2024 "On Your Left" Film Year-in-Review

2024 "On Your Left" Film Year-in-Review

It's that time again - celebrating a year's worth of movies!  While there were certainly some strong films this year, overall it was a down year, at least to me.  I didn't see even twenty movies in theaters this year (18), the first time in a (non-pandemic) year in a long time.  There were several reasons for this.  First, the actors' and writers' strike of 2023 had a big impact on what got released in 2024: it certainly seemed like there were even more horror movies (which I hardly ever see) and relatively few big releases or just many of the industry's biggest/best names absent.  Second, several of the genres I like best were particularly quiet: Marvel and DC had just one movie release each (and I skipped the Joker sequel); I was so desperate, I saw both (bad) Sony superhero movies.  My local theater also showed few of the Oscar nominees, and the ones it did show were either at a bad time for me or didn't interest me (3.5 hours of The Brutalist? Pass).

Still, I had plenty of fun in theaters in 2024, featuring both a wide array of films but also some recurring themes/genres.  Without further ado, these were the highlights (and a few lowlights).

Here is the format of this post, same as in years past:

• Top 10 films of the year!
• Most underrated/overrated films
• Most surprising/disappointing films
• Worst film of the year
• List of other films I saw in theaters (with links to my reviews)
• Films I saw on streaming

Please check out my companion post here, which is more like my Oscar-style awards.  I hope you'll check out some of these movies for yourself!

Top 10 Films of 2024

10. Fly Me to the Moon (directed by Greg Berlanti; starring Scarlett Johansson, Channing Tatum, Woody Harrelson, et. al.)

This rom-com lands in my top-10 list partly thanks to it being a down year, but it's still an impressive movie worth watching (Apple TV+).  A fictionalization of the lead up to the moon landing, it is light-hearted and often silly, yet funnier and more poignant than expected, and contains many accurate insights on the real political/cultural setting that work well and are not just thrown in.  Scarlett Johansson is excellent as the lead, an expert marketer NASA hires to gin up support (financial and otherwise) for the mission; Tatum is pretty bad (apparently Chris Evans was originally cast... if only!!).  The supporting cast is fantastic (Rash, Romano, etc.) and the "just-in-case" fake moon landing plot is great.  One of the stronger "old-fashioned" Hollywood movies in recent years. 

9. Wolfs (directed by Jon Watts; starring George Clooney, Brad Pitt, Amy Ryan)

It is a crying shame that this clever, funny, action-packed thriller was never put in theaters, instead forcing viewers to make do at home.  It's hard to go wrong when you start by reteaming Clooney and Pitt (Ocean's Eleven), veterans who could make this in their sleep but do seem to really enjoy this and give it their best effort.  They are certainly portrayed to be very capable fixers, but the movie's key ingredient is its level of surprise (to me, at least) and the heroes' foibles, both tactical and ethical.  As tense and violent as it can get, the movie is frequently funny, more so than most others.  The story confined to a matter of hours, it's also really well made and entertaining - unlike much other streaming-only content.

8. A Real Pain (directed by Jesse Eisenberg; starring Jesse Eisenberg, Kieran Culkin)

I saw this one on Hulu, one of the large number of Oscar nominees or contenders that just didn't come to theaters near me.  It's a very small-scale indie movie, focusing on the relationship of two cousins who were close when they were young but have since diverged significantly in their life paths.  The plot touches on the Holocaust, as the cousins tour their ancestors' Polish home, including a brief and quiet but powerful tour of a concentration camp.  But the cousins' push-and-pull is the main feature.  Eisenberg and especially Culkin are both tremendous, each of them with likable as well as maddening traits.  A great portrait of a realistic relationship, but it's not a classic that's likely to stick with me.

7. Unfrosted (directed by Jerry Seinfeld; starring Jerry Seinfeld, Melissa McCarthy, Jim Gaffigan, Amy Schumer, et al)

And now for something very different!  Yet similar, in that I had to stream it because it wasn't released in theaters (damn you, Netflix!!!).  This is a wonderfully bonkers "origin story" for the Pop-Tarts breakfast treat, with no bearing on the product's real development but plenty of clever parallels to other real events, both historical and current (from JFK to Jan. 6).  The cast is full of top-notch comedic talent, from Seinfeld himself (who seems like an odd fit but is great) to McCarthy, Max Greenfield, Peter Dinklage and so many more.  It is just stuffed full of gags; not all of them land, but the cheerful, uncynical attempts will still make you smile.  Ignore the critics: this is one of the best pure comedies in years and well worth your time when you need a laugh.

6. Dune Part Two (directed by Denis Villeneuve; starring Timothee Chalamet, Zendaya, Rebecca Ferguson, Javier Bardem, et al)

Dune Part Two was the biggest, most epic blockbuster of the year that I saw in theaters (thankfully!), a cinematic experience more impactful than all but a handful of peers.  This sequel is again directed by Villeneuve, a fantastic filmmaker who's shown he can handle the big scifi stuff but also ground it in specific, unique, strange-but-not-off-putting styles.  And Dune is certainly a big, strange story, especially the second half of the book which this movie covers.  Villeneuve capably translates a lot of abstract and mystical writing into a comprehensible, cohesive (mostly) structure.  But the real draw is the visual and aural presentation of the desert world, even more impressive than in Part One; from the sensory overloading sandwurm riding to the magical, hallucinatory effects of the sand itself, it's immersive.  The story and characters may be forgotten, but the world will stay with you for a long time.

