Reel Review Roundup

M3gan (M)

Directed by: Gerard Johnstone

Starring: Allison Williams, Violet McGraw, Ronny Chieng

Review by: Julian Wright

Killer dolls and self-aware AIs are not exactly groundbreaking story ideas by this point, but M3gan proves there is still life in them by leaning into the silly and camp factor.

When young Cady’s (Violet McGraw) parents are killed in a car accident, she is left in the care of her estranged, single, childless, workaholic Aunt Gemma (Allison Williams).

Gemma is currently knee deep her latest project at work – a Model 3 Generative Android (M3Gan) – a life size doll that is designed to be a life-like friend to the child it is assigned to.

Perfect for the grieving and lonely Cady, who warms to her new friend immediately.

But this M3gan prototype may have been brought out of the lab a little too early – as her over-protectiveness of Cady grows, so does the body count.

James Wan is on a roll at the moment with his wild style of horror storytelling. Recently he had us in hysterics with jaw dropping twist in Malignant, and now he has concocted the hilarious M3gan.

Writer Akela Cooper and director Gerard Johnstone take Wan’s story idea and crank it to 12 on the ridiculous scale.

Instead of bending over backwards trying to make a lifelike doll terrify us (Annabelle has the market cornered at the moment), they play up the laughs and absurdity first.

The much meme’d and gif’d trailer is just the beginning of some of the left field antics M3gan gets up to (the bizarre dance is only a fraction) and it is best to go in unspoiled for maximum enjoyment.

Just note that you do need to tune into the same nutty wavelength as this film to fully appreciate it.

And yet one of the biggest surprises of this film is just how unexpectedly rounded and well-performed the characters are. there was enough effort put into grounding this wild ride as there was ensuring that it was indeed a wild ride.

Wan and his team are unafraid to go batty and for that we are immensely grateful; a killer doll with a nasty streak and the sas and wit of a precocious 12-year-old? Sign us up for 10 more!

Operation Fortune: Rude de guerre (M)

Directed by: Guy Ritchie

Starring: Jason Statham, Aubrey Plaza, Cary Elwes

Review by: Julian Wright

When valuable and powerful new technology is stolen, Special Agent Orson Fortune (Jason Statham) must assemble a team to track it down before it falls into the wrong hands.

Couple of hitches though – he stuck with cheeky newbie Sarah (Aubrey Plaza) because his former tech whiz Mike (Peter Ferdinando) just bailed, and they have to recruit civilian and Hollywood action star Danny Francesco (Josh Hartnett) to get close to super-fan billionaire Greg (Hugh Grant), who is involved in the sale of the technology.

Co-writer and director Guy Ritchie remains firm in his interest in delivering a super-cool action film laced with humour.

His editing choices give this film a nice little boost – going against expectation to occasionally mix up the chronology ever so slightly to add a few surprises here and there.

The story might be underwhelming but darn it if this isn’t just a whole lot of fun.

Ritchie embraces Plaza’s deadpan style of comedy, in fact, it fits so perfectly with the British humour that one wonders how she hasn’t been snapped up earlier for other British films.

And while she gets to display her usual comedic chops, she is afforded the opportunity to portray a character that she has not before – a sexy, cheeky, tech savvy lass who remains cool under immense pressure.

Hartnett on the other hand loosens up and has a ball as the nervy and not always sharpest tool in the shed, who gets roped into the mission. Though it is a shame that he gets put on the back burner in the second half of the film.

Then there is Grant, almost unrecognisable as he sheds his trademark bumbling persona completely – here his demeanor changes as he relishes the opportunity to portray the overly spray tanned billionaire Hollywood star fangirl.

And with such exciting chemistry between the entire cast, this is a film that you wouldn’t mind seeing a sequel to just to spend a bit more time with them.

There isn’t a lot of substance here, not that its core audience was really demanding any, just a cast and crew enjoying the chance to play, and for that it is worth your time and money.

Whitney Houston: I Wanna Dance With Somebody (M)

Directed by: Kasi Lemmons

Starring: Naomi Ackie, Stanley Tucci

Review by: Julian Wright

Super talented singer, the late Whitney Houston’s tumultuous life gets the bloated big screen bio treatment hot on the heels of box office gold Bohemian Rhapsody and Rocketman.

In the early 1980s, Whitney Houston (Naomi Ackie) was a church choir singer disciplined by her strict singer mother Cissy (Tamara Tunie).

