Welcome back to LEADING LADIES, the column where we look at the careers of actresses in the movies, especially horror movies.
Usually, this column is a retrospective of actresses from the past and serves as a look back at their remarkable careers, but today we’re doing something different, as up today on LEADING LADIES it’s Mia Goth.
Goth is just starting her career, and she is enjoying enormous success, and since she is so young, just 29, I’m surmising that in the future there will be lots of updates to this column as her career continues. My favorite part of Goth’s roles thus far is that while she has appeared in numerous horror movies, she’s no scream queen. She’s usually the person causing the screaming!
So, let’s get started. Here’s a partial look at Mia Goth’s young career so far:
THE SURVIVALIST (2015)- Milja- Mia Goth’s first screen credit is in this thriller about a man who lives off the grid whose farm is discovered by a mother and a daughter, and what happens when he strikes a deal with them to live on his property.
A CURE FOR WELLNESS (2016) – Hannah- this is the first movie in which I saw Mia Goth, a superior horror movie by writer/director Gore Verbinski about a wellness center that isn’t quite what it seems. Jason Isaacs plays the creepy doctor, while Goth plays a mysterious woman who resides there. Goth is terrific in the role and made an immediate impression, as she was one of the best parts of this film, which had the look and feel of a classic Hammer horror movie.
SUSPIRIA (2018) – Sara – supporting role in this remake of the horror classic. Also starring Tilda Swinton, Dakota Johnson, and Chloe Grace Moretz.
EMMA (2020) – Harriet Smith- another supporting role in this version of the Jane Austen novel, starring Anya Taylor-Joy in the title role of Emma, and Bill Nighy. This was the last film I saw at the movie theaters before Covid shut everything down in March 2020. I found this one to be somewhat of a misfire, but Goth is very good in the film.
X (2022) – Maxine/Pearl – horror movie by writer/director Ti West features some of Goth’s best work as she plays dual roles here. The film is about a group of filmmakers in the 1970s who set out to make a porn film on a farm, but once the elderly farmers discover what they are doing, they become unhinged and react very badly as X becomes quite the bloody and violent horror movie. Goth plays two roles, Maxine, the young star who wants to make a porn film as a first step to becoming a famous actress, and Pearl, the elderly woman who owns the farm and who goes full blown Norman Bates in the film’s second half. One of the best horror movies from 2022, and Mia Goth is a major reason why.
PEARL (2022) – Pearl – Mia Goth reprises the role of Pearl in this Ti West prequel to X, in which we learn Pearl’s back story. I enjoyed X more than PEARL, but Mia Goth is once again tremendous and fascinating.
INFINITY POOL (2023) – Gabi – another fabulous performance by Mia Goth in another terrific horror movie, this one by writer/director Brandon Cronenberg, David Cronenberg’s son. Alexander Skarsgard plays a struggling novelist who vacations on a remote island with his wife hoping to beat back his writer’s block. There, he meets a young woman, Gabi, played by Mia Goth, who with her husband invites James the author and his wife out to dinner, claiming to be a fan of his work. As they get to know each other, Gabi leads James on a horrific odyssey that leads to violence, murder, and depravity. And if that’s not enough, she seduces him as well.
Next up for Mia Goth is the final installment of Ti West’s X trilogy, MAXXXINE, in which Goth will once again play Maxine in a story that will take place after the events in X. I can’t wait!
In such a short time, Mia Goth has become one of the most dynamic actresses working in horror movies today.
That’s it for now. Thanks for joining me for this edition of LEADING LADIES. Join me next time when we look at the career of another leading lady in the movies.
Another year of movies has come and gone, and all things considered, it was a darn good year for celluloid.
I returned to the movie theaters this past year, after keeping away since spring 2020 due to the pandemic. I still wear a mask in the theater, except when eating popcorn, of course, and I’m usually the only one in the theater wearing a mask, but that’s okay. I have no problem wearing a mask in public places. If it was good enough for the Phantom of the Opera, it’s good enough for me!
Anyway, I returned to seeing theatrical releases in July, and so I pretty much saw films in the theater for half the year, and streaming releases the other half. An interesting thing happened during the pandemic. By watching movies at home, I discovered that streaming platforms like Netflix and Prime Video offer a lot of quality original movies, so much so, that I’ve now fully incorporated their offerings into my movie selection process. Sure, they offer duds as well, but so do the movie theaters.