5. Furiosa: A Mad Max Saga (directed by George Miller; starring Anya Taylor-Joy, Chris Hemsworth)

Another desert-based epic, this one is even better!  George Miller improbably resurrected his 1980s scifi/ action franchise with 2015's Fury Road, and this one is nearly as good as that instant classic (better in some ways).  The female character introduced in 2015 is the star here, and Taylor-Joy, despite a slight frame, is sufficiently fierce and focused to resemble Theron's version.  Hemsworth is a great foil, perhaps the maddest of them all in the survival-of-the-fittest desert world, and is by turns humorous, villainous, and human.  As Dune is defined by its wondrous world, Furiosa is all about its virtuosic action sets.  There is some CGI, but most of it is practical effects (or looks it), and there are several ludicrously (in a good way) extended scenes.  Despite great critical reviews, it somehow bombed at the box office - make sure to see it now at home, at least.

4. The Order (directed by Justin Kurzel; starring Jude Law, Nicholas Hoult, Tye Sheridan, et al)

This one came out of the blue for me, popping up in my theater's showtimes; fortunately, I looked it up, gave it a chance, and enjoyed one of the best films of the year.  The story is based on true events in rural Pacific Northwest in the 1980s revolving around a white supremacist group's terrorist plot.  The structure is straightforward and tightly focused around a new-in-town FBI agent's growing investigation.  Jude Law is unbelievably good in the role, a stoic individual, not a superhero but very competent with unassailable integrity and concern for the public.  Holt is nearly as good as the leader of the white supremacists, chilling in his combination of almost normal family life with charismatic villainy among his followers.  This is ultimately a tale of remarkable law enforcement, resisting the temptation to preach a message or add Hollywood action.  Watch it for both great entertainment and enlightenment.

3. Challengers (directed by Luca Guadagnino; starring Zendaya, Josh O'Connor, Mike Faist)

Here is another film that came as a surprise to me, but likewise rewarded me for giving it a try.  The director has made some other notable films (Call Me By Your Name was nominated for Best Picture) but this is the first I've seen.  And whoa, he has a distinctive style.  Challengers is essentially an athletically, emotionally, and sensually-charged tale of the tennis and romantic competition of two young men and a young woman.  The tennis scenes are riveting, filmed in a variety of clever ways that make you feel the power of the shots and the sheer exertion.  The love triangle is just as intense; nothing close to X-rated scenes, but the actors' fully convey their passions both verbally and in body language.  The story also makes good use of a non-linear sequencing, so the way you feel about each character in the present keeps shifting based on what you see in the past.  Extraordinarily entertaining and well-made.

2. Deadpool & Wolverine (directed by Shawn Levy; starring Ryan Reynolds, Hugh Jackman, Emma Corrin, et al)

This was the only Marvel superhero movie release of 2024, but fortunately, it also turned out to be among the studio's best productions.  Marvel had fallen on hard(er) times lately, with diminished critical scores and box office results for its films, so it took a detour from its regular storyline, instead featuring two megastars from other superhero "worlds".  Reynolds' Deadpool and Jackman's Wolverine turn out to be excellent, hilarious partners.  This is essentially a third Deadpool movie in its tone and style - irreverent but not quite parody, raunchy and bloody but not grossly so - but Jackman does a great job of adjusting his character to fit into it, while staying true to the Wolverine we've known from nine (!) previous movies.  If anything, D&W pokes fun at the Marvel franchise more than advancing its story, and instead focuses on being a great action-comedy for everyone (from boy band-scored battles to beef-settling in the family minivan).

1. Saturday Night (directed by Jason Reitman; starring Gabriel LaBelle, Rachel Sennott, Cory Michael Smith, Matt Wood, Cooper Hoffman, et al)

The best - and my favorite - movie of 2024 was about one of my favorite TV shows, Saturday Night Live.  Like many of the best historically-based films, this is focused on a very specific time frame - here, it is appropriately the 90 minutes leading up to the first episode of SNL (a show that runs 90 minutes).  The film deftly includes a variety of storylines and themes, but the main one tying it all together is the joyous chaos of bringing a creative production to life as a community.  We follow Lorne Michaels, the creator and producer of SNL, as he attempts to juggle the eccentric personalities of his stars, the high-pressure demands of his studio bosses, and the general chaos of the set.  Most of the action is behind the scenes, in the halls and offices of Studio 8H; there's plenty of compelling drama, both showbiz and personal, as well as much great humor.  We also get regular glimpses of the SNL sketches being rehearsed, and the actors portraying the original cast are top-notch.  The ending, which is technically the actual launch for SNL, is surprisingly tense with uncertainty and provides a poignant send off.  So well made from top to bottom, Saturday Night is highly recommended for all audiences and my favorite movie of the year.

Honorable mentions:  The Wild Robot, The Ministry of Ungentlemanly Warfare

Most Underrated Film of the Year:  Unfrosted

This made my top-10 of the year, and it's a crying shame that it was not released in theaters (damn you, Netflix!!).  Unfrosted got quite a chilly critical reception, with just a 40% Rotten Tomatoes score.  I'm not sure what they were expecting?  If you go into it looking for a remotely realistic founding story for the legendary Pop-Tarts breakfast treat, you will indeed be disappointed.  But if you are looking for a ridiculously silly and fun time, you will be hard-pressed to find anything better than this.  They throw a lot at the wall and sure, not all of it sticks, but its heart is in the right place.

  

Most Overrated Film of the Year:  Thelma

This movie offers a fascinating comparison to Unfrosted.  Thelma should have been much closer to Unfrosted in its silliness and fun than it was.  Was it bad?  No.  But it got a 98% on Rotten Tomatoes, which is insane for a movie that is "meh" at best.  Maybe I simply had the wrong expectations going into this, like critics apparently did for Unfrosted.  But honestly, I can think of more situations where I would actively avoid this movie than those in which I would seek it out.  It has moments of silliness, sure, but it has about as many heavy or even depressing ones.  Be warned.