Houston is eventually “discovered” by record producer Clive Davis (Stanley Tucci) who helps showcase her powerful voice to everyone around the world.

Whitney’s rise to fame is huge and almost instantaneous, becoming one of the most successful singers ever, but she struggles with multiple issue behind the scenes – accused by the Black community of selling out, bumpy marriage to Bobby Brown and her drug addiction that will eventually be her downfall.

While the highs and lows of Houston’s life are certainly ripe for storytelling, I Wanna Dance With Somebody suffers from many of the same issues that most other bio films cannot seem to break free from.

Writer Anthony McCarten and director Kasi Lemmons show us the significant milestones of Houston’s life (her first hit song, performing at the Superbowl, marriage etc) but fail to thematically tie them together to create a coherent narrative or motivation.

Yes, it is interesting to see her milestones recreated, but how do they impact her or inform her decision making?

The film makers are so afraid to suggest or theorise, and too careful to not offend Houston’s memory, her estate or fans, that we may as well just give her albums another spin to appreciate her talent.

The cast is fine, Tucci a lovely presence as usual and Ackie perfectly serviceable and talented lip syncer but this never rises above made for TV simplicity, despite the apparent larger budget.

It is undeniable that Houston was a massive talent, whose voice goes unrivaled, and it is a tragedy that she is no longer with us, but a tribute with a bit more teeth would have been more worth the effort.

Triangle of Sadness (MA)

Directed by: Ruben Ostlund

Starring: Harris Dickinson, Charlbi Dean, Woody Harrelson

Review by: Julian Wright

Swedish film maker Ruben Ostlund takes sharp aim at the rich and privileged in his biting satire Triangle of Sadness.

When model Carl (Harris Dickinson) accompanies his social media influencer girlfriend YaYa (Charlbi Dean) on a luxury superyacht with an array of wealthy multi-millionaires, the couple witness how the “other half” live and behave.

When the cruise encounters a storm, they get to see another side of these well-to-do passengers, and when a selection of them become stranded on an island with yacht staff Abigail (Dolly De Leon), the tables are turned and their true skills (or lack thereof) come to light.

Ostlund drags the wealthy through the mud in this delightfully delicious dig that pulls no punches on the one per cent.

There are some draw dropping sequences (the dinner scene is an all-timer) and the character interactions and dynamics will have you giggling with glee.

Ostlund reminds us there are few things that thrill and entertain more than witnessing the downfall of hoity-toity rich folks on film.

Woody Harrelson as the alcoholic captain is suitably nutty, but it is De Leon that steals the show out from under the eclectic cast in the second half as the smart and resourceful cleaner.

Triangle of Sadness is screening as part of Perth Festival Lotterywest Films.

Blueback (M)

Directed by: Robert Connolly

Starring: Radha Mitchell, Mia Wasikowska, Eric Bana

Review by: Julian Wright

The beautiful Western Australian coastline and some of Australia’s top acting talent is showcased in this lovely tale of an unlikely bond between a fish and a young woman based on Tim Winton’s 1997 novel.

Abby (Mia Wasikowska) is called back to her small, quiet, seaside town when her mother Dora (Liz Alexander) has a stroke and needs care.

The trip home brings memories of Abby’s childhood flooding back in which her environmentalist Mum (Radha Mitchell) raised her to appreciate and protect the small bay that the live alongside.

During their numerous diving explorations throughout the years, Abby (Ariel Donoghue and Ilsa Fogg) encounters and bonds with a Blueback fish, one that, along with the rest other various marine life, is threatened by developers who are keen to carve up the land for an estate.

Blueback makes no bones about its environmental and conservationist message, it’s prime focus is to drive home a positive message about the importance of preserving our precious marine life.

And there is no better way to do it than to film on WA’s picturesque coastline and utilise some top tier screen stars to engage an audience.

Wasikowska is understated, while Mitchell relishes the opportunity to play a mother who is fiercely protective of her environment and Bana offers identifiable and likable larrikinism that radiates off the screen.

It is heartwarming and heartbreaking in equal measure, but the general tone is surprisingly low-key, and while it is admiral that director Robert Connolly has avoided broad theatrical dramatics to impact his audience, it often feels like he has dialed it down a little too far.

Blueback is a lovely exploration of the connection between people and their environment and nature versus nurture that could have benefited from a stronger Indigenous perspective.

