Movies

Subterms

    More stories

    • 113 Shares109 Views

      in Movies

      ‘Road House’ Review: This Remake Amps Up the Action

      by

      Jake Gyllenhaal stars as a pro fighter turned bouncer at a juke joint in the Florida Keys, taking on Patrick Swayze’s role in the original.The 1989 blockbuster “Road House,” was something of a pastiche. It delivered disreputable B-picture thrills with big-picture production value. The lead actor Patrick Swayze, playing a philosophizing roughneck, smirked with unshakable confidence while breaking arms and jaws, as cars and buildings blew up real good around him. The action was served up with glossy studio polish.Hence, a remake of the film, some might argue, is destined to be a pastiche of a pastiche. But as we move further into the 21st century, we find the notion of authenticity ever more devalued. And who needs it when you’ve got Doug Liman directing the whole thing? He is, after all, the J. Robert Oppenheimer of lunatic action set pieces (“The Bourne Identity,” “Mr. & Mrs. Smith,” “Edge of Tomorrow” to name a few).Taking on Swayze’s role, Jake Gyllenhaal plays the pro fighter turned bouncer Elwood Dalton, here protecting a juke joint that sits on a valuable piece of real estate in the Florida Keys. At his most winning despite his character’s lethal nature, Gyllenhaal keeps up the one-liners and drollery. In lieu of Swayze’s Zenlike musings, he gives us dry inquiries about whether his challengers have medical insurance before pummeling and delivering them to a hospital.This movie delivers a lot of the same kicks as the first, but with contemporary tuneups like a villain played by Conor McGregor, the Ultimate Fighting Championship star who’s first seen stark naked, except for shoes and socks (so he can carry his phone). Though two hours long, the movie moves as swiftly as a greased ferret through a Habitrail and delivers hallucinatory action highs for its extended climax.All this and a pretty funny “The Third Man” reference too.Road HouseRated R for violence and language. Running time: 2 hours 1 minute. Watch on Prime Video. More

    • 125 Shares119 Views

      in Movies

      ‘West Indies’: The Slave Ship Musical You Didn’t Know Existed

      by

      “West Indies: The Fugitive Slaves of Liberty,” a 1979 African movie musical, has quietly built a devoted fan base. Now, it’s back in a restoration.It’s safe to say that the Mauritanian French director Med Hondo’s “West Indies: The Fugitive Slaves of Liberty” is a unique film. That might be the only safe thing about it.The first African movie musical, it traces nearly four centuries of French colonialism with unsparing clarity and relentless creativity, shot entirely on a replica of a slave ship built within an abandoned Citroën factory in Paris.Since its wonky release in 1979, it has quietly built a group of devoted fans, including the Oscar-winning filmmaker Barry Jenkins, who placed it at the top of his list of the greatest films of all time for Sight & Sound magazine in 2022. But a new 4K restoration and a weeklong run at Film Forum might finally land it in the wider canon.That lack of recognition has been neither accidental nor surprising. When Hondo’s feature debut, “Soleil Ô,” a docudrama about Black immigrant life, premiered at the Cannes Film Festival in 1970, it landed him at the vanguard of the still-nascent African cinema, but its subject matter made future financing difficult to secure. He raised money for “West Indies,” an adaptation of Daniel Boukman’s play “The Slavers,” through African private investors and a loan from Algeria’s public broadcasting organization; many cast members were his friends and worked without pay.“When you watch his films, which speak truth to power in a very direct, albeit extremely artful, way, you can see why this is not a filmmaker who was widely accepted by the mainstream,” said Ashley Clark, the curatorial director of the Criterion Collection, a sister company of Janus Films, which is distributing the touring restoration.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 200 Shares189 Views