Most Surprisingly-Good Film of the Year:  Red One

I almost put this as my most underrated movie, and you could easily swap categories between this and Unfrosted.  Red One got an even more miserable critical score, at 30% on RT - BUT, it has a 90% score from audiences.  I mostly went to go see this in theaters (Amazon made this but they DID release it in theaters and not just streaming - see, you can do both, Netflix, wake up!!!) because I was desperate for something fun in what had been a pretty barren year.  I was fully prepared for this to be an action-comedy holiday with big stars cash-grab.  But... it wasn't.  Certainly there were better movies this year, but Red One is MUCH better than it has any right to be.  Dwayne Johnson and Chris Evans are perfect for their roles and clearly are having fun and applying their considerable talents.  It's not quite a Christmas classic, but I can certainly see myself revisiting this in years to come.

Most Disappointing Film of the Year:  Gladiator II

Sequels are usually difficult, and sequels coming twenty-plus years after the original are even more so.  Still, the original Gladiator was so good that I had to try this, especially with director Ridley Scott returning.  Well, so much for my hopes that GII could pull off a successful reincarnation anything near the level of George Miller's new Mad Max movies.  This movie has many problems, most especially: way too beholden to the original (callback moments, characters and plotlines galore), and poor writing and acting (especially the new hero, Maximus's son, played by Paul Mescal).  The only thing saving it from being a complete failure is Denzel Washington, who is phenomenal as always.  He gives you hope that the movie might eventually get its act together (which it doesn't).

Worst Film of the Year:  Argylle

This was the first 2024 movie release that I saw in theaters, and fortunately, everything after it got better!  The previews made it seem like a fun action-comedy in the vein of 2014's Kingsman: The Secret Service which I loved.  This time, I agree with the critics (33% on RT) giving it a bad score - but I would have gone even further.  The acting and writing are both atrocious despite featuring people who we know have some talent.  It is so derivative, uncreative, and glaringly predictable that it is 2 hour-20 minute running time feels even more excruciating.  Apple has made some quality, fun movies (see Wolfs from my top-10, Napoleon from last year, etc.) but this was a complete, epic fail.

(other) Movies I Streamed in 2024:

• Roadhouse (B).  I haven't seen the original, but in its own this is quite a fun action movie, its story definitely reminiscent of other 80s flicks.  Gyllenhaal is good as always, and the movie elicits more human sympathy than most other in the genre.
• Jackpot! (B).  This is an uber-silly movie similar to Unfrosted, but not as good.  Still, Awkwafina (who can be a bit grating) is a good choice for a woman who wins the lottery - one that allows other people to kill you to take your winnings.  John Cena plays a silly but fun protector.
• Hit Man (B).  This was one of the hottest streaming movies of the year, though I think it's a bit overrated.  Yes, rising star Glen Powell is pretty fun and has some range as a professor turned police undercover disguise contractor.  But it could/should have been even better, and the ending was revolting to me.
• Will and Harper (B).  Will Ferrell stars as himself in this non-comedic documentary following him as he goes on a road trip with a recently-transitioned old friend.  There are some poignant moments but it felt a bit slow to me and somewhat directionless at times.
• IF (B-/C+).  Even Ryan Reynolds's considerable charm and talent can't save IF (Imaginary Friends) from drowning in a cloying story whose whimsy, which should be the main attraction, is really not that interesting.  Should have dumped the serious/sentimental elements and gone Unfrosted-style uber silly.
• Lift (C+). I honestly don't remember this one very well, which tells you something. But you could do worse for a different kind of action movie that has a few chuckles (though not nearly as many as you'd expect with Kevin Hart starring).
• The Beekeeper (C).  Typical Jason Statham action movie - if you've seen one, you'll pretty much know what to expect from this.  However, I'm downgrading it even from that modest standard since the finale felt to me like it was leaning way too much into MAGA-type conspiracies.

Other Movies I Saw in Theaters:

• The Fall Guy (B+)
• Kingdom of the Planet of the Apes (B).  Saw this in a "cheap" theater, didn't write a review. It was fine with some interesting ideas and decent action; certainly better than the disappointing War of the PA (which seemed like it would be the final film in the series... I should know better!).
• Inside Out 2 (B)
• Kong x Godzilla: New Empire (C+).  Didn't write a review because there's not a lot to say.  It is even more ridiculous than the other new Godzilla movies.  But it certainly had some entertainment value from the sheer scope of the visuals and action.  If you didn't see it in the theater, though, don't bother.
• Venom 3 (C)
• Madame Web (C-).  This is a pretty terrible movie, as just about everyone seems to agree.  The director needed a "Spidey-sense" that this was going to be bad, and just made it one of those "so bad it's good" movies.  Instead, the awful acting, dialogue, story, etc. isn't balanced out at all by any fun zaniness.

* By source: https://images.app.goo.gl/smFHYfmgYVScLGpSA

2024 "On Your Left" Film Awards

 

2024 "On Your Left" Film Awards

As I do every year, I am writing about the best performances in film (that I saw).  Frankly, this was kind of a down year, both for my watching and the movies in general.  I have only seen one of the nominees for Best Picture this year, though I usually see at least half of the nominees.  Theaters around me simply have not been screening the nominees, and I haven't been in the mood to watch them at home.  Still, there were some impressive accomplishments to highlight from 2024.

For this Oscar-style awards post, I'm sticking with my rule that only films I've seen are eligible.  I will only bother to make note if I watched a performance but chose not to nominate it.  Otherwise, I'd be making a lot of "didn't see it" notes!  Other than that, if it's eligible at the Oscars this year, it's eligible for me.

Please also check out my year-in-review post with my top-10 movies of the year, most overrated and most surprising movies, and more, too!

