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grigori77 · 11 months ago

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2023 in Movies - My Top 30 Fave Movies (Part 1)

30. SICK – the year’s first real horror cinema surprise was also one of its VERY FIRST standouts period, a brilliant little streaming sleeper from Peacock which snuck in under the radar but EFFORTLESSLY captured my attention AND the darker parts of my imagination. Best of all, though, it was SO COOL to see legendary revisionist horror screenwriter Kevin Williamson return to the “big screen” again after spending so long plying his trade on TV – I was VERY MUCH the target audience for Scream when it came out, I just ATE UP his delicious post-modern deconstruction of the slasher genre and its subsequent follow-ups (although Robert Rodriguez’ The Faculty, his fantastic take on alien invasion movie tropes, remains my very favourite of Willaimson’s creations to date), even if it did lead to a fresh sub-genre which, paradoxically, became increasingly tired and toothless as the years progressed. In the end, I think it’s probably A GOOD THING he took a step back – he just needed a chance to rethink things and find a fresh angle to come at the genre … and BY THE GODS has he ever found one with THIS. Interestingly, for Williamson at least, the Pandemic couldn’t have come along at a better time, giving him fertile ground indeed in which to grow a particularly potent darkly comic slasher which EASILY lives up to his masterworks. Taking place in the early days of the original outbreak, when the first Lockdown was just starting, infection alerts and self-isolation were only just becoming a major thing and everybody was PANICKING over how much they really DIDN’T yet know about what was REALLY going on, the setting was already ripe for some pretty intense, chaotic storytelling … so adding a brutal serial killer with a penchant for killing off the idiots who flagrantly flaunted the COVID safety restrictions and purposefully went out of their way to pretend things were the same as normal was a slick move. The main bulk of the narrative revolves around three college kids in some nondescript part of the US – Parker (Blockers and The Society’s Gideon Adlon), a well-off party girl who’s looking to make some major changes in her life, and her best friend Miri (up-and coming R&B artist Beth Million), who go to Parker’s family’s expansive country home to quarantine in comfort, and Parker’s newly-EX boyfriend DJ (Man of Steel and Teen Wolf’s Dylan Sprayberry), who turns up ostensibly to try and patch things up between them but may simply have come for an opportunistic hook-up – who are targeted by a killer who subsequently hunts them during a night of fraught tension, smartly staged stalk-and-slash set-pieces and a hefty dose of Williamson’s characteristic jet black-but-enjoyably geeky sense of humour, which is this time pitched to a particularly sharp edge of biting finger-on-the-pulse satire given the rich socio-political real-life material he’s able to mine here. The small but extremely potent cast are all BRILLIANT, although the film really is DOMINATED by Adlon, who once again shows that she’s destined for GREAT THINGS INDEED in the future with a brilliant turn that runs an impressive gamut from irresponsibly entitled brat to vitally determined survivor once circumstances have fully driven her to take proper responsibility for her childish behaviour, making for a compellingly sympathetic young heroine we find easy enough to root for. It probably helps the man behind the camera is John Hyams (All Square, Alone), son of legendary genre-hopping director Peter Hyams, who shows he’s definitely inherited his dad’s impressive skill by crafting a lean, tight and precise slice of thrilling cinema which takes full advantage of a tight budget and (mostly) a single location, which results in a brilliant little comedy horror gem that I’d heartily recommend folk hunt down on streaming, or at the very least keep in mind for Halloween …

29. HOW TO BLOW UP A PIPELINE – it’s always nice when a sharp little indie banger sneaks in under the radar to place on one of my lists for the year, and this impressive critically acclaimed underdog thriller definitely shaped up as one of the year’s most memorable examples. It’s a very low-fi, gritty down-and-dirty procedural slice-of-life thriller about a motley collection of eco-terrorists banding together to sabotage an oil pipeline in West Texas, focusing almost entirely on this core group of disillusioned youths played by eight uniformly EXCEPTIONAL actors each handing in genuine (ahem) dynamite performances. Ariele Barer (Marvel’s Runaways), The Revenant’s Forrest Goodluck, American Honey’s Sasha Lane and Marcus Scribner (probably best known as the voice of She-Ra & the Princesses of Power’s Bow) are the undeniable stand-outs here, but all of these kids are ON FIRE throughout, showing they’ve got truly BRIGHT futures ahead of them indeed, while Irene Bedard (Smoke Signals) also impresses in a supporting turn as Joanna, an FBI agent who may be onto their plans … the film bounces between the varying points of view amongst the characters, gradually unveiling their motivations to commit a morally complex terrorist act through a series of scattered flashbacks punctuating the planning, execution and aftermath of the bombing itself, with writer-director Daniel Goldhaber (Cam, here co-adapting Andreas Maim’s incendiary non-fiction novel with Ariele Barer herself and Cam’s co-writer Jordan Sjol) weaving a suitably taut and atmospheric slowburn path throughout the flawlessly executed narrative, the film brilliantly building its wire-taut tension to a rewardingly cathartic climax which is as provocative as the challenging subject matter. This is a film that asks some VERY BIG QUESTIONS and delivers some suitably complicated and rightfully TROUBLING answers, a razor sharp piece of indie cinema which definitely deserves the critical acclaim and cult hit status it’s earned …

28. COCAINE BEAR – gods, if EVER there was a true story that seemed TAILOR MADE for cinema, it’s the bizarre tale of Cokey the Bear, AKA Pablo Eskobear, an American black bear that died after ingesting 34 keys of cocaine that were dumped out of a smuggler’s cargo plane over the Tennessee wilderness in 1985. That being said, it’s not a huge surprise it’s taken Hollywood SO LONG to actually get it made, perhaps it’s just TOO CRAZY a concept for it to have been made before now. Ultimately, the film takes A LOT of liberties with the truth to instead craft an entertaining story, but in the end that’s definitely the smart move, simply using the concept as a springboard to craft a gloriously batshit horror comedy with a JET BLACK sense of humour populated by an offbeat collection of quirky characters. Keri Russell stars as Sari, a nurse and single mother who has to brave the woods in order to find her young daughter Dee Dee (The Florida Project’s Brooklyn Prince), who’s playing hooky in the Chattahoochee-Oconee National Forest with her best friend Henry (Sweet Tooth’s Christian Convery) right when Cokey goes on her drug-fuelled homicidal rampage; meanwhile, recently bereaved widower Eddie (Solo’s Alden Ehrenreich) and his best friend Daveed (Straight Outta Compton’s O’Shea Jackson Jr.) are two drug cartel enforcers reluctantly scouring the area in search of their lost product at the behest of Eddie’s overbearing St Louis drug kingpin father Syd White (the late, great Ray Liotta, to whom the film is dedicated); and then there’s hapless but dogged Knoxville detective Bob (the venerable Isaiah Whitlock Jr.), who knows he can bust White if he can just get his hands on the evidence. All three parties converge in the park while the bear wreaks merry havoc in Elizabeth Banks’ third film as a director (after Pitch Perfect 2 and the CRIMINALLY mistreated and overlooked Charlie’s Angels reboot), which looks like it might FINALLY get people to start taking her serious BEHIND the camera as well as IN FRONT of it – this is a proper laugh-riot of a film which is also delightfully non-PC, and it’s liberally peppered with impressively blood-soaked effects to thrill the gore-hounds as well as an impressively well-realised digital animal character in the eponymous drug-addled beastie. The cast are brilliant too, Russell and Ehrenreich both particularly impressing in their respective nominal lead roles while the kids are EXCEPTIONAL (particularly Convery, getting to gleefully overact as one of the most hyperactive-yet-not-irritating kids I’ve ever seen on screen), and it’s both enriching and a little heartbreaking to watch Liotta once again act his socks off in one of his very last film roles; that being said, several of the scenes are thoroughly STOLEN by the irrepressible Margo Martindale, who’s clearly having the time of her life in one of her most gloriously OTT roles as foul-mouthed, much put-upon park Ranger Liz. Ultimately this is a horror comedy where the balance is definitely tipped very much in favour of the laughs over the scares, but that’s fine, because with a concept this batshit bonkers we were always gonna find it too funny to ever be remotely scary, so the end result is one of THE FUNNIEST MOVIES I ran across in the cinema all year, rightfully revelling in its own inherent irreverence. It’s just about the most fun you could ever expect it to be, which is just what you want from a movie about a cocaine bear, really …

27. THE FLASH – oh boy … yeah, this one is gonna be a COMPLICATED talk. This was one TROUBLED project from day one, from the major shake-ups surrounding the Joss Whedon-compromised Justice League film and the subsequent mess THAT unleashed, through the whole conflicting debate over Zack Snyder’s original vision for the DCEU, and then the eventual collapse of the Cinematic Universe itself, this film, originally entitled Flashpoint (which personally I like A WHOLE LOT more, actually, since it really does pay DIRECT reference to the actually storyline they went with) went through a whole collection of incarnations and reiterations and, for a while, it was starting to look like we might NEVER see it hit our cinema screens at all … and that’s without even mentioning star Ezra Miller’s ongoing legal troubles and essential CANCELLING after their continued outrageous, unacceptable off-set behaviour, which looked set to torpedo the film all on its own. Honestly, I have to admit I was MYSELF a little wary going in, not because of these particular problems but more just the prospect of what I would actually do if, in spite of all this, I actually still LIKED IT … unfortunately for me, that was VERY MUCH the case, which is why we’re here in the first place.