Blueback is screening from November 21 to 27 as part of Perth Festival Lotterywest Films at UWA Somerville Auditorum.

Bros (MA)

Directed by: Nicholas Stoller

Starring: Billy Eichner, Luke Macfarlane

Review by: Julian Wright

Hyped as being the first gay rom-com from a major film studio, Bros was labelled a cinematic milestone before anyone had seen it. But does first necessarily mean good? Milestone or not, in this case, it is better than good.

Career focused gay podcaster and perpetually single 40-something Bobby (Billy Eichner) is proud to be unattached, a little cynical of the dating pool.

When he meets Aaron (Luke Macfarlane), a straight presenting, gym bunny looks like he was chiseled from marble, it is a classic case of opposites attract.

The two navigate a bumpy friendship/hookup/relationship while Bobby curates the first National LGBTQ+ History Museum in Manhattan.

The rom-com tropes are there but having gay characters lead the story is more than just a surface level twist.

Eichner’s script is sharp, witty, relatable and, most importantly, hilarious, with dialogue that snaps.

Usually rom-coms open big with laughs then the humour settles once the romance part starts to dominate the story, but this is one of the most consistently funny films in a long time, never afraid to have us laughing while we get caught up in the emotional beats of the story.

While some of Eichner’s monologues get a little out of hand and preachy, as a film maker, he has some spot-on observations and satirical jabs at straight and LGBTQ+ culture, dating and life in the 40s.

Bros may be the the first gay rom-com from a major film studio, but it is also one of the best films of 2022.

The Woman King (MA)

Directed by: Gina Prince-Bythewood

Starring: Viola Davis, Thuso Mdebu, Lashana Lynch

Review by: Julian Wright

A fascinating and untold piece of history gets the big screen treatment it (mostly) deserves with a Viola Davis impressive as ever in a more physical role.

We get an insight into the West African Kingdom of Dahomey circa 1823, and in particular, the the all-female group of warriors,the Agojie, that protects it.

Led by the commanding and loyal Nanisca (Viola Davis), the Agojie liberate women who have been enslaved.

When the fiercely independent young woman Nawi (Thuso Mbedu) refuses to marry an abusive older man, she is dropped off at the Agojie community, but her stubbornness clashes with Nanisca.

A story about a group of strong, independent, self sufficient and self reliant women of colour in the 1800s is such a refreshing and compelling concept to explore in film.

The action scenes are terrifically staged and directed (if a little underlit), both thrilling and brutal allowing, us to see these fierce female warriors cause just as much physical damage as men, if not more.

And the dramatic scenes are mostly compelling.

This is a fascinating and powerful story here and yet, the longer it goes on, the more that power is slightly diluted. Perhaps some tightening in the editing may have helped prevent this.

It becomes less about how these women exist in and interact with this world and more about borderline soap opera twists.

But what is consistently incredible, is Davis, who brings both phsycial and emotional gravitas.

Mrs. Harris Goes to Paris (PG)

Directed by: Anthony Fabian

Starring: Lesley Manville, Isabelle Hubbert, Lambert Wilson

Review by: Julian Wright

Lesley Mandeville shines as the titular Mrs. Harris in this delightful adaptation of the 1958 novel Mrs ‘Arris Goes to Paris.

In 1957 London, when house cleaner and seamstress Mrs Ada Harris (Lesley Manville) receives notice that her husband, who has been MIA since he went to war almost 10 years ago, has died, she finally has closure she needs to move on.

Around this time, Mrs Harris spots a client’s 500 pound couture Dior dress, instantly falls in love with it and begins saving her pennies to head to the House of Dior in Paris to buy her own.

When she arrives, she is met by the snooty President Claudine Colbert (Isabelle Hubbert), but staff rally to make this people pleasing woman’s dream come true.

What appears on the surface to be a light and fluffy adventure aimed squarely at the older female demographic (and, to be fair, it is all these things), Mrs Harris Goes to Paris is a bittersweet charmer that unveils layers that one may not initially expect.

It has a laundry list of themes – never to old to dream or achieve your goals, fashion should be for everyone, class system, rich vs poor, karma etc – and yet manages to juggle and interweave them with such grace that it never feels preachy.

Had this been an American production, it would have had the ability to rot teeth with its saccharine tone.

But with a British sensibility, there is a certain refreshing charm and genuineness about the story and its characters.