Winners in bold

Runners-up underlined

Best Actor

Mike Faist (Challengers)

Hugh Jackman/Ryan Reynolds (Deadpool & Wolverine)

Gabriel LaBelle (Saturday Night)

Jude Law (The Order)

Josh O'Connor (Challengers)

Honorable mentions: George Clooney/Brad Pitt (Wolfs)

I didn't see any of the Best Actor nominees this year (this will be a trend), so it's a random assortment here.  One mini-theme was an emphasis on co-leads, or even just ensembles without a single clear lead.  Clooney and Pitt brought their Ocean's Eleven-style fun to Wolfs (which had its theatrical run nixed by Apple - BOOO!!!), but you can't top the delirious, irreverent joy of Jackman and Reynolds finally teaming up in Marvel's only 2024 movie.  Gabriel LaBelle was great as the put-upon but determined Lorne Michaels in a cinematic portrayal of the lead up to SNL's first episode.  And it's appropriate to return to duos for runner-up, which is a tie between the leads in Challengers, friends turned rivals (athletic and romantic) who exude raw emotion in every frame and keep you riveted.  But it's Jude Law who wins it for me, thanks to a committed but wonderfully understated role as an FBI agent hunting white supremacists in The Order.  He had to keep it subtle and he did, bringing a grim no-nonsense presence that is a tribute to real-life heroes.

Best Actress

Emily Blunt (The Fall Guy)

Scarlett Johansson (Fly Me to the Moon)

June Squibb (Thelma)

Anya Taylor-Joy (Furiosa: A Mad Max Saga)

Zendaya (Challengers)

I must admit, my movie-going in 2024 featured a paucity of lead female roles.  June Squibb was fine in the (overrated) quasi-action-comedy Thelma, but qualifies for the list for lack of better options.  Emily Blunt was quite sharp, however, in The Fall Guy, perhaps sneakily the best part of the film; I only wish they'd given her even more to work with.  Scarlett Johansson did get a suitably large role, but also the added difficulty of having to cover for a God-awful performance from Channing Tatum; she is a bona-fide star leading lady, handling a wide range of demands with ease.  Anya Taylor-Joy gave a fully committed, fierce performance in the action epic Furiosa, proving herself worthy of Charlize Theron's earlier portrayal of the role.  And it was Zendaya in the actors showcase of Challengers who rose above them all.  She was completely believable in the role of tennis prodigy-turned-power broker.  She is powerful yet vulnerable, kind-hearted and forgiving yet flawed and at times ruthless.  She anchors the turbulent film and its emotions and is oh so human in doing so.

Best Supporting Actress

Adria Arjona (Hit Man)

Rebecca Ferguson (Dune Part Two)

Eiza Gonzalez (Ministry of Ungentlemanly Warfare)

Rachel Sennott (Saturday Night)

Hannah Waddingham (The Fall Guy)

Adria Arjona (Good Omens) showed again that she has charisma to spare in the action rom-com Hit Man, providing the film a crucial strong opposite to the undercover professor.  Eiza Gonzalez similarly helped Ungentlemanly Warfare rise above being just another WWII action flick with the subtle skill and professionalism of her spy - and ability to up the intensity to go toe-to-toe with Nazis.  Ferguson was just as good in Dune Part Two as she was last time as hero Paul Atreides' mystical mother; the story crowds her out more in this one, unfortunately, but she also gets some even stranger but fascinating scenes.  Waddingham, following her star turn in Ted Lasso, makes for an over-the-top but hilarious producer/ villain in The Fall Guy, joyfully subverting expectations for who the main baddie is in this type of film.  My favorite supporting role of the year was for the most dramatic, but also the funniest, in Rachel Sennott's Rosie, co-producer of SNL with her husband, Lorne Michaels.  She shows herself at least as competent and talented as her more famous spouse, with a well-honed skill for managing chaotic sets and personalities.  She and LaBelle's Michaels also share brief but poignant moments of a relationship on the rocks.

Best Supporting Actor

Chris Hemsworth (Furiosa: A Mad Max Saga)

Nicholas Hoult (The Order)

Babs Olusanmokun (Ministry of Ungentlemanly Warfare)

Cory Michael Smith/Matt Wood (Saturday Night)

Denzel Washington (Gladiator II)

Honorable mentions: Hugh Grant (Unfrosted), Jim Rash (Fly Me to the Moon)

This was the richest acting category of the year, among films I saw.  I have to give shout-outs to Grant and Rash for their small but devastatingly hilarious roles in Unfrosted and Fly Me to the Moon, respectively; both movies are really funny overall (and much better than their critics' ratings) and these two are great examples why.  Olusanmokun is Gonzalez's counterpart in Ungentlemanly Warfare and a great one at that; he takes the secondary role in the pair but the combination is great.  Hemsworth, maybe inspired by being unleashed in the latest Thor movies, goes bonkers with the villain in Furiosa; twisted and cruel, he still makes the part nuanced enough that it's also fully human, too.  Speaking of twisted and cruel, Denzel Washington was the only great thing about the long-awaited Gladiator sequel; he provided a great tonal and quality level that the rest of the film sadly would/could not match.  Hoult is cementing himself as one of the very top actors in Hollywood today, this time with an absolutely chilling rendition of a real-life white supremacist in The Order; he makes the criminal seem almost normal at times, but shows all-too-much talent for drawing others to his vision and brutally carrying it out.  I am cheating with the winner, which is essentially the ensemble from Saturday Night (semi-led by Michael Smith's Chevy Chase and Wood's Belushi).  From the main cast of SNL stars we all know and love to a rich list of behind-the-scenes gophers, producers, and hustlers, they made this the best film of the year.