But I must forge on, and so I’m gonna just take this film on ITS OWN face value and ignore the external problems … at least until THE END of the review … because The Flash is, actually, pretty fucking GREAT. Barry Allen (Miller) is finally coming into his own as a fully-fledged member of the Justic League, even if this does frequently mean he’s essentially cleaning up the extreme messes left behind when Batman/Bruce Wayne (Ben Affleck) gets involved in particularly BIG potential world-shattering events, as brilliantly illustrated in the film’s suitably SPECTACULAR opening set-piece, which does a BEAUTIFUL job of not only letting us know EXACTLY what this incarnation of the Flash is actually capable of, but also revealing Barry’s own distinctly unique, offbeat and, frankly, really rather ADORABLE personal style of superheroism. Then the plot itself kicks off when Barry’s father Henry (Ron Livingstone), serving life in prison for the wrongfully-convicted murder of Barry’s mother Nora (Pan’s Labyrinth’s wonderful Maribel Verdu), sees his latest (and, it looks like, FINAL) appeal fall flat due to a crucial new piece of evidence turning out to be useless, and Barry decides he's had enough of ignoring a particularly potent aspect of his superpowers –

the ability to run SO FAST that he can actually GO BACK IN TIME!!! So he races back to the day of his mother’s death and tweaks circumstances so that she survives, only for Barry to then get punted off track before he can return to the present by an unknown entity within “the Speedforce” which then lands him in 2013, just days before Earth’s invasion by the hostile Kryptonian forces of General Zod (Michael Shannon), as seen in Man of Steel. Still with us so far? Yeah, well it gets EVEN MORE complicated, cuz it turns out that, while his mum is now STILL ALIVE, Barry hasn’t got his powers in this universe, which means that he has to reform the Justice League himself in THIS timeline in order to defeat Zod. Except that there are FAR MORE consequences to messing with time than Barry ever took into account set to make things all but insurmountably complicated for him to succeed … beyond this we’re getting into DANGEROUS spoiler territory, beyond the fact that these new developments give rise to whole fresh and very complicated ideas of alternative universes somewhat akin to what the MCU’s already started experimenting with (which is also, actually, something that the DC comics universe does ALL THE BLOODY TIME), which gives rise to whole new incarnations of beloved characters from the established DCEU, some of which HAVE already been revealed in the trailers and beyond, but others not so much, so … yeah, anyway, it’s a glorious MESS of a narrative, but somehow this film does a REALLY IMPRESSIVE job of navigating this jumble in an impressively coherent and breezy way that ultimately makes this a whole lot of fun to watch, actually. Of course, the lion’s share of the praise for this HAS TO go to screenwriter Christina Hodson (Birds of Prey & the Fantabulous Emancipation of One Harley Quinn) for wrangling the UNHOLY MESS of development done for the previous incarnations into an actual WORKING script, which was then brought to life with suitably brave and adventurous SKILL by director Andy Muschietti (Mama and It Chapter One and Two), but the uniformly EXCEPTIONAL cast shoulder a good deal of that responsibility too –

Miller may be problematic in real life, but there can be no denying that he is FUCKING BRILLIANT in his signature role, crafting a hyperactive, ultra-awkward social misfit of a superhero that us various underdog kids just can’t help rooting for, while it is a MASSIVE pleasure to get to see MY PERSONAL FAVOURITE Batman return as this AU’s altered version of Bruce Wayne, the legendary Michael Keaton himself again proving why he really is THE VERY BEST VERSION of the character out there (and I will accept NO ARGUMENT AT ALL about that, I swear you can all FIGHT ME on this particular hill upon which I am determined to DIE if I must), and Livingstone and Verdu bring an IMMENSE amount of pathos to their characters throughout which makes it ABUNDANTLY CLEAR why Barry tries SO HARD to save them both, and it’s also great fun getting to see Michael Shannon back as the Big Bad here again, I always really liked this spectacular scenery-chewing version of Zod. For me, though, the biggest win here has to be The Young & the Restless’ Sasha Calle, making her big screen debut as the most impressive and DCEU-consistent incarnation of Kara Zor-El, aka SUPERGIRL, that we could ever have hoped for, she’s a truly AWESOME creation, EASILY as badass as Henry Cavill’s Supes but also a good deal more complex as a character too. Ultimately it’s a shame that circumstances mean that we likely won’t get to see more of her in future projects, much like Keaton’s returning Batman, as they’re definitely the unexpected heart and soul of the film, easily delivering in the most impressively iconic set-pieces and memorable character beats. Indeed, this is SO BLOODY BRILLIANT all round as a film – from its spectacular action sequences, through its frequent gleefully anarchic screwball humour, to a variety of impressive jaw-dropping game-changer twists in the narrative – that the fact that the DCEU itself is officially over and all of this means PRECISELY ZERO in the face of where it’s all going in James Gunn’s incoming Cinematic Universe reboot makes this feel all the more ultimately pointless, which lends any viewing a bittersweet aftertaste no matter HOW enjoyable it all is. I mean granted, it’s NOT perfect (there is, famously, some pretty clunky CGI that ALMOST takes you out of the experience, especially in the climactic sequence when we see the timelines start to collide), but then very few of the DCEU movies HAVE BEEN anyway, and this one still works just fine for what it is. So it may not have any actual VALUE for the series moving forward, but it’s still a really great movie that MORE THAN deserves to be seen for its own merits, and I highly recommend you give it a chance anyway. At least Gunn and co have seen the sense to keep Muschietti onboard for their reboot (namely helming the new DCU’s Batman reboot The Brave & the Bold), and if they’ve any more sense they’ll bring Christina Hodson back for more too …

26. THE EQUALIZER 3 – Director Antoine Fuqua and Denzel Washington have had a long and extremely fruitful working relationship, from their earliest collaboration on his best-known film, Training Day (which finally landed Washington his long-overdue best actor Oscar, although many of us agree that it SHOULD have gone to him a few years prior for The Hurricane), through the EXTREMELY impressive remake of the classic western The Magnificent Seven, to their most lucrative and long-running collab to date, a series of feature adaptations of a cult classic TV thriller show from the 80s which has now reached its THIRD instalment and STILL seems to be running at full steam with no sign of flagging. Indeed, this just might be THE BEST ONE YET … Washington once again effortlessly delivers a coolly sophisticated, often understated but still typically deeply nuanced turn as Robert McCall, the former special-forces soldier turned SOCOM operative who reemerged from self-imposed faked-death-retirement in the first film in order to deliver bloody retribution for the brutal assault of a young girl, only to subsequently find a new calling as a freelance guardian angel for the weak and powerless who have nowhere else to turn with a dangerous problem. This time round his antiheroic adventures has brought him to Italy, where the ill-fated end of his latest operation sees him near death from a bullet in his back, being nursed back to health in the remote coastal town of Altamonte. It’s here that he finally finds that true peace that’s so long eluded him as he recovers from his injuries, but he finds himself ultimately dragged back into the fray when a

Camorra crime outfit from Naples, looking to expand their operation to new territories, starts trying to exploit the townsfolk that Robert has grown so close to beyond their breaking point … ultimately this is a more slowburn, understated affair than the previous two films, but that actually proves to be this instalment’s greatest strength, allowing us to get closer to our Equalizer than ever before, as well as the people he’s driven to help, which makes this BY FAR the most emotionally investing film in the trilogy, and makes us root for Robert like never before as we wait for him to FINALLY bring the pain to these Mafioso thugs. That dam-break, when they finally come, is as viscerally intense as we’ve come to expect from the series, but thanks to the additional groundwork this time round the kills and cathartic payback delivered feel more satisfyingly substantial, while the film’s greatest pleasures ultimately lie more in the anticipation as Fuqua cranks the tension tighter and we edge further forward in our seats. Once again, the supporting cast all shine through, with Andrea Scarduzio (Colour On the Cross) giving great bad guy as subtly reptilian Mob boss Vincent Quaranta, ably backed up by Andrea Dodero (Thou Shalt Not Hate) as Vincent’s vicious, jumped up thug of a little brother Marco, while Gaia Scodellaro (CentroVetrine) and Eugenio Mastrandeo (From Scratch) deftly show us what’s so worth fighting for in this town as effervescently friendly local café owner Aminah and Altamonte’s principled but pragmatically fair sole Carabinieri Gio Bonucci; the biggest standout, however, is Dakota Fanning as Emma Collins, the smart and dogged FBI agent who ends up tracking Robert down following his involvement in the opening showdown and uncovers a whole nest of previous overlooked criminal chaos. At the end of the day though, this is ONCE AGAIN every inch Washington’s film, the erstwhile star clearly enjoying himself immensely in one of the best and most iconic

roles of his career, although this third instalment looks like it might be the last Equalizer with him in the lead since it becomes abundantly clear that it’s looking to wind things up for Robet’s final adventure in a suitably satisfying way. That being said, there’s definitely room, interest and clear demand for more from both the fanbase AND the creatives here, with the pervading theory being that we may be going back to the early days of McCall’s time with the CIA, in which case the obvious choice moving forward would be to let John David Washington step into his dad’s shoes as young Robert. In truth it’s the only smart choice …