I saw approximately 75 new movies this year, and the list below comprises my ten favorites of 2022. I am always amazed by the number of new movies that are released each year, which is a good thing, but there are so many that I know that you and me don’t see all the same movies, and so there are bound to be movies that you loved this year that I simply didn’t see. But of the ones I did see, here are my Top 10:
10. BLACK PANTHER: WAKANDA FOREVER – it’s been a rough stretch for Marvel. Even as a big Marvel fan, I’ve been disappointed with most of their recent movies of late. Not so with this superior BLACK PANTHER sequel. It pays respectful homage to late actor Chadwick Boseman and to the Black Panther character, while telling a compelling story, featuring a formidable villain, and nicely setting up the future of the Black Panther superhero. Three and a half stars.
9. BABYLON – I loved this tale of early Hollywood by writer/director Damien Chazelle, starring Margot Robbie and Brad Pitt. The movie has a lot to say, but my favorite part was its take on fans’ relationships to movies, how important movies are to people, and how film really is high art, and it says all this in the raucous, bawdy, unpredictable and unforgiving world of 1920s Hollywood. Three and a half stars.
8. THE WONDER – It was a great year for period pieces, and several of them made it into my top 10 list. THE WONDER is one of them. This Netflix original period piece thriller stars Florence Pugh as an English nurse sent to the Irish Midlands in 1862 to observe and either validate or disprove the claim that a healthy young girl has gone months without food, an event the locals are calling a religious miracle. Florence Pugh is one of the best actresses working today, and so her presence alone lifts this movie, but THE WONDER has more to offer. Where this story ultimately goes speaks to both the hypocrisy of religion, and faith in humanity. Three and a half stars.
7. THE MENU – a delightfully dark comedic thriller starring Anya Taylor-Joy and Ralph Fiennes about a select group of rich guests traveling to a private island to partake in an extravagant meal prepared by a team of chefs led by one of the world’s finest chefs, played by Fiennes, who just happens to have an agenda which he enacts on these folks, who mostly deserve the comeuppance he has planned for them. Like Florence Pugh, Anya Taylor-Joy is also one of the best actresses working today, and while there is a lot to like about this delicious thriller, her performance is the best part. Three and half stars.
6. THE PALE BLUE EYE – Another Netflix original, and another period piece. Written and directed by Scott Cooper, THE PALE BLUE EYE tells the story of a serial killer loose at West Point Academy in 1830 who likes to cut out the hearts of the young cadets there. Disenchanted detective Augustus Landor (Christian Bale) is called in to solve the case, and he receives help from a young cadet there named Edgar Allan Poe (Harry Melling). Beautifully shot, exquisitely written, and well-acted by a veteran cast, led by Melling in a phenomenal performance as Edgar Allan Poe, and by Christian Bale as the weary, somber detective with secrets of his own. Three and a half stars.
5. THE BANSHEES OF INERSHERIN – certainly one of the more unusual movies I saw this year, and another period piece, as it takes place in 1923 on an island off the coast of Ireland. Receiving lots of hype, deservedly so, but erroneously marketed as a comedy, this tale of a man named Padraic, played by Colin Farrell, who out of the blue is told one day by his best friend that he no longer likes him as a person and that he doesn’t want to spend any more time with him, ever, starts off light and humorous but grows increasingly dark as it goes along, building to a very somber conclusion. This one is offbeat to be sure, but you can’t beat the dialogue or the acting. Colin Farrell is superb as Padraic, the man who begins to question his very existence and being, when he is faced with an absolute and unforgiving rejection by a man who he thought was his best friend. Three and a half stars.
4. EMILY THE CRIMINAL – I loved this small market thriller starring Aubrey Plaza as a young woman struggling to pay off her college debt and pay her bills with one thankless low paying job after another, and when she says yes to taking part in an illegal credit card scheme, because it will pay her a quick $200, she finds that the criminals treat her better than her employers. The scams certainly pay her better, and as she discovers she has a talent for this sort of thing, she agrees to take on bigger scams, which earn her more money but also become much more dangerous. This is a tight, hard-hitting thriller with no fat on its bones. Much more satisfying than many of the big budget Hollywood releases and features an exceptional performance by Plaza. Three and a half stars.
