to be a theatrical release. Some scenes in Uncaged are  hard to see because of how dark everything is, and there’s even a scene that’s very similar in set-up to the first film involving a red flashlight, but the shark visuals seem stronger.

The set design and production design is also fantastic as it looks believable that this could be a long-abandoned underwater city instead of just a movie a claustrophobic movie set for a mediocre shark movie. The set-up improves in this film as the characters aren’t confined to one area (in the first film Mandy Moore’s jut in a cage) and can move around the city, but the film still feels claustrophobic. The characters are truly uncaged, but a better pun would be calling this 47 Meters Down: Uncaved.

The potential here isn’t truly uncaged yet, however. The formula for the film works but the first hour has its share of boring moments as they’re setting up its premise. The film improves when a way out of the city seems imminent and then all the shit hits the fan, so at least there’s an action-packed finale as the film is kind-of exciting for 30 minutes. There’s not much here in terms of memorable horror, either, just a decent finale and some tense scenes. I enjoyed this by the end of it, but it’s still mediocre.

Score: 50/100

21 Bridges (2019)

21 Bridges (2019)

Directed by: Brian Kirk. Starring: Chadwick Boseman, Sienna Miller, J.K. Simmons. Runtime: 1h 39 min. Released: November 22, 2019.

An embattled NYPD detective, Andre Davis (Chadwick Boseman) is thrust into leading a citywide manhunt for a pair of cop killers and uncovers a massive conspiracy. 21 Bridges is a movie that I expected to enjoy given the talent involved – Chadwick Boseman stars and Joe and Anthony Russo are on as producers, as well. Boseman plays his character well as someone who lives in the shadow of his father, a cop who died when Andre was a kid. Andre is characterized as having a happy trigger finger and being the one who shoots first and never asks questions because they’re already in a body bag.

Boseman is easily the best part of this, and it’s interesting for the story that the trigger-happy detective leads the charge against a pair of cop killers. Everyone is out for blood as the stress is high, as Captain McKenna (J.K. Simmons) puts Davis on the case. It’s interesting as Davis picks tonight to be a good cop and ask questions first as everyone else becomes trigger happy trying to catch Ray (Taylor Kitsch) and Michael (Stephan James). Sienna Miller is also solid as Detective Frankie Burns who teams up with Davis.

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Stephan James and Taylor Kitsch in 21 Bridges. (IMDb)

Instead of really enjoying this, though, most of the film’s developments felt obvious to me and it all felt predictable. The action itself is fine and some of the manhunt scenes are thrilling. It’s just an old-fashioned cop movie, but it doesn’t do enough with its premise. The sound design isn’t good, either, as gunfire constantly drowns out dialogue. The score also misses in a lot of scenes because half the time the music just doesn’t fit the scene. It’s a big booming orchestra when Andre is just looking through the crime scene and then a similarly dramatic score during the big action scenes. It feels awkward.

The premise of the film works well and the fact that they shut down Brooklyn and all its 21 bridges is a good idea for a lockdown sort-of film, but they waste the premise on a standard story. The villains are okay, here. Basically, Ray and Michael learn about a shipment of cocaine and find way more than they thought there would be. They’re both trained military, and Michael has a strong backstory. As the film starts to tell its conspiracy, it’s all terribly predictable. I do think some of the action is good, but the writing showed its cards so often I couldn’t enjoy it.

Score: 40/100

Greta (2019)

Greta (2019)

Greta. Directed by: Neil Jordan. Starring: Chloë Grace Moretz, Isabelle Huppert, Maika Monroe. Runtime: 1h 38 min. Released: March 1, 2019.

Greta benefits most from very strong performances by stars Chloë Grace Moretz and French acting legend Isabelle Huppert. Frances McCullen (Moretz), a waitress in New York City, finds a purse on a subway train one day and returns it to the owner, a lonely piano teacher and widow, the titular Greta (Huppert). They start a friendship from there as Greta Hideg’s deadly agenda is slowly revealed.

I think the most interesting thing about Greta is that, while it’s a stalker story, it sets itself apart in a few ways. A large amount of stalker stories are sexual in nature. Here, it’s more of a mother-daughter obsession. Greta’s lost her daughter and Frances has lost her mom, so Greta gets it in her mind that it’s a natural fit. Frances also says at one point that “I’m like chewing gum, I tend to stick around.” It’s a defining piece of dialogue in their relationship because Greta takes it seriously.