25. ANT-MAN & THE WASP: QUANTUMANIA – coming off the back of 2022’s decidedly hit-and-miss big screen slate for Disney and Marvel’s current flagship property, the Marvel Cinematic Universe, THIS past year’s first MCU release had A LOT of eyes on it. Gods know, I definitely had TWO OF ‘EM … and it probably wasn’t the best title to be laying all this weight on, either – the Ant-Man movies in particular have always been a bit of a marmite property within the larger universe, with as many detractors as fans, which definitely didn’t help things here. If this turned out to be third time unlucky for Paul Rudd’s Scott Lang and the rest, it could spell much larger disaster for the MCU overall, or at the very least signify that the cracks are definitely growing beyond the studios’ capacity to patch ‘em up on the run. So I’ll admit, I went into this one with a whole lot of trepidation … was it unwarranted? Well, being completely honest … not ENTIRELY. Tried-and-tested comedy director Peyton Reed’s Ant-Man films have always been a pretty mad collection anyway, as much a full-blown comedy sub-franchise as the Guardians of the Galaxy movies or Thor under Taika Waititi, but even so they still managed to keep ONE FOOT on the ground even while the rest was set EXTENSIVELY in the Quantum Realm, but this one has somewhat jumped the shark. Granted, part of this film’s particular OTT outlandishness and unabashed WACKINESS is down to narrative necessity – giving too much away plot-wise unfortunately runs the risk of dropping some MASSIVE spoilers, but it’s at least safe to say that the lion’s share of the story takes place ENTIRELY in the Quantum Realm this time, and it’s a place which is A WHOLE LOT DIFFERENT from anything we might have imagined from our very brief visits in Ant-Man & the Wasp and Avengers: Endgame. For a start, it’s A WHOLE LOT BIGGER than we thought it was, and MUCH more heavily populated by some truly WEIRD SHIT … the film also has some major heavy-lifting to do with regards to setting up the Big Bad for Phase 5 and 6 both �� Kang the Conqueror (The Last Black Man In San Francisco and Creed III’s Jonathan Majors), a Multiverse-based Thanos level threat we first encountered (sort of) in 2021’s runaway hit first season of Loki. This at least is one of the areas in which the movie definitely SUCCEEDED – ultimately problematic as he may have become since the film’s release, Majors at least did a commendable job of establishing one of the franchise’s most interesting and effective supervillains, a near God Tier Bad Guy who’s clearly gonna give the whole Avengers roster a run for their money when they finally come face to face with him (in whatever recast form he ultimately takes). The plot, such as it is, is pure scrambled bananas, a heavyweight mindfuck it’s best to just DISENGAGE the brain to go with in order to get proper enjoyment

out of – this is definitely a cinematic GUILTY PLEASURE, and trying to take it even remotely seriously immediately draws the eye to a thousand gaping plot-holes and glaring narrative stumbles. At least the patented stunning, primary coloured visuals, winning sense of humour and cavalcade of delightfully wacky set-pieces (the clone-spawning “probability explosion” sequence is a particularly overblown, super-trippy highlight with an unexpected tear-jerk factor built in) are all fully functional and behaving correctly, and the thoroughly endearing cast all deliver admirably with nary an off-note hint of miscasting – Rudd and Evangeline Lilly (returning as Hope van Dyne AKA the titular Wasp) are both still pitch perfect, while it’s nice to see Michael Douglas and PARTICULARLY Michelle Pfeiffer getting to do a whole lot more this time round as Hank Pym and Janet van Dyne, and the glaring Michael Pena-shaped hole is ALMOST filled by a few other quality comedic turns from the likes of deadpan laugh-MASTER Bill Murray and David Dastmalchian (here returning in a VERY interesting but also very DIFFERENT role to what we’ve seen from him here before), as well as a surprise returning face (ahem) from this trilogy’s past. Meanwhile, alongside Majors there are other similarly noteworthy series newcomers who make BIG IMPRESSIONS, from Z Nation and The Mandalorian’s Katy O’Brien (who’s been a growing favourite of mine for a little while now), who’s a completely EPIC badass I wanna see A LOT more of in the future as hard-nosed Quantum freedom fighter Jentorra, to Kathryn Newton (Supernatural, Freaky), making the role of Scott’s now (pretty much) full-grown daughter Cassie ENTIRELY her own, and she’s clearly got a MAJOR future ahead of her in the MCU herself now she’s started carving out her own super-powered secret identity (roll on Young Avengers, I say!). The movie may be another flawed, somewhat unwieldy and occasionally downright CLUNKY beast, but the franchise is still managing to stand up where it counts, and compared to the likes of Thor: Love & Thunder and Black Panther: Wakanda Forever it definitely holds up a good deal better in its own right. Most of all, though, it’s A WHOLE LOT of pure, unadulterated FUN, which is ultimately exactly what you want from a big primary-coloured superhero blockbuster. In the end, it still remains to be seen if the MCU can be clawed back from the brink it’s still teetering perilously on the edge of, but despite all that’s still wrong with it, this is at least a VERY SMALL step back in the right direction …

24. THE PALE BLUE EYE – largely sneaking in under the radar on Netflix to start the New Year off, the latest offering from highly acclaimed indie writer-director Scott Cooper (Crazy Heart, Black Mass, Antlers) is, much as we’d likely expect from such a consistently varied, genre-hopping filmmaker, a strange, unique and deeply intriguing beast of a film. Adapted from Louis Bayard’s well-received speculative fiction novel about a young Edgar Allan Poe aiding the investigation of a bafflingly macabre murder in the US Military Academy at West Point in the early 1830s. Christian Bale returns with typical stoic, intense and magnificently brooding megawatt presence for his THIRD leading man tour of duty for Cooper (after Out of the Furnace and Hostiles) as Augustus Landor, a former West Point graduate-turned misanthropic former detective brought in to lead the investigation into the brutal hanging and evisceration (with additional heart-removal) of a young cadet that’s baffling the faculty and local police, which is soon compounded when additional bodies start piling up. He’s aided in his endeavours by another cadet, the young Poe himself (played to PERFECTION by Harry Potter’s own Harry Melling, continuing his meteoric and deeply impressive rise to prominence with another TOUR-DE-FORCE performance here), while the clues lead to a variety of deeply troubling twists and revelations as well as an intriguing collection of suitably odd and often highly charismatic characters played by the sterling likes of Lucy Boynton, Toby Jones, Simon McBurney and a fascinatingly unusual turn from Robert Duvall, although the real standout here is a truly MAGNIFICENT career-best performance from Gillian Anderson. Cooper piles on the story’s doom-laden gothic atmosphere to great effect throughout while cranking up the slowburn and deeply uncomfortable suspenseful tension throughout, while the plot is nothing short of MACHIAVELLIAN in its levels of ingenious labyrinthine intelligence, dropping an ultimate denouement that you really have to be paying SERIOUS ATTENTION to see coming, and the production design, costumes, period detail and, most of all, the thoroughly MOODY bleak-midwinter cinematography make for a freezing cold but thoroughly rewarding feast for the eyes for the most discerning film-fanatic. Altogether Cooper’s delivered another winner, and I hope he continues to make films this good well into the future.

23. DOOR MOUSE – Avan Jogia may be best known as an actor in fare like Caprica, Zombieland: Double Tap and Resident Evil: Welcome to Raccoon City, but his debut feature as a writer-director definitely shows he’s got a lot of potential as a genuine filmmaking talent moving forward. This is an edgy, offbeat and enjoyably quirky little indie oddity that CLEARLY doesn’t care to play by anyone’s conventional rules, telling its unapologetically DARK and dirty little story the way IT WANTS TO without ever trying to spell its message out for the viewer. Riverdale’s Hayley Law is, as ever, simply MESMERISING as Mouse, a tough, hard-bitten burlesque dancer looking to make a better life for herself as a comic book creator, only for fate to throw a wrench in the works for her when girls at her club start disappearing under mysterious circumstances. Her resulting investigation leads to the shocking realisation that they’re being kidnapped into a life of sexual slavery, and it looks like she’s going to have to make a bold and very dangerous choice in order to effect a rescue … as always, Law simply OWNS the screen, powering the story along with equal parts guarded bravado and well-hidden wounded vulnerability, and she’s ably supported by the likes of Keith Powers (Straight Outta Compton) as Mouse’s best friend Ugly, the club’s unassuming but VERY capable bouncer, the great Famke Janssen as Mama, the club’s owner and Mouse’s laconic mother figure, and Jogia himself as her ex-boyfriend, local drug-dealing hood Mooney. The plot twists and turns with suitably pulpy skill while Mouse’s comic book bleeds into the narrative through striking imagery and quirky little animated episodes, while the film tackles big, dark themes with an unflinching eye and refuses to deliver easy answers, particularly in the cathartic but suitably JET BLACK ending. This is a hell of a debut for a promising new filmmaking talent, then, and I’d LOVE to spend some more time with Mouse herself if Jogia and Law are willing …

22. SHAZAM: FURY OF THE GODS – it’s interesting that, at least on here, the DC Cinematic Universe (AKA the DCEU) has managed to stand up so well this past year, especially given the recent MAJOR upheavals that have rocked the franchise as a whole. Not least because said Universe is essentially about to get hit with a Hard Reset under the guidance of new DC Studios CEO James Gunn, so none of this even MATTERS any more going forward … certainly this fact has NOT been lost on cinemagoers, who were already starting to pull away when Black Adam came out in late 2022 and subsequently seemed content to STAY away IN DROVES for this one, likely waiting to give it a go in the privacy and safety of their own homes once it hit streaming. In a way this sounded a pre-emptive death knell for the DCEU which I was genuinely sceptical about it recovering from … which is a shame, because 2019’s Shazam! was one of the franchise’s BEST FEATURES, a gleefully anarchic post-modern deconstruction of the overblown superhero antics the franchise largely glorified before while never taking itself particularly seriously but simply playing itself with just the right amount of knowing wink-and-nod. Even more of a shame, then, that this follow-up has proven to be SUCH a performance TURKEY, because it’s JUST AS GOOD as the first one, taking all the lessons learned from the first movie to heart and delivering more of everything that really WORKED once again while trying something new and fresh to expand on this little corner of the Universe with impressive aplomb and consummate skill.