3. ELVIS- I love writer/director Baz Luhrmann’s visual style, and he’s at the top of his game here with ELVIS, a glitzy rocking extravaganza of a bio pic of the King of Rock and Roll, Elvis Presley. Featuring an energetic and uncanny performance by Austin Butler as Elvis, and Tom Hanks as Presley’s slimy self-serving manager, Colonel Tom Parker, ELVIS is a visual and musical tour de force. Don’t expect a deep insightful look into the inner mind and soul of Elvis Presley. This movie doesn’t go there. Instead, it plays out like an Elvis performance in Las Vegas, which artistically speaking, is a perfect way to tell Elvis’ story. Three and a haf stars.
2. LADY CHATTERLEY’S LOVER – Another Netflix original, and yes, another period piece. This latest film version of the D.H. Lawrence novel, scores so highly for me because of the way it honestly and unabashedly features sex in its story, something that Hollywood movies these days strangely shy away from. LADY CHATTERLEY’S LOVER is the story of Lady Connie Chatterley (Emma Corrin) who’s stuck in a loveless marriage with rich Clifford Chatterley (Matthew Duckett), and when she meets and falls in love with the gamekeeper on their estate, Oliver (Jack O’Connell), she realizes that he’s the love of her life, and she decides that in spite of the odds against her– she’s married, and Oliver is of a different social status than her— she will not conform to social norms and instead will do whatever it takes to ensure her happiness and a future life with Oliver. Wonderfully filmed by Laure de Clermont-Tonnerre, and perfectly capturing the World War I English countryside, LADY CHATTERLEY’S LOVER features fine performances by all involved, but the most captivating part of this one is the way de Clermont-Tonnerre films the story’s love scenes, as they are boldly realistic and passionate, showing physical love in a way that most other films these days don’t have the guts to do. Four stars.
1. EMERGENCY – My favorite movie of 2022 was this Amazon Prime original film which received very little attention this year. I liked it because it speaks to race relations here in 2022 in a way that is far more natural and effective than most, and it does it largely on a comedic platform. EMERGENCY tells the story of two black college friends, Kunle (Donald Elise Watkins) and Sean (R J Cyler) who before a night of partying discover an unconscious white girl on the floor of their apartment. When Kunle attempts to call 911, Sean stops him, telling him that the police will never believe that they— two black men– had nothing to do with how an unconscious white girl ended up on their apartment floor. So, instead, they decide to take her to the hospital, and so they embark on an odyssey of an adventure trying to transport this girl across town to the hospital, while the girl’s sister and her friends try to find her, and what can go wrong, does go wrong in this comedic drama that will have you both laughing and trembling. The scene late in the movie where the police confront Kunle, and pull guns on him, is nail-bitingly tense. EMERGENCY offers a fresh and funny premise— yes, officers, this girl really did just appear on our apartment floor unconscious, and we really have no idea how she got here or who she is— thrusts it into the racially charged environment of our current culture and delivers it all in a tremendously thought-provoking and satisfying package. Directed by Carey Williams and written by K.D. Davila. EMERGENCY is my pick for the best movie of 2022.
And there you have it, my picks for the Top 10 movies of 2022. It was a great year for movies. Now it’s on to 2023!
As always, thanks for reading.
Four stars- Excellent
Three stars- Very Good
Two stars- Fair
One star- Poor
Zero Stars- Awful
And coming soon, my Top 10 List for the Worst movies of 2022. Look for it soon right here in these pages!
Exquisite food from one of the world’s top chefs, tension, plenty of tension, a little violence, a little horror, and to top it all off, satire. Lots of satire.
THE MENU (2022) is an odd movie, as many satires are, but at the end of the day, if nothing else, it’s thought-provoking. It’s the type of movie that will have you thinking, and that’s a good thing.
THE MENU opens like an episode of the old TV show FANTASY ISLAND (1977-1984) where a group of strangers are about to travel to a remote island, but rather than taking a plane (“da plane! da plane!”) they take a boat, and rather than meeting Mr. Roarke and Tatoo, they meet one of the greatest chefs in the world, Chef Slowik (Ralph Fiennes), and he’s their host. They have all paid exorbitant amounts of money to be treated to a private dinner by one of the world’s most renowned chefs.
The characters we meet first are Tyler (Nicholas Hoult), who is so enamored with the Chef that he practically has an orgasm every time he talks about him, and Tyler’s date Margot (Anya Taylor-Joy), who becomes the central character and the person who the audience most identifies with, because as we soon learn, she wasn’t supposed to be there, as Tyler’s girlfriend broke up with him, and so she was a last minute second choice.