Best Director

Luca Guadagnino (Challengers)

Shawn Levy (Deadpool & Wolverine)

George Miller (Furiosa: A Mad Max Saga)

Jason Reitman (Saturday Night)

Denis Villeneuve (Dune: Part Two)

Shawn Levy helped pull off two neat tricks in 2024's only Marvel movie: he combined two major (and fan-favorite) heroes cohesively, and he reassured fans that Marvel could still bring mega-entertainment by stretching the boundaries of the genre.  George Miller somehow keeps it up, almost fifty years after creating the Mad Max series; here he wisely focuses on the 2015 entry's best new character, but kept the stunning, extended practical-effects-based action scenes that are at the peak of blockbuster thrills.  Denis Villeneuve also continues to show his skill, as among the top auteurs of the past decade or so; he makes the abstract, almost hallucinatory second half of the classic Dune novel comprehensible but also keeps a lot of nuance in creating a more sophisticated blockbuster.  I am a newcomer to Guadagnino, a rising director, but he immediately showed how to supercharge the intensity of a cinematic drama, from coaxing riveting performances from his young trio to choreographing his sports (tennis) scenes in awesome new ways.  Topping them all is Jason Reitman, whose Saturday Night was my favorite film of the year.  Yes, I am an SNL fan anyway, but this film gave an extraordinary view of the creative chaos and enormous number of levels at which a production must function to succeed.  Yet Reitman holds it all together, and - crucially - keeps it funny throughout, as any SNL-based work should be.

* From https://images.app.goo.gl/LQVUsq5MkcJVkdWY9

Captain America: Brave New World

 

Score:  A-/B+

Directed by

Starring Anthony Mackie, Harrison Ford, Danny Ramirez, Shira Haas, Giancarlo Esposito

Running time: 118 minutes

Rated PG-13

Long Story Short:  Captain America: Brave New World is the fourth Captain America movie - but the first starring Sam Wilson (Mackie) in the role - and a very solid entry in the overall Marvel superhero world.  Mackie's Wilson is a worthy successor to the shield and red-white-and-blue, even if he needs more time to become an icon of his own.  The story has a gripping (fake) political element that carries over from earlier movies, and the action is top-notch (and fortunately, less fantasy-based).  Highly recommended for theater viewing, Marvel fans or otherwise.

Sam Wilson (Mackie) is getting used to his new status and responsibility as Captain America, a role he has taken up from his old friend, Steve Rogers.  Complicating the transition is a new President, the former General Thaddeus Ross (Ford) who has long been opposed to superheroes operating outside of government control.  So Wilson cautiously decides to work with President Ross, but an attack on the White House causes an international crisis.  Both Wilson and Ross have long histories in major world events, and in Ross's case, many skeletons in his closet, some of which are threatening to come out into the open.  Not superpowered like Rogers, and without a team of Avengers around him, Wilson must rely on his wits and courage to avert all-out war.

Captain America: Brave New World is a solid return to a more standard superhero movie for Marvel; not as good as some of the originals, but entertaining and well-made.  Even though it replaces Evans's Rogers for Mackie's Wilson in the title role, this sequel retains much of the tone and style of the earlier movies: political intrigue-based story with more grounded stakes yet pleasingly hard-hitting action.  It's a nice change of pace since much of post-Avengers Endgame (2019) Marvel has emphasized more of the fantasy or sci-fi elements.  The story also continues Marvel's interconnected themes: among others, Ross was first introduced seventeen (!) years ago in The Incredible Hulk and there is an artifact from Eternals (2021).  You'll get more out of movie if you have followed Marvel's oeuvre, but it's not essential.  The most interesting idea in Brave New World is making Ross - an ordinary man trying to keep the peace and order in a superhero/villain-filled world - a complex, nuanced figure, neither good nor bad though quite flawed.  Wilson's character, unfortunately, doesn't get quite the same attention but is still intriguing as both a Black man taking on an iconic white hero's role, not to mention being a "normal", one-time sidekick trying to do so.  Again though, if you've seen previous works (especially Disney+'s The Falcon and the Soldier), you'll have a very good foundation for the character.  Mackie is very good as Wilson in a tough role.  He has developed a distinct persona and has grown to meet his new role, but he's not (yet) as brilliant as the original cast of heroes (RDJ's Iron Man, etc.).  Ford is great too, of course; while it feels a little odd since Ross was previously played by William Hurt (who died 2022), it's also somewhat appropriate since the character is different and more central here.  Esposito is unsurprisingly awesome as a minor villain (who could and should return!); Lumbly is still excellent as an old veteran/super-powered mentor (a great partner for Wilson); and Haas is interesting as head of security, and neat that she's a former Black Widow assassin (another callback).  My only gripe with the cast is Ramirez as Torres.  He's OK at best, but the movie really could have used a great new sidekick for Wilson, someone much funnier and/or more distinct; too often Torres is merely kind of annoying.

Brave New World's action is very high-quality and creative, with several different varied set pieces that don't blur together or drag on so long as to get numbing or boring.  Wilson's Captain America is an interesting hybrid who is his own hero: he still has Falcon wings (now with Black Panther's vibranium metal), plus an Iron Man-lite suit for tech/armor, and of course the shield.  This setup is versatile for fight scenes both high-flying and hand-to-hand, powerful but not ridiculously so.  The first fight shows off his abilities and skills, but also gives him a serious challenge and we see more of this later sprinkled throughout, just the right amount.The final fight against Hulk - which is frequently shown in ads/ previews - is better than I expected, as it effectively reminds us how powerful Hulks are and leads to a tense showdown with Captain America that features plenty of damage but not utter disaster-level.  Humor, another Marvel trademark, is not as good here, though the movie provides some chuckles.  The writing just isn't quite as snappy as the originals with their great banter and memorable one-liners; the dramatic dialogue isn't fantastic, either, but at least it manages to avoid being bad or cheesy.  Overall, this is a strong Marvel film: one that stands on its own with a self-contained story, yet is also strengthened by movies/shows that came before it and provides seeds for future development.