Manville is an absolute star in the lead role, just radiating purity and goodness, but also able to dig deep and break your heart, particularly in the scene where she processes the news of her husband.

An added bonus, and it would have been a fatal flaw without it, is the jaw dropping fashions, which this movie clearly appreciates and wants to share, but does not rely solely on them to keep the audience interested – it always comes back to the characters and story.

Fisherman’s Friends: One and All (PG)

Directed by: Meg Leonard, Nick Moorcroft

Starring: James Purefoy, Sam Swainsbury, Dave Johns

Review by: Julian Wright

Those sea loving larrikin singers are back for another heartwarming adventure with an added love story sprinkled in.

After unexpectedly taking the world by storm and topping the pop charts with their folk music style sea shanties, the members of the Fisherman’s Friends band are faced with second album syndrome.

The head of the record label has lost interest, media training the traditional and politically incorrect members is a difficult task and the process of auditioning and hiring a new member has rubbed band leader Jim (James Purefoy) the wrong way.

Meanwhile, Jim has a little distraction with newcomer to town Aubrey Flyn (Imelda May), a pop singer herself who is looking for a low-key lifestyle away from the cameras and tabloids.

While a touch long and perhaps at least one too many complications (a rescue from an old abandoned mine shaft is something out of an episode of Skippy), this delightful and amusing second outing is an inoffensive, family friendly affair.

The cast continues to be endearing and lovely company to keep and the real life footage of the band during the credit sequence adds another layer of warmth, closing things off with some of the biggest laughs of the film.

Fisherman’s Friends: One and All screens as part of the British Film Festival 2022, which runs form October 19 to November 16.

Halloween Ends (MA)

Directed by: David Gordon Green

Starring: Jamie Lee Curtis, Andi Matichak, Rohan Campbell

Review by: Julian Wright

It has been a highly anticipated, much debated and long windy road in the latest saga between murderous Michael Myers and his perpetual target Laurie Strode, that finally culminates in an ambitious, but unfocused finale.

After masked Michael Myers’ 40th anniversary rampage through his hometown of Haddonfield in 2018 on Halloween night, he has disappeared and left a town in ruin.

A year later (2019) when a child accidentally dies in a Halloween prank gone horribly wrong under the care of 21-year Corey Cunningham (Rohan Campbell), he is shunned by the community and treated like an outsider.

Fast forward to 2022 and Laurie Strode (Jamie Lee Curtis) is now on the path of healing, living with and doting on her granddaughter Allyson (Andi Matichak), flirting with local cop Frank (Will Patton) and writing her memoir about her experience with death and trauma.

When she crosses paths with sensitive but misunderstood Corey, Laurie introduces him to Allyson who is now a nurse at the local hospital.

The two are immediately drawn to each other (having both experienced different types of trauma) and a love blooms, but the timing could not be worse, as Corey has an encounter with a sewer dwelling Myers that sparks (or draws out?) an evil streak.

Ends take an entirely different approach to the Halloween formula, one that is certainly fresh, but for many, perhaps too jarring.

It certainly isn’t the batshit “druids” level nonsense that a former timeline devolved into, but it is also not the path you expect this to take, particularly when all marketing points to an all out showdown between Myers and Strode that this saga has been teasing since it launched, and has struggled to deliver satisfactorily.

Director and co-writer David Gordon Green sets up an evocative thesis about different kinds of evil – pure versus created, nature versus nurture. Are some people born evil and are some people made that way?

And yet, true to form in this overblown three part saga, the longer it goes on and the more scenes it includes to fulfill a feature length run time, the more the theme becomes muddled and even contradicted.

This often plays out like the equivalent of an unprepared high school student giving a rambly oral presentation and the more he talks, the less sense he makes.

While all the fan service was fun for a while (recreating/mirroring key scenes, revisiting iconic locations, returning legacy characters, throwback dialogue etc), a key flaw in this saga is the film makers wanting to have their cake and eat it too, often undermining their own work.

While it is lovely to see Laurie now able to move on and smile, it seems a little nonsensical that she could not heal while her tormentor was securely locked up for 40 years, but she can now despite a second rampage and close encounter, her daughter being slain and Myers loose in the wild.

Also her doomsday preparedness seems to have been completely forgotten.

In fact one could get carried away nit-picking at this timeline (many have and it is certainly deserved) but let us not overlook the good intentions behind trying to make something thematic and meaningful out of another cash grab.

At the very least, one of these movies finally lives up to its name and promise.