Starring: Imelda Staunton, Leslie Manville, Jonathan Pryce, Dominic West, Elizabeth Debicki, Olivia Williams, Salim Daw
Grade: B+
Warning: Reviews of The Crown season 6 will contain spoilers.
“Seems like another lifetime.” “And if it were yesterday, too.” This exchange comes early on in Persona Non Grata, the season premiere of The Crown, Netflix’s last gasp at prestige television. It occurs between Queen Elizabeth II (Imelda Staunton) and Prince Charles (Dominic West), as he espouses the fond memories he had of the precious few moments he had with his mother in his youth, but it doubles as a cheekily meta jab from series creator Peter Morgan. Theoretically, you could start The Crown from the beginning when each of these characters were decades younger – and played by entirely different actors – and, a day or two later, watch this very episode.
Starring: Natalie Portman, Julianne Moore, Charles Melton
Grade: A-
In a year when films have explored difficult subject matter like Native American genocide (Killers of the Flower Moon), artistic fortitude (Asteroid City), and tangled romance (Past Lives), May December may be the most complex of them all. It’s a film that deals with topics like identity, our American fascination with scandal, and personal authenticity – all while being one of the darkest comedies of the year.
Starring: Brie Larson, Teyonah Parris, Iman Vellani, Zawe Ashton, Lashana Lynch, Samuel L. Jackson
Grade: D
It’s far from a secret that the Marvel Cinematic Universe in 2023 is a rudderless ship, veering from film to film with no real greater sense of purpose, and coasting on the goodwill it built up in its first 10 years of box office dominance – even with the critical and financial success of Guardians of the Galaxy vol. 3. A great number of think pieces have already been written about the mess that Kevin Feige is dealing with, and a great deal more will surely be written as long as Marvel continues to churn out content without any palpable quality control. So going in to The Marvels, even the most die-hard MCU fans would be forgiven for lowering their expectations. Even considering the moderately positive reactions to Captain Marvel from 2019, which survived a wave of misogynistic trolling to gross a billion dollars in receipts, The Marvels perhaps represents the worst instincts of the MCU, and perhaps could solidify the final nail in the superhero coffin.
Starring: Kristine Frøseth, Alisha Boe, Imogen Waterhouse, Aubri Ibrag, Josie Totah, Guy Remmers, Matthew Broome, Mia Threapleton, Josh Dylan, Christina Hendricks
Eight episode season, three episodes watched for review
Grade: B
Stop me if you’ve heard this one before: women in Victorian England had little-to-no agency over their lives. Whether it’s arranged marriages in order to climb the social hierarchy, the lack of job prospects outside the home, or the inability to claim their own sexuality, it was a dour time for the fairer sex. Which is why the recent surge in films and television to give a sort of revisionist history to the period has been both refreshing and a little repetitive. By the time you finish the first three episodes of AppleTV+’s newest series The Buccaneers, you’ve likely seen everything it’s depicting in one way or another, whether it be in shows like Bridgerton or films like Emma. and Emily. However, don’t let that stop you from checking The Buccaneers out, because it’s full of care and compassion that isn’t easy to come by.
Starring: Steven Yeun, Sandra Oh, JK Simmons, Zazie Beetz, Walton Goggins, Gillian Jacobs, Andrew Rannells, Zachary Quinto, Jason Mantzoukas
Four episode season, four episodes watched for review
Grade: A-
While sitting down to watch the newest installment of Invincible, I was trying to figure out what it is that makes the adaptation of Robert Kirkman’s landmark graphic novel series stand out from similar superhero properties. The show doesn’t entirely lean away from the genre’s tropes, but it does distinguish itself in many noticeable ways to make it feel refreshing. It’s clear that Kirkman has a great affinity for comic books of old and the epic struggles of heroes, but he finds ways to subvert expectations at nearly every turn.
Starring: Annette Bening, Jodie Foster, Rhys Ifans
Grade: C-
The phrase “Oscar Bait” gets thrown around a lot around this time of year, sometimes as a derogative and sometimes as a backhanded compliment. There’s no specific formula for what constitutes good or bad Oscar bait, but it essentially boils down to whether the film itself is good or not. Biopics of real, famous people overcoming adversity are like catnip to the Academy, so why not play into their hands and make a by-the-numbers drama that overlooks many of that character’s major struggles?
Starring: Paul Giamatti, Da’Vine Joy Randolph, Dominic Sessa
Grade: B+
Comedy equals tragedy plus time. It’s a well-worn adage in the world of comedy, and comedic writing, the notion that the best comedy comes from a place of pain, not joy. It’s an adage that Alexander Payne has honed throughout his career as a writer and director, and it applies to his latest film The Holdovers.
Starring: Emily Blunt, Chris Evans, Andy Garcia, Catherine O’Hara, Brian d’Arcy James, Jay Duplass
Grade: D+
The Placebo effect: when a concentrated, harmless pill produces the same intended effects as the real thing because of the psychological belief that it is the real thing. You can’t get sick from a placebo, and you can’t take too much of them but it won’t make you any better (here’s my disclaimer that I am not a licensed physician – I just play one on TV). Why mention placebos in a review of Pain Hustlers, the new film directed by David Yates, beyond the film’s medical subject matter? Because, much like a placebo, the Netflix film functions as a concentrated, harmless piece of content that produces the same intended effects as a real film with something – anything – interesting to say.