Returning director David F. Sandberg (Lights Out) once again delivers in HIGH STYLE and customary spooky flair as he and returning screenwriter Henry Gayden (Earth To Echo, There’s Someone In Your House), along with Fast & Furious franchise lynchpin scribe Chris Morgan, expand on the adventures of coming-of-age young hero Billy Batson (Andi Mack’s Asher Angel) and his (still unnamed) superpowered alter ego (Zachary Levi), alongside his now similarly gifted teenaged foster siblings, as the Daughters of Atlas – Hespera (Helen Mirren), Kalypso (Lucy Liu) and Anthea (Rachel Zegler), a trio of immensely powerful but (somewhat) morally dubious classical Greek goddesses – come to claim their powers for their own in order to rejuvenate the Tree of Life and punish Mankind for its wickedness. The usual existential high stakes, then. Angel and Levi are, once again, ON FIRE here, the former star of Chuck in particular once again proving what an undisputable comedic MASTER he is while they both deliver MAGNIFICENTLY in the dramatic moments too, while their returning co-stars and sterling veteran support are once again just as great as before, It’s Jack Dylan Grazer particularly getting to really SHINE this time round in a particularly WEIGHTY role that nonetheless once again manages to utilise his own impressive comedic talents to full effect too, while it’s also GREAT to see This Is Us’ Faith Herman get a much more expanded role this time round as the irrepressible Darla; Djimon Hounsou, meanwhile, also gets a lot more to do as he returns as the enjoyably crabby and pompous Wizard Shazam, who’s none too happy with Billy for breaking the staff last time round and setting this all off in the first place. The Daughters, meanwhile, are FANTASTIC antagonists, Liu and Mirren clearly enjoying the opportunity to be flamboyant, majestic and over-the-top in proper Shakespearean

style, while Zegler invests “Anne” with a good deal more moral fibre and complexity as the most sympathetic (and ultimately conflicted) of the trio. Sandberg and co again deliver IN SPADES on the action, atmospherics, gorgeously exotic design and sheer creativity which made the first movie such an unexpected treat, while also delivering more of that winning, sometimes downright SCREWBALL BONKERS humour to keep it entertaining and let you know that, just like its predecessor, this film knows FULL WELL how ridiculous it is and is fully prepared to just OWN IT. The end result is, ultimately, one of the best of the closing slate of DCEU films, which just makes it even sadder to think that they probably won’t continue the story once the franchise reboots.

21. GODZILLA MINUS ONE – as much as I LOVE the new efforts of Warner Bros’ impressively robust Monsterverse Expanded Universe to bring the greatest big screen kaiju of them all to life, I am not even REMOTELY surprised that it took a Japanese writer-director to truly get right down to the heart of the character with what feels like the truest, most respectful and, quite simply, VERY BEST big screen reworking of the classic original to date. Mostly I just count myself lucky I was able to find a showing at my local cinema that I could actually get to – this is definitely one of those features that really does DESERVE to be seen on the BIG screen. Writer-director Takashi Yamazaki certainly has an impressive track record, having helmed the likes of Space Battleship Yamato, The Great War of Archimedes and Lupin III: The First, but even so, this came somewhat out of the blue to not only become a MASSIVE, runaway hit in Japan but also in foreign markets, particularly blowing away western audiences who are universally praising it as one of THE greatest movies of this decade so far. All right … from a purely critical point of view, I may not quite think THAT about this, but this IS an EXTREMELY GOOD FILM, Yamazaki guiding an impressively game cast and clearly deeply committed crew to create a work of rare emotional power and uplifting intensity that tells a breathless tale of the unbreakable power of the human spirit even in the face of HORRIFIC cataclysmic events … a theme which has, of course, remained close to the hearts of the Japanese ever since Hiroshima and Nagasaki, which famously directly informed Ishiro Honda’s beloved original. This time round, Godzilla is a pure, monstrous and thoroughly TERRIFYING force of nature throughout the film, a devastating and unstoppable mutated aberration created by the fallout of America’s H-bombs, which is unleashing unfathomable chaos across post-World War II Japan, leading a band of desperate civilians to take matters into their own hands and attempt a desperate stand to stop the horror before all is lost. Ryunosuke Kamiki (probably best known for his years of work as one of Studio Ghibli’s key voice actors) proves a compellingly fallible hero as deeply traumatised failed kamikaze pilot Koichi Shikishima, who finds himself battling internal demons even worse than the monster he’s up against in the real world, ably supported by Minami Hanabe (The Great War of Archimedes) as Noriko, the spirited young adoptive mother that Koichi takes in after returning from the war and forms a tight bond with, Hidetaka Yoshiaki (Always: Sunset On Third Street) as Professor Kenji Noda, the former Naval weapons engineer who becomes Koichi’s mentor, and Munetaka Aoki (Rurouni Kenshin) as Sosaku Tachibana, a former Naval fighter mechanic suffering from his own deep-seated traumas after the War. This is an interesting departure from the classic Kaiju cinema recipe, because while the Big G is definitely a powerful and potent threat that casts a very BIG shadow over events here, Minus One is ultimately less of a monster movie than a movie with a monster IN IT, Yamazaki preferring to focus on the human story and concentrate our attention on the horrors these people have to endure at the unfathomably massive claws of this terrible creature, certainly physical but predominantly mental and emotional. That’s not to say it ain’t suitably potent in the action stakes, EASILY delivering some suitably THRILLING set-pieces while the creature himself and the chaos he unleashes is portrayed with impressively executed visual effects flair … it’s just that, ultimately, this is a film which is much more of a triumph of GREAT WRITING, peerless direction and awards-worthy performances from an astonishing cast. In other words, it’s just a really GREAT FILM, period. Which makes this something TRULY SPECIAL after all, I guess …

#2023 in movies #sick #sick movie #how to blow up a pipeline #cocaine bear #the flash #the equalizer 3 #ant man and the wasp quantumania #the pale blue eye #door mouse #door mouse movie #shazam fury of the gods #godzilla minus one

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grigori77 · 2 years ago

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Movies of 2023 - My Pre-Summer Rundown (Part 2)

The Top Ten:

10. SICK – Ultimately the year’s biggest horror cinema SURPRISE (so far, anyway) was also one of the year’s VERY FIRST standouts period, a brilliant little streaming sleeper from Peacock which snuck in under the radar but EFFORTLESSLY captured my attention AND the darker parts of my imagination. Best of all, though, it was SO COOL to see legendary revisionist horror screenwriter Kevin Williamson return to the “big screen” again after spending so long plying his trade on TV – I was VERY MUCH the target audience for Scream when it came out, I just ATE UP his delicious post-modern deconstruction of the slasher genre and its subsequent follow-ups (although Robert Rodriguez’ The Faculty, his fantastic take on alien invasion movie tropes, remains my very favourite of his offerings to date), even if it did lead to a fresh sub-genre which, paradoxically, became increasingly tired and toothless as the years progressed. In the end, I think it’s probably A GOOD THING he took a step back – he just needed a chance to rethink things and find a fresh angle to come at the genre … and BY THE GODS has he ever found one with THIS. Interestingly, for Williamson at least, the Pandemic couldn’t have come along at a better time, giving him fertile ground indeed in which to grow a particularly potent darkly comic slasher horror thriller which EASILY lives up to his masterworks. Taking place in the early days of the original outbreak, when the first Lockdown was just starting, infection alerts and self-isolation were becoming a major thing and everybody was PANICKING over how much they really DIDN’T yet know about what was REALLY going on, the setting was already ripe for some pretty intense, chaotic storytelling … so adding a brutal serial killer with a penchant for killing off the idiots who flagrantly flaunted the COVID safety restrictions and purposefully went out of their way to pretend things were the same as normal was a damn slick move. The main bulk of the narrative revolves around three college kids in some nondescript part of the US – Parker (Blockers and The Society’s Gideon Adlon), a well-off party girl who’s looking to make some major changes in her life, and her best friend Miri (up-and coming R&B artist Beth Million), who go to Parker’s family’s expansive country home to quarantine in comfort, and Parker’s newly-EX boyfriend DJ (Man of Steel and Teen Wolf’s Dylan Sprayberry), who turns up ostensibly to try and patch things up between them but may simply have come for a lucky hook-up – who are targeted by the killer who subsequently hunts them during a night of fraught tension, smartly staged stalk-and-slash set-pieces and a hefty dose of Williamson’s characteristic jet black-but-enjoyably geeky sense of humour, which is this time pitched to a particularly sharp edge of biting finger-on-the-pulse satire given the rich socio-political real-life material he’s able to mine here. The small but extremely potent cast are all BRILLIANT, although the film really is DOMINATED by Adlon, who once again shows that she’s destined for GREAT THINGS INDEED in the future with a brilliant turn that runs an impressive gamut from irresponsibly entitled to vitally determined survivor once circumstances have fully driven her to take proper responsibility for all her childish behaviour, making for a compellingly sympathetic young heroine we find easy to start rooting for. It probably helps the man behind the camera is John Hyams (All Square, Alone), son of legendary genre-hopping director Peter Hyams, who shows he’s definitely inherited his dad’s impressive skill by crafting a lean, tight and precise slice of horror cinema which takes full advantage of a tight budget and (mostly) a single location, which means the end result is a brilliant little comedy horror gem that I’d heartily recommend folk hunt down on streaming, or at the very least keep in mind for Halloween …