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Isabelle Huppert in Greta. (IMDb)

The characters are also well-written, from Frances’ general naivety to Greta’s loneliness and manipulation. Frances also has a roommate, Erica Penn, played well by Maika Monroe. My main complaint with Greta is the pacing is slow, making it feel longer because of it and it’s only 98 minutes long. Frances trying to figure out what Greta wants with her is an intriguing road to follow.

I liked that this film also took a less traditional approach to the stalker story in structure, as well, as the film’s second half has a slower pace in limited settings. The writing by Neil Jordan and Ray Wright is strong enough, and it features good foreshadowing in some scenes. The last 20 minutes or so are rewarding, and the strong acting keeps things interesting. Moretz captures the anxiety of the situation well, as does Monroe, and Huppert looks like she’s having a blast playing this batshit crazy character.

Score: 63/100

The Movie Buff Reviews – “Ford v Ferrari,” “Last Christmas”

The Movie Buff Reviews – “Ford v Ferrari,” “Last Christmas”

Instead of a regular review today, I thought I’d compile a couple of different reviews that I’ve written for The Movie Buff, which has a new theme going which looks really awesome. The reviews include a pair of new releases – Ford v Ferrari and Last Christmas – as well as four reviews I did for the site’s Mob Movie March, which they run every year. Anyway, here are snippets from the reviews and links to where you can read them.

Ford v Ferrari – “The highs and lows of the film are amazing and this is my favourite sports film of the year, and one of my favourites of the year in general. It’s not a traditional sports movie, but I would classify it as one just because it’s so inspiring and the competition is so exciting. It has also has two key races where both have high stakes and feel rewarding in some way.” Read the review hereand I gave this one an A+

The Christmas film based on Wham!‘s song of the same name, Last Christmas – “I know sappy romance is predictable but I was frustrated with its mediocrity. The good scenes come at the wrong time, as Clarke’s rendition of “Last Christmas” should be a highlight, but I just wanted the film to end by that point. I also cry at every film, and this one never hooked me on an emotional level, which really tells that this doesn’t work for me.” You can read the review here. This review was also part of the site’s “Fall in Love February” marathon, which I also did as my 29 Days of Romance on my site. Thanks for the idea, Mark. 

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Henry Golding and Emilia Clarke in Last Christmas. (IMDb)

The first review I submitted for the site’s Mob Movie March was Angels with Dirty Faces, the film that inspired the Angels with Filthy Souls film in Home Alone. “It’s [James] Cagney’s performance that brings a lot of the charm to this film. That’s especially the case in his scenes with the ‘Dead End’ Kids and how they look up to him… I like the film’s ideas that they idolize a gangster because he just looks so cool. Jerry says he can’t teach honesty when the gangsters show dishonesty is the better policy. “A hoodlum or a gangster is looked up to with the same respect as the successful businessman or popular hero,” Jerry tells Rocky.” You can read the review here

I reviewed the Joe Pesci “comedy” 8 Heads in a Duffel Bag. Here’s the excerpt: “At one point, I thought that the film could either be better or get even worse if the heads interacted with the characters. Late in the film, it opens that Pandora’s Box in a nightmare scenes where the heads, lined up on a motel dresser, sing a rendition of “Mr. Sandman” (just Mr. Hitman) at Tommy where their respective bodies crash through the walls and strangle Tommy. Suffice to say, the film answers my question by being a different breed of terrible.” You can read the review here.

Okay, two more reviews. I also reviewed the 2005 film The Ice Harvest with John Cusack and Billy Bob Thornton, which has been on my watchlist for awhile. “It’s foremost a mob movie but also a Christmas film by default. It doesn’t have any of the traditional Christmas cheer, but has all the cynical cheer that embodies the characters of Ebenezer Scrooge or The Grinch. This film’s mantra is a line written in Sharpie on several bathroom walls: “As Wichita Falls, so falls Wichita Falls.” A sort-of “all that could go wrong will go wrong,” or The Grinch’s equivalent of wrestling with his own-self loathing.” You can read the review here.

My last review for Mob Movie March was for the 2015 film, Legend. “I’ll just talk about the best part of “Legend” straight away—and that’s Tom Hardy’s dual performance. Watching him make these two characters feel so distinct from each other is masterclass. He completely elevates this material, and without him this would have been straight-up bad for me.” Read the review here.