***

Captain America: Brave New World met my hopes for Marvel's "return" in 2025 (2024 had Deadpool & Wolverine, which was fantastic, but felt separate from the rest of the so-called MCU).  I already had confidence in Mackie and his ability to be the new Captain America, but I wasn't sure if the movie around him would do him justice.  Fortunately, in just about every way, it did.  I'll admit that it feels like it comes up a bit short to movies like Iron Man and the first Captain America, though part of that could just be my nostalgia.  Now that we (at least, I) can rest assured that Marvel is just fine still on the fundamentals of movie making, I do hope that they'll continue pushing forward with new stories, themes, and ideas, like it did here with a Black man taking up Cap's shield.  With two more Marvel movies to come this year plus probably at least a series or two, we shall soon see.  In other movie news, I saw One of Them Days recently (very entertaining!) but haven't written a review yet; I hope to do a mini-review sometime soon.  With the fallout from the pandemic and the 2023 writers' and actors' strike well behind us now, I'm optimistic for the rest of 2025.  Until next time!

* By https://dam.gettyimages.com/thewaltdisneystudios/allaccess/#!asset/28ks3rpv49gp7cmxc48t8rt, Fair use, https://en.wikipedia.org/w/index.php?curid=73349947

The Order

 

Score:  A

Directed by Justin Kurzel

Starring Jude Law, Nicholas Hoult, Tye Sheridan, Jurnee Smollett

Running time: 116 minutes

Rated R

Long Story Short:  The Order is a thriller based on a true story from the 1980s, with a lone FBI agent doggedly unearthing a deadly den of far-right fanatics.  It is exceptionally well made and riveting, with a strong focus on both the agent's hunt alternating with a close look at white supremacist culture.  Jude Law is fantastic as the lead and Hoult as his foil, along with the rest of the cast.  Not for the faint of heart, but this is a diamond in the rough - highly recommended.

In the early 1980s, Terry (Law), an FBI agent, is assigned to a backwater station in rural Idaho.  As he awaits the rest of family to join him there, he gets a sense of the region, meeting the police department and the locals.  For a sparsely populated area, Terry's new territory is buzzing with menace as there has been a string of bank robberies and a far-right conspiracist militia has been ensconced for years, one that is strong enough to make even law enforcement hesitant to monitor it.  Newcomer Terry is undeterred, however, and as his investigation intensifies, so does the chaos and violence.  Terry finds some brave allies in the area, but faces an uphill battle in a nationally-overlooked yet volatile situation.

The Order is a thrilling re-enactment of a true story from just forty years ago, combining excellent performances with a focused narrative and pulse-pounding action.  The movie is tightly focused and straightforward.  The focus is almost entirely on Terry's hunt for the violent perpetrators, with effective and nuanced sketchings of the characters that are more than enough to breathe life into the story.  It's also impossible to miss the story's relevance today, with its growing far-right groups restless for action, but the movie handles this effectively and powerfully, by showing rather than telling.  The portrait of the far-right is not limited to just violence, but also shown through quieter scenes of the far-right group in daily life (which feels normal in many ways, but with horrifying exceptions, like 7-year olds target shooting with assault rifles, etc.)  These alternating thriller and observational elements are expertly interspersed for a well-paced and engaging ride.  The acting is also outstanding across the board.  Jude Law is fantastic as the lead: even though his character is stoic, he does it in a very distinctive way and is both rough-edged and grimly focused but also thoroughly a good guy with integrity - and in a realistic, non-Hollywood-like way.  Hoult is one of the best rising actors of the last decade or so and is phenomenal again here as the creepily charismatic and cunning far-right leader.  He is obviously twisted yet still human (the movie wisely gives him some "regular" scenes with his wife and children).  The supporting cast is great, too, with Sheridan as Terry's fresh-faced but determined sidekick; Smollett as Terry's jaded boss; Maron as a beleaguered local radio host; etc.

The action is great: always tense, because it is realistic and modestly scaled.  Most of the action takes the form of bank robbery-type situations.  It manages to translate the fear for the victims involved even though few people are wounded or killed - and because of that, there is extra horror when there are casualties.  We get to see Terry's skill and courage without him seeming like a "superhero": he just tries to do the right thing (successful or not), using whatever he has at his disposal.  Several times, sheer luck is his best ally.  Finally, the movie shows a range of far-right individuals and communities, united by a chillingly alien, brainwashed attitude in their self-certainty and righteousness (we see kids giving the Nazi salute, etc.).  There's the "old school" insular, isolated community that uses plenty of harsh words but mostly works to keep its own power; and far more dangerous radicals determined to inflict bloodshed on the rest of world.  There are no monologues here about the perils of far-right groups or their conspiracies - because it's enough to simply show what they believe in and will do to bring about their world view.  A fitting end awaits for the villainous Matthews: a futile last stand, and a dream going up in smoke.

***

I had never even heard of The Order before I saw it listed in my local theaters showtimes.  I looked it up and saw that it had good reviews and was a historically-based thriller - sign me up! I thought.  Fortunately, this turned out to be one of those pleasant surprises I was hoping for as 2024 comes to a close.  I hope that the movie gets some Oscar awards considerations, as it's one of the best of the year.  Side note: I saw that this was distributed by Amazon, and while I dislike their retail business, I am glad that the film business does so much to support great creative work like this (and Manchester by the Sea, etc.) - particularly by releasing them widely into theaters rather than hoarding them for streaming (*I'm staring you down, Netflix and Apple*).  I'm not sure if I'll be back in theaters again before January, but we'll see!

* By http://www.impawards.com/2024/order_xxlg.html, Fair use, https://en.wikipedia.org/w/index.php?curid=78124937

Gladiator II

 Score:  B-/C+

Directed by Ridley Scott

Starring Paul Mescal, Denzel Washington, Connie Nielsen, Pedro Pascal

Running time: 148 minutes

Rated R

Long Story Short:  Gladiator II attempts to bring back the historical grandeur and visceral thrills of the 2000 classic, but fails.  Denzel Washington's trainer/manipulator provides a compelling and entertaining presence, but mostly the movie tries to both recreate the original while also moving it forward, leading to pointless and dull circling.  Mescal is a far, far cry from Russell Crowe and even the action is mostly a disappointment.  Skip this, at least in theaters. 