All the guests are wealthy, and all of them have their reasons for coming to this dinner, but with the exception of Tyler, none of them are really there purely for Chef’s food. Things start out well enough, as if it’s going to be an evening of fine food and performance dining, but then in what once more feels like an episode of FANTASY ISLAND, things begin to grow weird and unsettling. Tortillas are served with personal images on them, and so secrets are suddenly revealed. And later when one guest has a finger chopped off, and a cook shoots himself in the head as part of a dish, the guests realize they may not get off the island alive.
That being said, THE MENU is not a straight thriller or horror movie. While those elements are there, the main focus of this movie is undoubtedly satire, and there are various levels to it.
There’s the social status satire. These folks are all there because they have tons of money and can afford to be there, but Chef makes it clear that they’re not really there for his food. He talks about the art of food preparation and consumption, and tells them not to eat, but to taste. His passion for the symbiotic relationship between food and nature reaches almost religious proportions. And it’s also clear that he is insulted that they are there only because they can afford to be, and his passion for cooking is totally lost on them. At one point, he reminds a guest that he has been to multiple dinners on the island, and he asks the man to name at least one dish he’s eaten while there, and the man can’t even do that.
But the sharp screenplay by Seth Reiss and Will Tracy doesn’t stop there. There’s a food critic on the guest list, a washed-up actor, and three arrogant moneymakers who work for the company which sponsors these dinners, and so they feel entitled to threaten the Chef when he doesn’t please them. Each of these characters have back stories, all of which add to the social commentary.
As such, one of the film’s most significant moments comes when Tyler becomes increasingly frustrated by Margot’s complaints about what is going on, and he snaps his fingers at her before becoming flat out rude and insulting, prompting her to get up and leave. It’s a moment where we see his complete lack of acknowledgement of Margot as a person, and that the only reason he is there is because of his blind passion for the Chef, something that the Chef later shows him to be a waste of his time. It’s a moment in the movie that speaks to the way men sometimes treat women, and while that theme is not the main one of the film, it works all the same.
When Chef speaks to Margot privately, he laments that she wasn’t supposed to be there, and he needs to know her story for the dinner to work, because he needs to know who she is. Is she a server, and thus belongs in the kitchen, or is she like the other guests, a taker, and belongs out with the guests in the dining room?
In another biting moment, Chef reveals that he told Tyler ahead of time that everyone was going to die that night, and yet not only did Tyler still agree to come, he also still invited Margot, knowing that she too would die. And when Chef asks Tyler why he invited Margot, Tyler answers that guests were not allowed to come solo. They had to have a guest. Which speaks to the shallowness of our society and the total disregard people have to their fellow humans.
Similarly, the Chef mocks his guests later in the movie, telling them that if they really wanted to escape, why didn’t they make a stronger effort to do so? Would it really have been that difficult to overpower him and the other chefs? He asks them to think about that, and the audience does as well. Why didn’t these people try harder to escape? Is it because they are all too lethargic and passive? Because they wanted to remain to get what they paid for? Or did they on some level enjoy what was going on? Or perhaps they all believed it was just an act, and a safe answer would be revealed in the end?
Again, it’s a thought-provoking script, and it will have you thinking.
Anya Taylor-Joy is a terrific actress who continues to deliver in her movies, often giving the best performance in the film. She’s best known for her work in the Netflix TV show THE QUEEN’S GAMBIT (2020) and in the horror movie THE WITCH (2015). But we just saw her deliver back-to-back excellent performances in LAST NIGHT IN SOHO (2021) and AMSTERDAM (2022). She’s at it again here in THE MENU. Margot is the most dynamic and interesting character in the movie, and the more we learn about her, the more we like her. Anya Taylor-Joy brings this character to life, creating a fiery yet sympathetic person who we feel comfortable rooting for.
Ralph Fiennes is perfect as Chef, a culinary version of Mr. Roarke. While he has his own agenda, his own final masterpiece, he also sheds light on the make-up of each and every one of his guests. It’s yet another masterful performance by Fiennes, and while he doesn’t exactly make Chef a sympathetic character, he does make him understandable. We get where he’s coming from, and why he is doing the things he does. While he has countless movie credits, this performance follows upon the heels of two other equally impressive ones, in THE DIG (2021) and THE FORGIVEN (2021).
The supporting cast is terrific.