 

In the Shadow of the Moon (2019)

In the Shadow of the Moon (2019)

Directed by: Jim Mickle. Starring: Boyd Holbrook, Cleopatra Coleman, Michael C. Hall. Runtime: 1h 55 min. Released: September 27, 2019.

This film contains spoilers. 

Netflix’s In the Shadow of the Moon is a film has ambition that threatens to knock it down, but its originality keeps it standing for the most part. Boyd Holbrook plays Thomas “Locke” Lockhart, a Philadelphia officer who develops a lifelong obsession to track down a mysterious serial killer (Cleopatra Coleman) whose crimes defy explanation as she resurfaces every nine years.

The character work in this film is strong, as Locke’s wife gives birth the same night a serial killer surfaces and multiple people in Philadelphia die mysteriously of brain hemorrhages and their necks are branded with a three-pronged mark. That night lives in Locke’s memory and then he becomes more obsessed nine years later when she returns for reasons that become clear later.

The film starts in 1988 and goes forward nine years each time, so this spans several decades. Boyd Holbrook gives a memorable turn as Locke. He shows the effect his obsession has on him over the years as it affects his life and career. It’s just interesting what one night can do to a man. He also tries to care for his daughter Amy (Quincy Kirkwood as a child; Sarah Dugdale as an adult) but is literally unable to as the years pass because this obsession is eating him alive. I thought Locke was fascinating.

Bokeem Woodbine is also good as Locke’s partner Maddox. He doesn’t have much to do because it’s Locke’s show, but they are a good pair. Cleopatra Coleman is memorable as the mysterious killer as we try to understand her motives. She’s in a hood for most of the film and shows acting chops when she’s given the chance. The other actor of note in this is Michael C. Hall (TV’s Dexter). The character’s fine, he’s Locke’s brother-in-law, Detective Holt, and he’s a bit of a dickhead who goes against Locke at every turn. His Southern accent is also a strange creative choice, as it’s set in Philadelphia (though, it’s really filmed in Toronto).

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Cleopatra Coleman in In the Shadow of the Moon (IMDb).

The story is intriguing, too. I love the first 18 years of the film and its set-up when people start dying randomly. The detective work and police work in the first 30 minutes is also great as everything in this opening worked for me. I honestly thought it would be the next great detective film looking for a killer whose crimes make little sense. The crimes do make little sense but we get answers by the end of it all. The detective work is consistently there but it eventually becomes more about Locke’s obsession than detective work, but it’s still interesting watching this all unfold.

After the one-hour mark, the film starts to get into the high-concept part of its story. Writers Gregory Weidman and Geoffrey Tock tip their hand too much in one of the years where it becomes clearer how she’s doing the crimes and coming back every so often but finding out the “why” is still enjoyable.

One reason I didn’t love the second half as much is it’s because it’s not as enjoyable watching his life unravel, because he’s likable. The ending is satisfying because of the different turns it takes as Locke learns her motives, and the voice-over narration wraps it up in a tidy bow. I like it because it feels unique and it blends strong detective work and enough science fiction to make it accessible for both genres.

Score: 70/100

Noelle (2019)

Noelle (2019)

Directed by: Marc Lawrence. Starring: Anna Kendrick, Bill Hader, Shirley Maclaine. Runtime: 1h 40 min. Released: November 12, 2019.

This review contains spoilers.

When Santa Claus dies, the mantle is handed down to his son Nick Kringle (Bill Hader), but he’s scared to take on the role and runs away to Phoenix. His sister, Noelle Kringle (Anna Kendrick) must track him down and bring him back so they can save Christmas.

Noelle has some solid fish-out-of-water humour as Noelle goes to Phoenix to find her brother, which gives it an Elf vibe and there’s nothing wrong with channeling a great movie. I’m also convinced that Anna Kendrick makes any film better and it’s no different here as she brings such a charm to this film. Kendrick truly embodies Christmas spirit as Noelle, as Noelle herself learns what Christmas is all about. Bill Hader’s also good as her brother Nick, and their chemistry is enjoyable. Like Kendrick, Hader can make any film better. Elf Polly (Shirley MacLaine) who helps Noelle is also great acting alongside her.

The story itself is predictable, but to be fair, it would be an honest challenge to find a Christmas film that isn’t predictable. Of course we know by the end that Noelle becomes Santa, but it’s the journey that matters. Some of the moments where everyone but her notices that should be the real Santa are sweet, notably when she speaks to a young girl using sign language though she doesn’t know sign language, as only natural Santa’s have a knowledge of every language. Noelle is a good character in her own right, but Kendrick and her general wholesomeness really makes her come alive.