Lucius (Mescal), a soldier in Africa, is forced into slavery following the Roman Empire's conquest of his home.  He and others are brought to Rome to become gladiators, a blood sport in which the contestants kill each other for the entertainment of massive audiences in the Colosseum.  The twin, mad emperors of Rome have begun a gladiatorial tournament in honor of their army's latest conquest.  Lucius is purchased and trained by Macrinus (Washington), who sees a level of skill and passion in Lucius that he believes will bring him glory - and wealth.  While Lucius struggles for both survival and vengeance against his captors, at the other end of Roman society, former emperor Marcus Aurelius's daughter, Lucilla (Nielsen), ponders and plans with her husband, general Acacius (Pascal), how to end the vicious cycle of violence.

Gladiator II is a failed follow-up to the classic 2000 original, both trying too hard to mirror it and also coming up short in most cinematic areas, from acting to writing.  The structure of Part II is familiar but also odd - it seems to want to be both sequel to and remake of Gladiator.  By that I mean it follows most of the overall plot structure of the original (and doesn't waste any opportunities to squeeze in call-back moments).  Yet it also tries to move the plot of the original forward, using both "new" (essentially replacement) characters and old, which gives the sensation of spinning its wheels in the mud.  The best part of the movie by far is new character Macrinus, played by Denzel, as both Lucius's trainer and mentor as well as a political player.  His acting is great, of course, and the character also has much more complexity and nuance than any other character.  The others, both actors and characters, are mediocre to poor.  Mescal as Lucius is a pitiful shadow of Crowe's greatness as Maximus; he is much more annoying than heroic.  He may have physical prowess but is a dull to off-putting character.  It's also tough to watch Lucilla's (Nielsen) larger role here.  Trying to expand a minor role into a lead is tricky at best, and the attempt fails badly here; it just feels forced all around.  The twin emperors are kind of entertaining in their sheer madness, though they get little screen time; Pascal is charismatic as usual but is given an extremely generic role with little to do  Overall, the movie tries to check all the boxes of character roles from the original (and accentuate the violent "manliness" of gladiators, presumably for the "bros").  Except for Macrinus, it all comes off as artificial and/or poor imitation.

The main draw is the action, of course, and overall it's fine; some is great, some is fine, but quite a bit is disappointing, too.  The opening war scene (again, mirroring original movie) is tremendous with excellent visuals and intensity but in a much different setting from the original, raising hopes for the rest of the film.  Most of the gladiator scenes are disappointing, though; there are some interesting ideas here and there, but most of the scenes are too short.  It would have been much better to jettison some fights altogether (and some of the tired ideas) and extend the good ones, in my opinion.  The final gladiator scene is absurd, too, departing the fairly realistic if entertainingly-heightened style of the original in favor of an almost fantasy setup.  I did like that the finale avoided what could have been an even bigger bloodbath, even if it also resulted in an ending that felt rather sudden and empty.  Along with the uneven, at best, acting and action, the writing and directing (by legend Ridley Scott!) is subpar thanks to cliched dialogue and poor pacing.  Finally, the sequel doesn't even have a great score to fall back on, like the original's from Hans Zimmer: the music didn't stand out to me at all here.

***

When I first heard there would be a sequel to Gladiator, my first reaction was skepticism, which I should have held onto.  But with a dearth of interesting movies this fall, and finding out Denzel Washington was in it, I decided to give it a chance.  It's a great example, if nothing else, of why Hollywood should stop making so many damn sequels and remakes.  I'm not opposed to sequels and remakes in general - I watch and enjoy many of them.  But the desire to rely on the comfortingly familiar elements in them is often too tempting.  The director, writers, actors, and all involved must be even more alert to the fundamentals of good filmmaking and trying to make a solid work that can also stand by itself.  Gladiator II largely fails in all of these things.  Hopefully there will be a few more movies to see before the end of the year in order to end 2024 on a better note!

* By IMP Awards, Fair use, https://en.wikipedia.org/w/index.php?curid=77311566

Venom 3 + Red One

 

   

Red One

Score:  B+

Directed by

Starring Dwayne Johnson, Chris Evans, J.K. Simmons, Lucy Liu, Kiernan Shipka

Running time: 123 minutes

Rated PG-13

Following in a recent trend of Christmas action-comedy movies, Red One brings some serious star power and does so in a surprisingly effective and entertaining way.  The movie's world is clever, putting Santa and the North Pole in the midst of a human world-myth world security and intelligence network.  A silly concept, of course, but the movie takes just the right balance of tone between tongue in cheek with enough seriousness to be compelling and even tense at times.  The cast is also very well chosen: Dwayne Johnson is perfect as the head of Santa's security; it's basically his usual schtick, but it fits naturally here.  Chris Evans is also great as more of a cunning, sly ne'er-do-well, which also makes for a great holiday-style redemption arc.  The dialogue is snappy and funny throughout, with neat nods and tie-ins to its various components (Christmas, The Rock's movies, etc.); not surprising, as Red One was directed by Kasdan who made the impressive Jumanji reboot and several TV comedies.  The action is fun, too, but it's the inventive world, committed and well-suited star performances, and even some holiday cheer that make this a great trip to the theater.