9. COCAINE BEAR – gods, if EVER there was a true story that seemed TAILOR MADE for cinema, it’s the bizarre tale of Cokey the Bear, AKA Pablo Eskobear, an American black bear that died after ingesting 34 keys of cocaine that were dumped out of a smuggler’s cargo plane over the Tennessee wilderness in 1985. That being said, it’s not a huge surprise it’s taken Hollywood SO LONG to actually get it made, perhaps it’s just TOO CRAZY a concept for it to have been made before now. Ultimately, the film takes A LOT of liberties with the truth to instead craft an entertaining story, but in the end that’s definitely the smart move, simply using the concept as a springboard to craft a gloriously batshit horror comedy with a JET BLACK sense of humour populated by an offbeat collection of quirky characters. Keri Russell stars as Sari, a nurse and single mother who has to brave the woods in order to find her young daughter Dee Dee (The Florida Project’s Brooklyn Prince), who’s playing hooky in the Chattahoochee-Oconee National Forest with her best friend Henry (Sweet Tooth’s Christian Convery) right when Cokey goes on a drug-fuelled homicidal rampage; meanwhile, recently bereaved widower Eddie (Solo’s Alden Ehrenreich) and his best friend Daveed (Straight Outta Compton’s O’Shea Jackson Jr.) are two drug cartel enforcers reluctantly scouring the area in search of their lost product at the behest of Eddie’s overbearing St Louis drug kingpin father Syd White (the late, great Ray Liotta, to whom the film is dedicated); and then there’s hapless but dogged Knoxville detective Bob (the venerable Isaiah Whitlock Jr.), who knows he can bust White if he can just get his hands on the evidence. All three parties converge in the park while the bear wreaks merry havoc in Elizabeth Banks’ third film as a director (after Pitch Perfect 2 and the CRIMINALLY mistreated and overlooked Charlie’s Angels reboot), which looks like it might FINALLY get people to start taking her serious BEHIND the camera as well as IN FRONT of it – this is a proper laugh-riot of a film which is also delightfully non-PC, and it’s liberally peppered with impressively blood-soaked effects to thrill the gore-hounds as well as an impressively well-realised digital animal character in the eponymous drug-addled beastie. The cast are brilliant too, Russell and Ehrenreich both particularly impressing in their respective nominal lead roles while the two kids are EXCEPTIONAL (particularly Convery, getting to overact as one of the most hyperactive-yet-not-irritating kids I’ve ever seen on screen), and it’s both enriching and a little bit heartbreaking to watch Liotta once again acting his socks off in one of his very last film roles; that being said, several of the scenes are thoroughly STOLEN by the irrepressible Margo Martindale, who’s clearly having the time of her life in one of her most gloriously OTT roles as foul-mouthed, much put-upon park Ranger Liz. Ultimately this is a horror comedy where the balance is definitely tipped very much in favour of the laughs over the scares, but that’s fine, because with a concept this batshit bonkers we were always gonna find it too funny to ever be remotely scary, so the end result is one of THE FUNNIEST MOVIES I’ve run across in the cinema so far this year, gleefully revelling in its own inherent irreverence. It’s just about the most fun you could ever expect it to be, which is what you’d want from a movie about a cocaine bear, really …

8. ANT-MAN & THE WASP: QUANTUMANIA – coming off the back of 2022’s decidedly hit-and-miss big screen slate for Disney and Marvel’s current flagship property, the Marvel Cinematic Universe, THIS year’s first MCU release had A LOT of eyes on it. Gods know, I definitely has TWO OF ‘EM … and it probably wasn’t the best title to be laying all this weight on, either – the Ant-Man movies in particular have always been a bit of a marmite property within the larger universe, with as many detractors as fans, which definitely didn’t help things here. If this turned out to be third time unlucky for Paul Rudd’s Scott Lang and the rest, it could spell much larger disaster for the MCU overall, or at the very least signify that the cracks are definitely growing beyond the studios’ capacity to patch ‘em up on the run. So I’ll admit, I went into this one with a whole lot of trepidation … was it unwarranted? Well, being completely honest … not ENTIRELY. Tried-and-tested comedy director Peyton Reed’s Ant-Man films have always been a pretty mad collection anyway, as much a full-blown comedy sub-franchise as the Guardians of the Galaxy movies or Thor under Taika Waititi, but even so they still managed to keep ONE FOOT on the ground even while the rest was playing EXTENSIVELY in the Quantum Realm, but this one may just have finally jumped the shark. Granted, part of this film’s particular OTT outlandishness and unabashed WACKINESS is down to narrative necessity – giving too much away plot-wise unfortunately runs the risk of dropping some MASSIVE spoilers, but it’s at least safe to say that the vast majority of the story takes place ENTIRELY in the Quantum Realm this time, and it’s a place which is A WHOLE LOT DIFFERENT from anything we might have imagined from our very brief visits in Ant-Man & the Wasp and Avengers Endgame. For a start, it’s A WHOLE LOT BIGGER than we thought it was, and MUCH more heavily populated by some truly WEIRD SHIT … the film also has some major heavy-lifting to do with regards to setting up the Big Bad for Phase 5 and 6 both – Kang the Conqueror (The Last Black Man In San Francisco and Creed III’s Jonathan Majors), a Multiverse-based Thanos level threat we first encountered (sort of) in 2021’s runaway hit first season of Loki. Thankfully, this at least is one of the areas in which the movie definitely SUCCEEDED – Majors IMMEDIATELY makes his presence keenly felt as one of the franchise’s most interesting and effective supervillains, a near God Tier Bad Guy who’s clearly gonna give the whole Avengers roster a run for their money when they finally come face to face with him (in whatever form this ultimately takes). The plot, such as it is, is pure scrambled bananas, a heavyweight mindfuck it’s best to just DISENGAGE and go with to get proper enjoyment out of – this is definitely a cinematic GUILTY PLEASURE, and trying to take it even remotely seriously immediately draws the eye to a thousand gaping plot-holes and glaring narrative stumbles. At least the patented stunning, primary coloured visuals, winning sense of humour and cavalcade of delightfully wacky set-pieces (the clone-spawning “probability explosion” sequence is a particularly overblown, super-trippy highlight with an unexpected tear-jerk factor built in) are all fully functional and behaving correctly, and the thoroughly endearing cast all deliver admirably without a single off-note hint of miscasting – Rudd and Evangeline Lilly (returning as Hope van Dyne AKA the titular Wasp) are both pitch perfect as always, while it’s nice to see Michael Douglas and PARTICULARLY Michelle Pfeiffer getting to do a whole lot more this time round as Hank Pym and Janet van Dyne, and the glaring Michael Pena-shaped hole is ALMOST filled by a few other quality comedic turns from the likes of deadpan laugh-MASTER Bill Murray and David Dastmalchian (here returning in a VERY interesting vut also very DIFFERENT role to what we’ve seen from him here before), as well as a surprise returning face (ahem) from the franchise’s past. Meanwhile, alongside Majors there are some other similarly noteworthy series newcomers who make BIG IMPRESSIONS, from Z Nation and The Mandalorian’s Katy O’Brien (who’s been an growing favourite of mine for a little while now), who’s a completely EPIC badass I wanna see A LOT more of in the future as hard-nosed Quantum freedom fighter Jentorra, to Kathryn Newton (Supernatural, Freaky), making the role of Scott’s now (pretty much) full-grown daughter Cassie ENTIRELY her own, and she’s clearly got a MAJOR future ahead of her in the MCU herself now she’s started carving out her own super-powered secret identity. The movie may be another flawed, somewhat unwieldy and occasionally downright CLUNKY beast, but the franchise is definitely still managing to stand up, and compared to the likes of Thor: Love & Thunder and Black Panther: Wakanda Forever it definitely holds up a good deal better in its own right. Most of all, though, it’s A WHOLE LOT of pure, unadulterated FUN, which is ultimately exactly what you want from a big primary-coloured superhero blockbuster. With the arrival of the new (and, apparently, FINAL) Guardians of the Galaxy movie now imminent, it still remains to be seen if the MCU can be clawed back from the brink it’s still teetering perilously on the edge of, but this, despite all that’s still wrong with it, is at least a VERY SMALL step back in the right direction again …