      in Movies

      ‘Do Not Expect Too Much From the End of the World’ Review: A Wild Romanian Trip

      by

      In Radu Jude’s shambling, acidly funny movie set in Bucharest, a foul-mouthed gofer named Angela tours the troubled heart and soul of her country.Late in Radu Jude’s “Do Not Expect Too Much From the End of the World,” the movie shifts tones. Our heroine, a funny, foul-mouthed gofer who’s racking up miles driving in Bucharest, has just told her passenger about a road outside the city that has more memorials edging it than it has kilometers. The movie then cuts to one after another roadside memorial — some stone, others metal, some with photos, others with flowers — for an astonishing four silent minutes, and this near-unclassifiable, often comically ribald movie turns into a plaintive requiem.The woman, Angela — the sneakily charismatic Ilinca Manolache — is a production assistant toiling for a foreign company that’s making a workplace safety video in Romania. Among her tasks is interviewing men and women who have been injured on the job, the idea being that one will make a camera-friendly cautionary tale for workers. As she changes gears, and the movie switches between black-and-white film and color video, Angela flips off other drivers, acidly critiques all that she encounters, creates TikTok videos and effectively maps the geopolitical landscape of contemporary Romania. At one point, she meets the German director Uwe Boll, who’s known to have trounced a few of his critics in boxing matches.I don’t think that Jude wants to beat up critics (even if the interlude with Boll, who’s shooting a “bug-killer film,” is almost endearing); among other things, his movies tend to be well-received. Jude’s shaggy provocation “Bad Luck Banging or Loony Porn,” for instance, earned high praise as well as top honors at the Berlin Film Festival in 2021. At the same time, there’s a pushy, borderline abrasive aspect to how Jude strings out Angela’s time behind the wheel in “Do Not Expect Too Much From the End of the World,” forcing you to share in her tedium. The movie is overflowing with ideas — about history, capitalism, cinema, representation — but it also tests your patience before amply rewarding it.It’s still dark when Angela stumbles out of bed one early morning, naked and cursing. (One of her favorite expletives is featured both in the first and final words in the movie, a fitting bookending blurt that seems like a cri de coeur and one of the movie’s more unambiguously authorial statements.) Before long, she’s dressed and out in the streets, making the first in a series of TikToks in which she takes on the guise of her bald social-media avatar, a bro named Bobita, an extravagantly offensive vulgarian who brags about hanging out with his pal Andrew Tate, the online influencer and self-anointed “king of toxic masculinity.”Tate’s trajectory is lurid and gross, but the references to him are more symbolically than specifically germane to the movie. (Tate moved to Romania in 2017; he was arrested there in May 2023 on an assortment of charges, including human trafficking.) For Angela — for Jude — Tate basically functions as yet another emblem of Bobita’s grotesqueness and of a larger worldview, one that has reduced everything to its market value. Everything is part of his unending hustle, including the Maserati he brags about owning, the women he boasts about sexually conquering and, of course, himself. “Remember,” Bobita says, “like and share!” With her avatar, Angela entertains her audience with a very sharp sting.The same can be said of “Do Not Expect Too Much,” which gradually gathers shape and force as Angela motors around Bucharest. As she does, Jude cuts between her and the title heroine of “Angela Goes On,” a 1981 Romanian film directed by Lucian Bratu about a taxi driver. Produced in the waning years of the Ceausescu dictatorship, the earlier film serves as a fascinating counterpoint to Jude’s movie visually and thematically. (The opening credits announce that this movie is a “conversation” with the 1981 film.) From one angle, not much has changed, but if the roads are still jammed and people hungry, it’s now capitalism rather than communism that keeps this world busily spinning.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 100 Shares149 Views