Venom: The Last Dance

Score:  C

Directed by Kelly Marcel

Starring Tom Hardy, Chiwetel Ejiofor, Juno Temple

Running time: 109 minutes

Rated PG-13

Venom: The Last Dance is, apparently, the last in the superhero trilogy of anti-superhero Venom, a combination of human Eddie Brock (Hardy) and a symbiotic shape-shifting alien.  While the series has had entertaining moments and its main character is a nice change of pace in the genre, I'm not sad to see it end, particularly on this "blah" note.  The Eddie-Venom dynamic is the most interesting part of the series, but this movie strangely only has a few moments that focus on them.  Instead, much of the screen time is devoted to a whole new (dull) villain that is chasing after the main duo.  Worse than this unimaginative setup is the final, incomprehensible sequence when the internal "rules" of the world go out the window (Symbiotes can be eaten but... survive? Each character seems to get "killed" multiple times), ruining any suspense.  Venom still provides some chuckles from his untamed, predatory yet not-quite villainous persona, and some of the action is fine.  But mostly, it's a mess with little pay off.

***

It's been a pretty slow fall for movies so far, and I wasn't even going to write a review for Venom 3 at first.  But I thought it served as a nice contrast with Red One: while Venom seems a cash grab using its star and genre but serving audiences poor to mediocre results, Red One rises well above its seeming cash grab origins to provide a very solid, entertaining, and distinctive experience.  Fortunately, Red One just came out so you should still have a chance to catch it in theaters.  There are a few other movies coming out in the last month or so of the year - notably Gladiator 2, which I will see and review soon.  Hopefully the year will end on a high note at the theater!

* By SocialNewsXYZ, Fair use, https://en.wikipedia.org/w/index.php?curid=77071925

* By Dwayne Johnson's Instagram post, Fair use, https://en.wikipedia.org/w/index.php?curid=77219523

Saturday Night

 

Score:  A

Directed by Jason Reitman

Starring Gabriel LaBelle, Rachel Sennott, Corey Michael Smith, Matt Wood, Lamorne Morris, et al

Running time: 109 minutes

Rated R

Long Story Short:  Saturday Night is a well-conceived origin story for the storied NBC comedy show, putting audiences right in the thick of the chaos of the first episode.  The cast of mostly unknowns does great work - it's the characters themselves that we all know, and everyone from leader Lorne Michaels to volcanic Belushi to an overwhelmed aide are compelling to watch.  Combine this with a great script, direction, music, and more, and you have both an entertaining and Oscar-worthy trip to the theater.  Highly recommended.

October 11, 1975: it's 10:00 PM in New York City, and Lorne Michaels (LaBelle) has just arrived at 30 Rockefeller Plaza to launch a strange new late-night comedy show.  The problem is, well, everything.  Michaels finds out that NBC affiliates from around the country have come to see the show's debut in person, led by legendary NBC executive David Tebet (Dafoe).  The show's cast is mostly in place, although Belushi (Wood) still refuses to sign his contract, some wonder what the hell is going on, and others fret that their sketches will be cut.  Plenty more obstacles must be overcome in order to launch their live show at 11:30 PM, mostly having to do with the unique, not quite definable nature of the show.  But there is a lot of talent and willpower on set as well, and the various forces collide all the way up to the last minute.

Saturday Night is a wildly entertaining, very well-made, and highly appropriate origin story movie for the legendary SNL (now celebrating its 50th season!).  The structure is its main strength: it all takes place in the 90 minutes leading up to the first broadcast (mirroring the show's is 90 minutes run time).  This gives the movie urgency and, yes, a feeling of being live and in the moment.  We get just enough backstory/exposition to understand what's going on but the movie is mostly about the nuts-and-bolts chaos of actually putting this crazy thing on air.  The events portrayed are also a very nice mix: the movie mostly follows Lorne Michaels, who created SNL, though it focuses on others, too.  The primary lens shows Michaels dealing with his cast members and crew both on stage and behind the scenes.  We get just enough of the "bigwigs" to portray the stakes involved: how slim SNL's chances were of success and how ready the execs were to pull the plug.  There's also a perfect amount of re-enactment of SNL sketches being rehearsed, sprinkled throughout the movie: they are brilliantly and hilariously shot, from Weekend Update to Billy Preston to the construction workers sketch and more.

The cast and the vibe of the film are perfectly suited as well, drawing audience in closely to the events.  LaBelle is great as Michaels; he's certainly nowhere near as charismatic as the cast, rather he is a combination of audience surrogate as well as a distinct character with sheer grit and determination as well as the kind of cool under pressure leader the show required.  The actors playing cast members are fantastic, from Belushi to Chase to Akroyd to Radner, Curtin and Morris.  They all show both comedic chops on stage but also are believable as "real" people off stage.  There are plenty of great non-cast member roles, too: Sennott as Shuster, Michaels's wife (in a rocky time) and a writer/co-leader of show who appears just as visionary as him; a put-upon Dick Ebersol; fiercely funny and passionate head writer Michael O'Donoghue, Dafoe, Simmons, etc. etc.  It's amazing that the movie could fit in all these characters so well (plus a few intriguing "cameos").  The script is excellent, both for comedy (few direct jokes - mostly just natural humor) and for the inner workings of a TV production.  The overriding vibes of the movie are fun and excitement; it's easy to root for Michaels and Co. to succeed, and feel drama even when knowing the final outcome.

***

Saturday Night is the first drama of the season I've seen, and it was a great way to start!  I've been a fan of SNL for years, which perhaps biases my opinion.  But I feel the movie really captured the essence of the show well.  Does SNL always work and is hilarious? No - it's often just OK, or even bombs at times.  But there's a constant feeling of upbeat, fun, positive energy from the show, and it keep me hooked - and that comes through in the movie Saturday Night, too.  Now, beware that, just like the show, the movie gets a bit raunchy at times - and there's a fair bit of cursing.  This is just a really fun ride, though, with all the elements clicking together so well.  It might be too late to see it in a theater, but catch it on streaming if you can!

* By Columbia Pictures - https://x.com/DiscussingFilm/status/1821568411362795671, Fair use, https://en.wikipedia.org/w/index.php?curid=77575339