7. THE PALE BLUE EYE – largely sneaking in under the radar on Netflix to start the New Year off, the latest offering from highly acclaimed indie writer-director Scott Cooper (Crazy Heart, Black Mass, Antlers) is, much as we’d likely expect from such a consistently varied, genre-hopping filmmaker, a strange, unique and deeply intriguing beast of a film. Adapted from Louis Bayard’s well-received speculative fiction novel about a young Edgar Allan Poe aiding the investigation of a bafflingly macabre murder in the US Military Academy at West Point in the early 1830s. Christian Bale returns with typical stoic, intense and magnificently brooding megawatt presence for his THIRD leading man tour of duty for Cooper (after Out of the Furnace and Hostiles) as Augustus Landor, a former West Point graduate-turned misanthropic former detective brought in to lead the investigation into the brutal hanging and evisceration (with additional heart-removal) of a young cadet that’s baffling the faculty and local police, which is soon compounded when additional bodies start piling up. He’s aided in his endeavours by another cadet, the young Poe himself (played to PERFECTION by Harry Potter’s own Harry Melling, continuing his meteoric and deeply impressive rise to prominence with another TOUR-DE-FORCE performance here), while the clues lead to a variety of deeply troubling twists and revelations as well as an intriguing collection of suitably odd and often highly charismatic characters played by the sterling likes of Lucy Boynton, Toby Jones, Simon McBurney and a fascinatingly unusual turn from Robert Duvall, although the real standout here is a truly MAGNIFICENT career-best performance from Gillian Anderson. Cooper piles on the story’s doom-laden gothic atmosphere to great effect throughout while cranking up the slow-burn and deeply uncomfortable suspenseful tension throughout, while the plot is nothing short of MACHIAVELLIAN in its levels of ingenious labyrinthine intelligence, dropping an ultimate denouement that you really have to be paying SERIOUS ATTENTION to see coming, and the production design, costumes, period detailing and, most of all, the thoroughly MOODY bleak-midwinter cinematography make for a freezing cold but thoroughly rewarding feast for the eyes for the more discerning film-fanatic. Altogether Cooper’s delivered another winner, and I hope he continues to make films this good well into the future.

6. SHAZAM: FURY OF THE GODS – it’s interesting that, at least on here, the DC Cinematic Universe (AKA the DCEU) is currently WINNING OUT over the MCU, especially given the recent MAJOR upheavals that are now rocking the franchise as a whole (and look set to continue well into the remainder of this year and beyond). Not least because, technically, once The Flash hits cinemas and the Universe essentially gets hit with a Hard Reset under the guidance of new DC Studios CEO James Gunn, none of this even MATTERS any more going forward … certainly this fact has NOT been lost on cinemagoers, who were already starting to pull back when Black Adam came out late last year and subsequently seemed content to STAY AWAY IN DROVES for this one, likely waiting to give it a go in the privacy and safety of their own homes once it hit streaming. In a way this sounded a pre-emptive death knell for the DCEU which I’m genuinely sceptical about it recovering from … which is a shame, because 2019’s Shazam! was one of the franchise’s BEST FEATURES, a gleefully anarchic post-modern deconstruction of the overblown superhero antics the franchise largely glorified before while never taking itself particularly seriously but simply playing it with just the right amount of knowing wink-and-nod. Even more of a shame, then, that this has proven to be SUCH a performance TURKEY, because it’s JUST AS GOOD as the first one, taking all of the lessons that were learned from the first movie to heart and delivering more of everything that really WORKED once more, even while trying something new and fresh at the same time to expand on this little corner of the Universe with impressive aplomb and consummate skill. Returning director Drew Sandberg (Lights Out, Annabelle: Creation) once again delivers in HIGH STYLE and customary spooky flair as he and returning screenwriter Henry Gayden (Earth To Echo, There’s Someone In Your House), along with Fast & Furious franchise lynchpin scribe Chris Morgan, expand on the adventures of coming-of-age young hero Billy Batson (Andi Mack’s Asher Angel) and his (still unnamed) superpowered alter ego (Zachary Levi), alongside his now similarly gifted teenaged foster siblings, as the Daughters of Atlas – Hespera (Helen Mirren), Kalypso (Lucy Liu) and Anthea (Rachel Zegler), a trio of immensely powerful but (somewhat) morally dubious classical Greek goddesses – come to claim their powers for their own in order to rejuvenate the Tree of Life and punish Mankind for its wickedness. The usual existential high stakes, then. Angel and Levi are, once again, ON FIRE here, the former star of Chuck in particular once again proving what an undisputable comedic MASTER he is while they both deliver MAGNIFICENTLY in the dramatic moments too, while their returning co-stars and sterling veteran support are once again just as great as before, It’s Jack Dylan Grazer particularly getting to really SHINE this time round in a particularly WEIGHTY role that nonetheless once again manages to utilise his own impressive comedic talents to full effect too, while it’s also GREAT to see This Is Us’ Faith Herman get a much more expanded role this time round as the irrepressible Darla; Djimon Hounsou, meanwhile, also gets a lot more to do as he returns as the enjoyably crabby and pompous Wizard Shazam, who’s none too happy with Billy for breaking the staff last time round and setting this all off in the first place. The Daughters, meanwhile, are FANTASTIC antagonists, Liu and Mirren clearly enjoying the opportunity to be flamboyant, majestic and over-the-top in proper Shakespearean style, while Zegler invests “Anne” with a good deal more moral fibre and complexity as the most sympathetic (and ultimately conflicted) of the trio. Sandberg and co again deliver IN SPADES on the action, atmospherics, gorgeously exotic design and sheer creativity which made the first movie such an unexpected treat, while also delivering more of that winning, sometimes downright SCREWBALL BONKERS humour to keep it entertaining and let you know that, just like its predecessor, this film knows FULL WELL how ridiculous it is and is fully prepared to just OWN IT. The end result is, once again, one of the best of the current slate of DCEU films, and it just makes it even sadder to think that they’re likely not gonna continue with this once the franchise reboots. Gods know it don’t bode too well for The Flash, Blue Beetle or Aquaman & the Lost Kingdom, which is a shame cuz they also look pretty promising …

5. EVIL DEAD RISE – sometimes you just can’t keep a good franchise down, and that’s ALWAYS been the case with the Evil Dead movies. That being said, each movie has always happily been its own thing too, so even when Sam Raimi was making his original trilogy they were all movies you could easily pick up and watch as a standalone without needing to see the others too (although it was well worth doing it). Better, though, is the fact that every offering so far has been consistently GREAT, even 2013’s sort-of reboot from Don’t Breathe and The Girl In the Spider’s Web writer-director Fede Alvarez, which did a genuinely spectacular job of bringing the franchise kicking and screaming into the new Millennium while also delivering something which was unapologetically old school in the very best way. Thankfully this is definitely the way that the latest writer-director, relative newcomer Lee Cronin (The Hole In the Ground), has decided to do things, although he’s also taking this newly-rebooted story in a fresh new direction with a MAJOR setting change as the Deadites are, for the first time (at least on the BIG screen) unleashed in the big inner city. It’s a bold move, but certainly has the instant charm of doing something we’ve never seen before, bringing the claustrophobic madness of the originals into a very different but equally close-quarters environment as we’re now seeing the demonically possessed monsters terrorising their victims in tiny apartment rooms, cramped corridors and malfunctioning elevators which make for a whole host of new opportunities to change up the scares, the action and the delivery of the thoroughly skewed plot. Best of all, this is BY FAR the most female-centric film in the franchise to date, making for a much more interesting and far less testosterone-heavy atmosphere this time around as the women get to take the lead far more than they did in the previous movies. The gods know that’s VERY MUCH my shit right there … Vikings’ Alyssa Sutherland is a veritable FORCE OF (UN)NATURE as Ellie, the downtrodden single mother trying to keep her three kids and her whole life from going off the rails until she’s taken over by the Evil when her calamitously foolish young wannabe DJ son Danny (Storm Boy and The End’s Morgan Davies) finds and reads from the Book of the Dead, while Picnic At Hanging Rock’s Lily Sullivan is endearingly vulnerable and fallible but ultimately steely as her Ellie’s estranged kid sister Beth, who comes home in a bad spot just in time to get thrown into the middle of the ensuing chaos; Gabrielle Echols (Reminiscence) and Nell Fisher (Northspur), meanwhile, are both similarly exceptional and thoroughly memorable as Ellie’s teen and pre-teen daughters Bridget and Kassie. The majority of the action plays out in the impressively squalid confines of the newly-condemned apartment building, turning uncomfortably familiar surroundings into downright TERRIFYING nightmarish hellscapes as the horrors unfold within, Cronin pulling out every trick in the book to deliver a knuckle-whitening scare-fest that skilfully works its way under your skin and grips your heart tight enough to make it explode with sheer anxiety, and, like every one of its predecessors, he has managed to pull it all off with the absolute BARE MINIMUM of digital assistance, this film representing another resounding triumph for spectacularly NASTY physical effects. This is DEFINITELY the scariest thing I’ve seen so far in what’s ALREADY proven to be a genuinely GREAT YEAR for horror cinema, but more than that it’s ENTIRELY lived up to its legacy, earning its place in one of the greatest horror franchises of ALL TIME with pride. I look forward to seeing what Cronin does next, and I can’t wait to see what the series is gonna throw at us next, either …