      in Movies

      Radu Jude Brings TikTok’s Chaos to the Movies

      by

      Radu Jude’s films are messy mash-ups of art, literature, advertising and social media, with some dirty jokes thrown in.Halfway through a recent Zoom interview with Radu Jude, the acclaimed Romanian director of “Do Not Expect Too Much from the End of the World,” he offered a glimpse into his creative process. He pulled out one of the books he’s reading, an illustrated tome about commedia dell’arte. Then he shared his screen to reveal a collection of texts and images — Van Gogh still lifes, Giacometti sculptures, Japanese haikus — saved in folders on his computer. Jude stopped scrolling at a picture he took of a sign posted on an apartment building entrance.“It says ‘Please have oral sex so as not to disturb the other tenants,’” Jude explained, translating from the Romanian with a grin on his face.The autodidact Jude is not above a dirty joke. His work melds tragedy and farce, drawing promiscuously from art, literature, street ads and social media to fuel his brazen visions of Romanian history and contemporary life.Jude’s previous film, the Golden Bear-winner “Bad Luck Banging or Loony Porn,” starts out with the making of a humorously sloppy sex tape and concludes with a witch trial against one of the tape’s participants. His latest, “Do Not Expect Too Much from the End of the World,” arrives in U.S. theaters on Friday.The black comedy follows Angela (Ilinca Manolache), a film production assistant who spends most of her 16-hour workdays in her car, shuttling clients and equipment around Bucharest, Romania’s capital. One of Angela’s gigs entails interviewing former factory employees who were injured on the clock for a chance to feature in a corporate safety video. Scenes from the present-day, shot in black-and-white, are interwoven with colorful clips of another woman named Angela: a taxi driver in the 1980s also chained to a thankless job that involves navigating the streets of Bucharest.Ilinca Manolache as Angela, a film production assistant who spends most of her 16-hour workdays in her car, in “Do Not Expect Too Much from the End of the World.”4 Proof FilmWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 75 Shares149 Views

      in Movies

      ‘Riddle of Fire’ Review: Tiny Terrors

      by

      Three children embark on a mystical journey in this charming but shapeless first feature.In “Riddle of Fire,” Weston Razooli’s too-fanciful-for-words debut feature, three adventuresome children set off on a mythic quest for a speckled egg. They need the egg to bake a blueberry pie; they need the pie to unlock a television password; they need the password to play their new video game. Viewers may need the patience of Job to remain in their seats.Not that this fairy-tale western is a chore to watch, exactly. Set in Wyoming (and shot in Utah by Jake L. Mitchell, using 16-millimeter film), the movie captures a natural world of golden light and rustling grassland. As Jodie (Skyler Peters), Alice (Phoebe Ferro) and Hazel (Charlie Stover) follow a family of miscreants known as the Enchanted Blade Gang into a forest, their progress is monitored by soaring mountains and stretching skies. Enya-adjacent music and a smattering of inscrutable narration enforce the dreamlike mood, as does the gang’s matriarch, a stag-hunting taxidermist (Lio Tipton) who uses witchcraft to control her brood.Despite its ethereal vibe, “Riddle of Fire” has minor flares of violence and a central trio who curse, drink and thieve with some regularity. The young actors are winsome but inexperienced, too often forced to wrangle improbably precocious turns of phrase. Razooli wants us to see the fantastical narratives children conjure to manage real-world uncertainties, but his vision lacks focus. Indoor spaces heave with clutter, and odd religious touches — the video game is called Angel, and the gang’s truck is inscribed with the weirdly punctuated “destination; heaven” — distract the eye.Aside from a cheekily entertaining opening sequence, “Riddle of Fire” is frustratingly slack and in dire need of whittling. Had Razooli reassigned his editing duties, this unusual picture might have gained the shape and volition it so clearly requires.Riddle of FireRated PG-13 for menaced kids and mumbled dialogue. Running time: 1 hour 53 minutes. In theaters. More

    • 75 Shares159 Views

      in Movies

      ‘Limbo’ Review: Pensive in the Outback

      by

      Long on atmosphere and short on plot, this stylish Australian noir pulls through thanks to a haunted performance by Simon Baker.Those who know Simon Baker only as the sleek title character on the TV series “The Mentalist” might do a double take when they discover his Travis, a stern detective sent out to close a 20-year-old cold case in Ivan Sen’s “Limbo.” Projecting an austere, old-fashioned gravitas, the actor calmly stitches conventional markers from the Genre 101 textbook (drug habit, terseness, tattoos, broken relationships) into a whole that feels organic and lived in.Archetypes are very much on the mind of Sen, an Indigenous Australian filmmaker whose best-known movies, “Mystery Road” (2013) and “Goldstone” (2018), are often called neo-noir, though they’re equally neo-western. At its best, his work lays bare his country’s poisoned roots in striking tableaux. Here, Travis tries to figure out what happened to a First Nations girl who went missing in the titular desert mining town — the movie was shot in Coober Pedy, a surreal outpost where many facilities, including pubs and hotels, are underground, creating a feeling of simultaneous openness and claustrophobia. But the solving of the mystery takes a back seat to Travis’s relationship with the girl’s siblings, Charlie (Rob Collins) and Emma (Natasha Wanganeen), who must navigate their distrust.Sen, who also handled both the black-and-white cinematography and the editing, has a terrific eye for shot composition and sets a deliberate pace that feels implacable rather than merely slow. Tellingly, “Limbo” is more effective in building atmosphere than in plotting, but it’s hard not to want to know more about the haunted people we barely got to meet.LimboNot rated. Running time: 1 hour 48 minutes. In theaters. More