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Anna Kendrick in Noelle. (IMDb)

A problem with the story here is a lack of conflict. The main conflict is getting Nick back to the North Pole so they can save Christmas because of the Christmas deadline. Meanwhile, back at the North Pole, Mrs. Claus (the delightful Julie Hagerty) is stressing because the interim Santa Claus isn’t working out. By the way, Noelle isn’t simply handed the Santa reigns from the start because the role of Santa is “traditionally” played by a man. This interim Santa is their cousin Gabriel Kringle (Billy Eichner) who works in the technology department. He wants to take some of the joy out of Christmas and deliver presents by drone, and he also comes up with an algorithm for the naughty and nice list that only has less than 3,000 “nice” children in the world because all the kids have minor infractions. The film dips its foot into this conflict but it never really feels like it comes into fruition as it’s all talk. The conflict would be nice, though it would have felt like the Toy Santa villain plot in The Santa Clause 2 if it had actually embraced it, and instead feels like filler.

Noelle’s “friendship” interest here is private investigator Jake Hapman (Kingsley Ben-Adir) who helps her find Nick in Phoenix. Her relationship with this man is fine and it’s unclear throughout if it’s platonic or a love interest, or just a friendship based on the spirit of Christmas and helping each other out. Either way, they’re fine together and Noelle’s friendship and kindness to his son Alex (Maceo Smedley) is charming.

Despite its flaws, I think Noelle is a good film as Anna Kendrick’s performance just distracts so well from any shortcomings, and it’s fun throughout, too. It’s also a solid first effort at an original film on the Disney+ service. And in terms of Christmas movies, I don’t know if I’d watch this every year, but Anna Kendrick would sure make me consider it.

Score: 70/100

Terminator: Dark Fate (2019)

Terminator: Dark Fate (2019)

Directed by: Tim Miller. Starring: Linda Hamilton, Mackenzie Davis, Arnold Schwarzenegger. Runtime: 2h 8 min. Released: November 1, 2019.

In Terminator: Dark Fate, an augmented human named Grace (Mackenzie Davis) and Sarah Connor (Linda Hamilton) must stop an advanced liquid Terminator – a REV-9 (Gabriel Luna) – from hunting down a young girl, Dani Ramos (Natalia Reyes), whose fate is critical to the human race.

It seems that the best way to breathe some life into a franchise is just to go back to the well and do the same thing over again. That’s what this does as it has a lot of similarities to Terminator 2: Judgment Day. They do a lot of the same things, especially with the REV-9 villain, who is basically just the T-1000, who’s made of liquid metal. The REV-9 is just regular liquid and this one’s new trick is turning into two separate Terminator’s.

Linda Hamilton works well here as Sarah Connor as for the past 20 or so years, she’s been answering anonymous texts that lead her to where Terminators will be. And she kills them, at least most of the time. That’s how she crosses paths with Grace protecting Dani Ramos. Dani is a fine John Connor substitute in this film and learning about her future is interesting. Mackenzie Davis is great as Grace, and she shows some true action star potential. I’ve only seen her in a couple mediocre comedies, but she’s impressive here.

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Mackenzie Davis and Natalia Reyes in Terminator: Dark Fate. (IMDb)

What they do with Arnold Schwarzenegger’s character is interesting, too. He’s still the T-800 but named Carl as he’s adapted to human life after accomplishing his mission and staying in our time. The dynamic between the T-800 and Sarah Connor is fiery and tense. Schwarzenegger’s performance is most enjoyable if you don’t try to make sense of the Terminator timeline, because it really doesn’t make sense.

The action in the film is also exciting and there are some good action set pieces. There’s a point where there’s a fatigue with the action, because the film feels long at 128 minutes, but it’s still worthwhile for the most part. The film doesn’t do a lot of anything new but considering Terminator: Salvation isn’t that great and Terminator: Genisys is just a mess, this is a welcome treat.

A little rinse and repeat goes a long way for this sequel that would be an appropriate send-off for the franchise because, while it’s set up for a sequel, I don’t think we necessarily need anything further from this story. We arguably didn’t need this one but I’m glad we got it – it’s just a bit of a shame this story couldn’t have been the fourth film in the franchise in the mid-2000’s when people still kind-of cared about Terminator.

Score: 70/100