4. PUSS IN BOOTS: THE LAST WISH – my current top animated feature for 2023 is an interesting one because, while I am a MASSIVE fan of Dreamworks Animation Studios’ output in general and the Shrek films in particular, I have to admit that the FIRST standalone spinoff featuring Antonio Banderas’ awesome fairy-tale character left me somewhat underwhelmed … yes, I know, it’s a travesty, STONE ME!!! I know I deserve it … but really, even with Salma Hayek on board it just didn’t reach the same levels of sheer unadulterated COOL that the Shrek movies did for me. So I approached the EXTREMELY belated follow-up with a definite sense of trepidation, despite the intriguing new animation style makeover that’s clearly HEAVILY inspired by the recent success of the first Spider-Verse movie and the massive anticipation for its incoming sequel. It looks GORGEOUS, but as we’ve learned to our cost over the years with this kind of filmmaking, looks DO NOT always automatically mean it’s gonna be a belter. Thank the gods, then, that I was proven wrong THIS TIME … yup, for his sophomore spinoff movie, Puss FINALLY got a vehicle he could truly be PROUD OF. It’s got a BRILLIANT premise about it which PERFECTLY fits with the amount of time that’s passed since the first one, and definitely means that the older fans among us (like myself) can definitely find A LOT to resonate with in terms of the themes here – Puss discovers that he’s only got ONE of his nine lives left and it sends him into a DEEP existential crisis as he realises that he’s pretty much WASTED much of the time he had, and technically that means he’s only got ONE CHANCE left to truly be alive. So he abandons his riotous adventurer lifestyle and “retires” as a lapcat for one SERIOUSLY weird cat-lady, Mama Luna (High Fidelity’s Da’Vine Joy Randolph) … only for his past to catch up to him in the form of a quartet of bounty hunters, Goldilocks (Florence Pugh) and the Three Bears (Ray Winstone, Olivia Colman and beloved up-and-coming British comic Samson Kayo). This prompts Puss to escape onto the road for one final adventure reuniting with his long-lost love Kitty Softpaws (Salma Hayek), who’s none too happy to have him back in her life after he abandoned her at the Altar, as well as a deeply odd new companion, Perrito (What We Do In the Shadows’ Harvey Guillen), a diminutive therapy dog who was masquerading as one of Luna’s cats, as they set out in search of the Wishing Star, a fallen star that can grant whoever finds it their heart’s desire, which means Puss could get his other Eight Lives back. Except that they’ve still got the bounty hunters on their trail, along with (now decidedly) Big Jack Horner (John Mulaney), a magic-item collecting entrepreneur who has a score to settle with Puss which definitely coincides with his fervent desire to claim the Star for himself, and a mysterious Wolf (the irresistibly silky tones of Narcos’ Wagner Moura) who may actually be Death Himself, who has his own, much darker reasons for finding Puss. Y’know how they say you judge a hero by the strength of the villains he faces? Well with antagonists of THIS calibre, Puss just might have finally met his match … and even better, EVEYTHING ELSE about this movie is as strong as its villains – it’s one of the most well-written, well-directed and deeply, affectingly resonant movies that Dreamworks have EVER DONE, EASILY on a par with the rest of the Shrek canon and even matching up impressively well with the true Gold Standards like Kung Fu Panda and the How To Train Your Dragon movies, everyone involved in this project clearly giving it their all in a total labour of pure, unadulterated LOVE that pays VAST dividends on the screen. The cast, of course, are among the greatest key ingredients in this, and as we’ve come to expect from these movies they’re all pulling their weight MAGNIFICENTLY – Guillen and Mulaney in particularly deliver SPECTACULARLY in their respective roles, while Pugh and her cohorts are at once hilariously good fun but also elevate their characters FAR ABOVE their one-note bad guy potential thanks in no small part to some VERY intelligent, well-rounded and deeply complex character development from the writers, but in the end the main weight of the film OF COURSE rests on the shoulders of Banderas and Hayek, and once again they’ve both proven they are MUCH MORE than capable of bearing it with grace, professionalism and a glorious evergreen twinkle in their eyes. As for the animation and design, this is a BEAUTIFUL piece of work, definitely one of the year’s most visually arresting films as well as, quite simply, one of the most gorgeous films that Dreamworks have ever put together, the studio effortlessly adapting to the sexy new style that made Spider-Man: Into the Spider-Verse and Netflix’ Arcane such glorious feasts for the eyes, and the animation team deserve JUST AS MUCH praise as director Joel Crawford, a storyboard veteran who previous proved his helming pedigree in fine style with 2020’s wonderfully oddball The Croods: A New Age. Ultimately, given the storyline, themes and the way the film ties things off so neatly, I suspect this really will be the last we see of Puss In Boots on the big screen, but if that really is the case then I gotta admit it’s ONE HELL of a swansong …

3. RENFIELD – my current horror movie of the year sits very comfortably in the genre’s sub-category that I’ve always loved best, a horror comedy of particularly rare quality and gleeful abandon that made it one of the best and most entertaining viewing experiences I’ve had so far this year. Yeah, like the best horror comedies it has enough genuine darkness that it CAN be genuinely scary when it wants to be, but by the sheer (literal) batshit craziness of its premise this is a BONKERS FILM, and so it wisely embraces its sheer lampoonery to full effect by delivering one of the most deliciously dark black comedies I’ve seen in a good while. Not that it’s overly surprising – director Chris McKay cut his teeth helming The Lego Batman Movie before branching out into live action with Amazon’s criminally underrated time travelling alien invasion blockbuster The Tomorrow War, both of which were excellent vehicles for him to master the gloriously anarchic style that he finally unleashes fully formed for this brilliant alternative sequel to the classic Universal Dracula movie with Bela Lugosi. That being said, the big box office draw here was always going to be Nicolas Cage, who replaces Lugosi as the infamous Count, clearly kicking into his typical “manic” setting here to chew the scenery with ruthless abandon and, as a result, frequently steal the show right out from under Nicholas Hoult as his titular ghoul manservant, the long-suffering Robert Montague Renfield, who just wants the opportunity to finally find a real, simple life for himself and thinks he can pull it off in modern day New Orleans, only for his Master to himself become inspired by Renfield’s newfound ambition and set his sights on world domination with the help of the Lobos, a brutal local crime family. Thankfully Hoult DOES ultimately manage to hold his own in his scenes with Cage, like always proving ADEPTLY talented enough to deliver another winningly endearing performance while playing perhaps the single most pathetic specimen of his career to date … meanwhile the thoroughly adorable Awkwafina once again proves that she’s well on the way to becoming the PREMIER kooky goofball female comedic lead in Hollywood as Rebecca Quincy, the one truly honest cop in one of the most corrupt police forces in all of America, who winds up falling for Renfield’s hangdog charm and puppy-dog eyes as he inadvertently becomes the key to her quest to bring down the Lobos after they murdered her legendary detective father. Shohreh Aghdashloo brings a much needed touch of class to proceedings as Bellafrancesca Lobo, the family’s seductively sly matriarch, while Space Force and Sonic the Hedgehog’s Ben Schwarz is a frequent non-PC laugh riot all on his own as her entitled constant disappointment of a son Teddy, and Ghosts’ Brandon Scott Jones is lovably flaky as the leader of Renfield’s endearingly pathetic support group for people trapped in toxic co-dependent relationships. This genuinely is a DEEPLY FUNNY FILM, perfectly geared up for a maximum hit count with the one-liners, in-jokes and situations, but then there’s no surprise here since writer Ryan Ridley (adapting a pitch from The Walking Dead’s original creator Robert Kirkman) is a seasoned veteran of TV comedy, particularly well known as an alumnus of the similarly edgy and madcap Rick & Morty, and this carries a lot of the same twisted, anarchic charm as that rightly beloved series, just in a much more big budge live action form on the big screen. It’s also SPECTACULARLY bloodthirsty when it wants to be, the welcome reliance on what are clearly LARGELY physical effects meaning that this movie is another gore-hound’s wet dream, even if the film does mostly play the horror elements for laughs throughout, and it’s an impressively inventive and chaotic beast in THAT regard too, delivering some of the most gloriously OTT splatter-fuelled action sequences I’ve seen in a good while whenever Renfield eats a bug and gets an ultraviolent power boost. Altogether this is definitely some of the most fun I’ve had at the cinema so far this year, and I’ll admit I wouldn’t mind a bit more of this …