    • 50 Shares129 Views

      in Movies

      ‘Femme’ Review: Bad Lovers

      by

      In this white-knuckle thriller set in London, a drag performer seduces his attacker, an intensely closeted hustler played by George MacKay.In “Femme,” a white-knuckle erotic thriller directed by Sam H. Freeman and Ng Choon Ping, the formula of the conventional revenge plot is scrambled. The victim in the film uses his sexuality to break down his attacker, but along the way he develops a dubious affection for his foe that explores the performance of gender and its kinky connection to dynamics of dominance and submission.By night, Jules (Nathan Stewart-Jarrett) is a headlining drag performer at a queer nightclub in East London. In the beginning of the film, a few blocks from this sanctuary, he’s brutalized by a thuggish homophobe with neck tattoos.Months later, Jules heads to a gay sauna where he finds his aggressor, Preston (George MacKay), lurking in a corner. Preston doesn’t know that Jules is the same man he beat up, and the two begin regularly hooking up. Jules’s terrible secret and Preston’s short fuse give the film its underlying current of menace, while jittery, intimate camerawork homes in on the men’s wary, jaw-clenched faces, their bodies seemingly always on the verge of violence.Jules is weirdly turned on by Preston’s bullish machismo, though he plans to gain the other man’s trust long enough to shoot a sex tape. Outing the intensely closeted Preston is Jules’s intended form of revenge. Preston’s toxic-bro roommates always seem to be hovering when the men plan their trysts, so Jules has plenty of opportunities to blow Preston’s cover. Yet Jules goes through the bulk of the film in a hoodie and slacks (his straight-guy costume), per Preston’s request.On the one hand, “Femme” makes a lot of effort to humanize its homophobe, played by a stellar MacKay with the defensive swagger of an abused dog. But it’s a questionable focus when the story is ostensibly about a Black man’s rehabilitation and victory over his white abuser. Yet the film avoids a cut-and-dried triumphalism for something more slippery and, perhaps, more meaningful, too: Sometimes vengeance pales in comparison to the realization that your enemy is too small and pathetic to bother kicking around.FemmeNot rated. Running time: 1 hour 39 minutes. In theaters. More

    • 138 Shares199 Views

      in Movies

      ‘Free Time’ Review: Take This Job and Shove It. (Now What?)

      by

      Colin Burgess carries this comedy by Ryan Martin Brown about a 20-something who quits his job and finds that life without work isn’t all that thrilling.In “Free Time,” a movie written and directed by Ryan Martin Brown, it quickly becomes clear that Drew (Colin Burgess), a New Yorker in his late 20s with a steady job in data analysis, doesn’t like how his work is defining him. So one day, after querying his boss, Luke (James Webb), on his options, Drew just up and quits.“I think I’m going to go out and live life. Live life to the fullest,” Drew proclaims to his roommate Rajat (Rajat Suresh), who works from home “writing clickbait,” Rajat says, which Drew briefly considers as a new employment option.Drew spends an afternoon biking, downs four edibles before going solo bar hopping and annoys his roommate’s hostile girlfriend, Kim (the comedian known as Holmes, who’s very funny throughout) with his loud television. He is soon desperately bored and in need of another job.This may be because Drew, played with dry, middle-class-Everyman goofiness by Burgess, appears to have no interests — a cursory involvement in an unpromising music project notwithstanding — and a barely discernible inner life. He unexpectedly finds himself a guru to the unemployed before the movie winds down.Burgess carries this succinct (and arguably slight, narratively disjointed) comedy without making you want to strangle his often willfully naïve character. Which is no mean feat, especially in the scene in which he obliviously squanders an erotic opportunity that almost literally drops into his lap.Free TimeNot rated. Running time: 1 hour 18 minutes. In theaters. More