You could probably count the number of meaningful conversations had throughout the entirety of Bloom, on one hand, and that’s not a criticism. Writer and director Mark Totte structures the film as a kind of Malick-esque journey that places heavy emphasis on its visuals and the overall vibes in any given scene. Bloom tells the story of Kate (Kate Braun), a middle-aged grandmother in Milan, Indiana, and her inescapable desire to be free. On a whim, and without a word of warning to her husband, she sets out in her car with her dog Storm and heads west. When she talks to her son Brent, she lies by saying she’s stopped at his place in St. Louis (he’s out of town), and keeps on driving for a destination unknown. Along the way, we see flashbacks to her early, carefree days, touring the country in a van with her musician boyfriend/husband. Totte manages to effectively showcase the feelings at play in the present and past, but the film could have used a little extra narrative push to explain Kate’s sudden emotional turmoil. Still, Bloom doesn’t go for easy sentimentality in the way some micro-indies often do, and it’s all the better for it. In the few dialogue heavy scenes, the words come out naturally, without underlining the themes at play. This is a confident debut, featuring a solid performance from Braun, which will be well worth the price of admission.
You can never really go home again. That’s the enduring sentiment in Hellcat, the film from first-time writer-director Jack Lugar that explores one man’s long-simmering regrets, and how it’s manifested in those around him. Edward Paul Fry stars as Ricky Heller aka “Hellcat”, a musician who left his small town behind to make it big. When he returns back home, he has to come to grips with the life he left behind, and those he left in his wake. Why he forsook his hometown is best left unspoiled, but it touches on a man’s unspoken grief for lost love. The production quality won’t win any Oscars, but worse movies get made for more money every year, and it comes from a place of genuine emotion, which is what counts most at the end of the day.
When non-Hoosiers think of Indiana, they likely consider first the more notable aspects: the Indianapolis 500, our professional sports teams, and our often problematic politics. But what Liminal: Indiana in the Anthropocene explores are the more under-sung features. Entirely shot with drone footage and without any dialogue or talking points, it’s a documentary that forces you to consider newer perspectives on not just Indiana but our relationship with the land in general. The film is divided into various sections by the featured subject matter – one focuses on oil refineries, one focuses on transportation, one on farming, et cetera, and composer Nate Utesch’s score changes with each vignette. It’s a deceptively simple but effective concept for a documentary, and it shows outsiders and Hoosiers alike an idea of Indiana’s modern landscape.
If you want a little star power in your Heartland experience, look no further than Late Bloomers, which stars the one and only Karen Gillan. She stars as Louise, an aimless 28-year old who breaks her hip after an ill-advised drunken trip to an ex’s house. In the hospital, she makes a connection with Antonina (Malgorzata Zajaczkowska), an elderly Polish woman who speaks no English. Their relationship stars off rocky but due to Louise’s perseverance, they strike up an unlikely bond. Gillan navigates Louise’s shifting tones throughout, from youthful naiveté to righteous indignation, and handling the comedic and dramatic beats. First-time director Lisa Steen, working from a script by Amy Greenfield, doesn’t tread new ground narratively speaking, but there’s a warmth to be felt within the film that carries it through. Music plays a big part in Louise and Antonina’s experiences, and the scenes where the characters simply let the music take over rank among the better of the film. I often found myself smiling during these moments, regardless of how predictable the film around it is.
7000 Miles feels similar to Late Bloomers, in that it’s another story of generational understanding, but the former is less successful in execution than the latter. The film follows a young pilot named Jo (Alixzandra Dove) as she returns to her native Hawaii after the death of her grandfather. When her grandmother Meli (Wendie Malick), who essentially raised her, begins having memory issues, Jo begins to discover parts of Meli’s hidden past. Jo also begins reconnecting with a childhood crush who makes her realize she should fight harder to make her dreams a reality. It’s a film that shares a bit with Sweet Home Alabama but also includes a goofily sincere line like “She was the greatest hero of all time!” when referencing Amelia Earhart. Characters are broadly written without ever really investigating them below the surface, and the plot moves in predictable directions from the get-go. Malick and Dove perform amicably together and separately, but there’s a more introspective film to be made about regrets and grief than what’s on display in 7000 Miles. I’ve seen worse films from major film festivals, and that’s about the nicest thing I can muster to say.
Don’t go into New Life expecting a straight-up horror film. Rather, it plays more like an outbreak thriller for most of its runtime. Sure, there are some solid horror moments to be found, but first-time writer and director John Rosman prioritizes the story over the scares. The film follows a game of cat and mouse as Jessica (Hayley Erin) goes on the run through northern America, while Elsa (Sonya Walger), a government fixer, is tasked with bringing her in. What causes the chase is best left unsaid, but Rosman doesn’t overstuff the narrative with unnecessary details. And he throws in some neat visual tricks to liven up the spy chatter when Elsa is on the road. New Life doesn’t necessarily break the mold in the genre, but it shows that Rosman is a voice to look out for.
The Movie State 