2. JOHN WICK CHAPTER 4 – and so, it has come to this … honestly, who’d have thunk it, back in 2014 when the first movie came out and (rightly) became a surprise sleeper hit that went a long way to revitalising Keanu Reeves’ career for a SECOND TIME as he found THE GREATEST ROLE HE’S EVER HAD, that almost a decade later it would’ve blown up into something THIS BIG?!!! I mean sure, back then it definitely was The Little Movie That Could, but still … well, after two increasingly BIG sequels which each maintained a surprisingly impressive level of quality throughout, the fourth and final John Wick chapter is finally here, and GODS is it good. I mean it’s FUCKING BRILLIANT. It just might be THE BEST ONE YET. Certainly it’s proving to be the most well received, landing BY FAR the best rating on Rotten Tomatoes and it genuinely seems like almost nobody has ANYTHING bad to say about this movie, even the CRITICS largely seem to LIKE this one. And it deserves every lick of love it’s been getting, this is definitely both the pinnacle of the series AND a perfect swansong for the greatest assassin in cinema history. I don’t wanna give too much away about the plot, even those who HAVE seen what’s come before don’t deserve to be spoiled since, even if these movies have never exactly been SHAKESPEARE in their construction they do still frequently leave you guessing in the best ways as to how they’ll turn out, and this one definitely is no exception. I’ll just say that, after all the killing John’s done to get to this point, his one-man-war with the international criminal network’s High Table has finally reached his zenith when Winston (the great Ian McShane), the Manager of the newly-demolished Manhattan Continental Hotel, gives him the means to finally find a way to get out and find peace while he’s still alive – namely by challenging the Marquis Vincent de Gramont (It’s Bill Skarsgard), a high-ranking Table member who’s taken it upon himself to rid the criminal underworld of the “cancer” that John and his constant disrespect have wrought, to single combat in a ritualistic duel in order to take his place at The Table should he win. The subsequent battle that ensues as John sets about facilitating this duel and the fallout that follows as he fights his way to that final, fateful meeting fuels the film in HIGH STYLE, so that even though this movie’s almost THREE HOURS LONG it never feels overlong or outstays its welcome. Once again the cast are all ON FIRE, Reeves once again proving that he is just about THE BEST LOOKING and most interesting action star working in Hollywood today when he’s mowing down endless bad guys with a stoic expression and the odd deadpan response, the role once again VERY MUCH playing to his strengths, while McShane and Laurence Fishburne (returning once again as the dethroned Bowery King) are both on fine form throughout, while it’s both a pleasure and privilege but also a genuine heartbreaking SHAME to watch the late Lance Reddick deliver one of his very last performances as Charon, the noble and quietly charismatic Concierge of the Manhattan Continental (at least he also shot one more turn as the character for the upcoming Ana de Armas-starring spinoff feature Ballerina, so it’s not QUITE the end); meanwhile the newcomers all serve admirably as well, with Skarsgard particularly impressing as one of the franchise’s best villains to date, slimy, entitled and exquisitely arrogant, the kind of Big Bad you just LOVE to hate, Wynnona Earp’s Shamier Anderson is a delightful revelation as Mr Nobody, a precocious up-and-coming hitman talent who certainly has a whole lot of potential for a possible future spinoff franchise of his own within this larger universe, Donnie Yen excels as usual as Cain, a former friend of John’s that the Marquis brings out of forced retirement in order to take the unkillable Baba Yaga out (clearly the filmmakers saw his blind badass take in Rogue One and they were like yeah, let’s have a whole lot more of THAT), Hiroyuki Sanada once more delivers effortless class and cool gravitas as Koji, the honourable and principled Manager of the Osaka Continental, and Scott Adkins is viciously impressive but also thoroughly surprising in an almost unrecognisable prosthetic getup as Killa Harkan, the brutish Head of the High Table in Berlin. In the end, though, we’re once again here primarily to MARVEL at all the action exploits on display while wallowing in some of the richest and most well-crafted world-building there’s EVER BEEN on the big screen – this is a thoroughly fascinating universe, realised with exquisite precision with so many cool little winks and nods and in-jokes to make the geeks among us grin and chuckle with sheer joy over the immense bounty on display, while veteran stuntman-turned-director Chad Stahelski once again wrangles some of the VERY BEST cinematic action EVER COMMITTED TO FILM in a series of truly astonishing and thoroughly punishing set-pieces bravely executed with nary a visual effect in sight. There are almost TOO MANY cool action beats in this movie to count, although the final BIG sequence, in which John fights his way up the spectacular but infamously punishing Stairs of Montmartre in Paris against an endless onslaught of thugs all determined to not let him reach the top, which includes one of the BIGGEST belly laughs I have EVER HAD at the cinema in my life, as much just over the joke’s sheer, ingenious AUDACITY, has to be the film’s undeniable highlight (closely followed by a genuinely INSANE run/gun/drive chase/shootout/fight sequence through the sheer chaos of the traffic around the Arc de Triomphe – every single one of these sequences is thrilling, they’re adrenaline fuelled and each is crafted with such precision but also such brilliant varied inventiveness that it NEVER leads to vicarious battle fatigue. Best of all, though, as with the previous film’s there’s a surprising amount of soul and heart and heft to the film too, which ultimately leads to a climax which is both immensely satisfying but also pretty devastating in its emotional power. Altogether then, this is EASILY my action movie of the year, I really can’t see that changing, as well as a fitting climax to an action cinema franchise which has come to SET THE BENCHMARK for the entire genre, and, honestly, just a damn fine movie in its own right.

1. DUNGEONS & DRAGONS: HONOUR AMONG THIEVES – so what, then, could POSSIBLY have beaten John Wick Chapter 4 to the top spot? If you’d asked me that at the year’s start I DEFINITELY wouldn’t have thought it could be THIS … I mean SURE, I love D&D as much as the next geek, but even so this felt like SUCH a shameless cinematic cash-grab from Wizards of the Coast and Disney (producing through Paramount) that I felt there was NO WAY it could REALLY be an actual GOOD FILM. At best I was expecting to be mildly entertained by a serviceable guilty pleasure, something that’s good for a Saturday night-in with a pizza and a six pack, not a genuine MASTERPIECE of cinematic adaptation. And yet, it turns out that’s EXACTLY what we got here – this is a film which is ONE HUNDRED PERCENT clearly made with the utmost love and respect for the source material because the only possible interpretation for the way they wrote this was by taking Player’s and Dungeon Master’s handbooks, a Monster Manual, some character sheets and a few dice bags and just turning the mini-campaign that ensued into a two-hour screenplay. It’s clear that they are heavily steeped in love and knowledge of the game itself, or were at least CONSTANTLY advised by experts who are, because this movie is AT EVERY STEP a pretty much PERFECT representation of the Forgotten Realms setting, the bestiary and even the game mechanics themselves IN ACTION, and it EVEN colours the way that the plot is laid out, how the characters interact and how some of the action sequences go. (Seriously – a perfectly executed knockout on a knife-wielding hostage taker with a hurled potato? That’s the Barbarian’s player landing a Natural 20 Critical Hit on their Attack Roll. It love it.) Sure, the results are likely to INFURIATE some people who think a little too highly about how FORMALLY WRITTEN their cinema is, but for most folk this actually makes for a refreshingly honest and pretty unique piece of cinematic storytelling that actually works DAMN NEAR PERFECTLY from start to finish. It also helps that the writer-director duo in charge here are a pair of stalwart comedy movie veterans, namely Jonathan Goldstein and John Francis Daly of Horrible Bosses, Vacation and Spider-Man: Homecoming fame, whose previous directorial collab Game Night actually likely provided a useful throughline for them to get into tackling this one. The main cast of dysfunctional heroes that we follow through the story are even put together like a typical motely crew of player characters – Chris Pine once again proves that he’s at his best when he’s doing broad comedy, thoroughly delightful as self-centred, opportunistic roguish Bard Edgin Darvis, who, along with his platonic partner, tough-but-fair and sweetly naïve Barbarian warrior Holga Kilgore (played to absolute PERFECTION by Michelle Rodriguez in what’s UNDOUBTEDLY the best role she’s ever had, and definitely my FAVOURITE character here), enlists the help of bumbling, neuroses-riddled half-elf Sorcerer Simon Aumar (Detective Pikachu’s Justice Smith, twitchy, unsure of himself and UTTERLY adorable) and shape-shifting Tiefling Druid Doric (It’s Sophia Lillis, forthright, dependable and immediately done with all of Edgin’s shit) to help them knock over the accumulated fortune of their one-time colleague, Rogue-turned-nobleman Forge Fitzwilliam (Hugh Grant once again expertly bringing home the scheming sleaze persona he’s perfected in more recent years now he’s finally said goodbye to his earlier days as an upper class heartthrob) and foil the dastardly machinations of the monstrous undead Red Wizard Sofina (a genuinely chilling and unsettling turn from Shadow & Bone’s Daisy Head); meanwhile there’s a top-notch supporting cast of “DM-controlled NPCs” that help the story roll and breathe as effortlessly as the main stars, from Bridgerton’s Rege-Jean Page as deliciously dry Paladin Xenk Yendar, the obviously-overpowered PC from another campaign that the DM brings in to help the party out when things go COMPLETELY WRONG for them, and Chloe Coleman (Gunpowder Milkshake) as Edgin’s estranged young daughter Kira, to Bradley Cooper in a truly INSPIRED and genuinely hilarious cameo as Holga’s decidedly diminutive ex-husband Marlamin. Every single one of these is a well-rounded, living-and-breathing vital person in their own right, and the writers have crafted them and their misadventures with proper precision throughout, while the world has been realised with genuine skill and clear loving attention to detail, as well as, yet again, a welcome reliance on real sets and locations and good old fashioned physical make-up and animatronics over pure digital effects wherever possible. There are some pretty spectacular action sequences on offer here (the Underdark sequence with a decidedly overweight dragon is a particular highlight, although my personal favourite has to be the scene in which Doric has to pull off an unexpected escape by Wildshaping between different animal forms, all unfolding in a spectacular unbroken “single” take), but in the end this film is, first and foremost, a COMEDY, and while there’s plenty of heart and pathos on offer, as well as more than a little genuine DARKNESS here and there, ultimately everything is VERY MUCH played for humour, and the end result is definitely the funniest film I’ve encountered this year (so far, anyway). It’s also just about the most effortlessly ENDEARING film I’ve come across in a very long time, and I have to admit I am SO GLAD that it managed to defy my low expectations SO MUCH, I feel VERY HAPPILY HUMBLED that I was proved SO WRONG this time round. I’m genuinely hopeful that we get LOADS MORE of this going forward, I can’t wait for a whole long campaign’s worth of movies to grow out of these humble beginnings. Best get those D20s rolling again, guys!

#2023 in movies #sick #sick movie #sick 2023 #cocaine bear #ant man and the wasp quantumania #the pale blue eye #shazam fury of the gods #evil dead rise #puss in boots the last wish #renfield #renfield movie #john wick chapter 4 #dungeons and dragons honor among thieves

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