Janet McTeer is cold and biting as food critic Lillian, and Paul Adelstein is agreeable as her yes-man magazine sponsor Ted. John Leguizamo is the washed-up actor who is looking to make a comeback. He’s also the butt of one of the better jokes in the film, when Chef pretty much tells him he’s there to die because Chef hated his last movie, which was a complete waste of his time, and he doesn’t like wasting time.
And Hong Chau nearly steals the show as the tight-lipped yet brutally honest right-hand person to Chef, Elsa, in effect playing Tatoo to Ralph Fiennes’ Mr. Roarke.
Director Mark Mylod keeps things tight, and the pacing here is brisk, and the suspense builds. I was unsettled throughout, and really didn’t know where this one was going. The photography is brilliant, the island locales beautiful, with my favorite part being the connection shown throughout the movie between people and the ocean. The dining area and kitchen also share special significance, as at times it feels like a fortress in a James Bond movie, only much smaller.
Not everything works. Like most satires, the humor is there, but often you have to work hard to find it, and much of the laughter is of the under your breath variety. And while the plot of this movie is built around food and food preparation, don’t expect the kind of movie, a la CHEF (2014) and THE HUNDRED-FOOT JOURNEY (2014) where all the mouthwatering meals cooked in the film make you want to buy a second popcorn and then go out to dinner afterwards, because as this one goes on, the food becomes less appetizing, and in general there’s less of it, rather than more.
While things grow dark, the film never becomes an all-out horror movie or gross fest. For the most part, I liked this, but it could have gone further in the disturbing department, because there were moments where I felt things didn’t go far enough.
Speaking of horror movies, with a little imagination, it wasn’t difficult to imagine this one being made in the 1970s with Vincent Price playing Chef. Now that would have been a black comedy/horror movie to be sure!
But overall, I really liked THE MENU. It makes its points about what money has done to our society, and it presents its satire like a five-course meal, spreading out over the evening in a movie that will have you on the edge of laughter and of your seat from beginning to end.
Waiter? I’ll take mine to go, thank you very much!
AMSTERDAM (2022), director/writer David O. Russell’s first film since JOY (2015), is loosely based on a true story, a political conspiracy in 1933 known as the Business Plot, where wealthy businessmen and bankers plotted a behind-the-scenes coup d’état to overthrow Franklin D. Roosevelt and replace him with a military general.
With its all-star cast, led by the triumvirate of Christian Bale, Margot Robbie, and John David Washington, combined with its artful cinematography capturing 1933 New York and its impactful and hopping screenplay by David O. Russell, AMSTERDAM largely entertains for all of its two hour and fourteen-minute running time.
The movie gets off to a lively start as we meet Burt Berendsen (Christian Bale) in 1933 New York. Berendsen is a doctor and World War I veteran who treats his fellow veterans who returned from the Great War with unspeakable scars, injuries, and pain. So much pain. Berendsen is always looking for more powerful drugs to help his patients deal with the pain, and he himself lost an eye during the war, and his back is terribly scarred and twisted, so much so he has to constantly wear a back brace. Bale with his character’s glass eye and odd manner of speaking channels a lot of Peter Falk throughout his performance. When they are later trying to solve the mystery, it was easy to imagine Columbo on the case.
Burt and his fellow veteran and best friend from the war Harold Woodman (John David Washington), an attorney, are hired by Liz Meekins (Taylor Swift), the daughter of their former commanding officer, to look into her father’s death, which she believes is the result of foul play. And when Liz is pushed in front of an oncoming vehicle and murdered right in front of their eyes, they realize something big is going on.
Burt, who narrates the movie, then says it’s time for some background information, and the film jumps back in time to 1918 where he and Harold are cared for in army hospital by a nurse Valerie Voze (Margot Robbie). The three become inseparable, and their friendship blossoms as they spend a magical period shut off from the rest of the world in Amsterdam. But they pledged to always be there for each other. And so eventually when the action returns to 1933 New York, Valerie re-enters their lives as they, in the process of investigating their former commanding officer’s death, uncover a vast conspiracy against the United States government.
All of this sounds serious, and some of it is, but the screenplay is anything but a straight drama. It’s quirky and humorous, generating enough clever laughs to keep this one lighthearted throughout.
The biggest story with AMSTERDAM is its cast, both its three main players and the supporting cast of actors. Anytime you have Christian Bale, Margot Robbie, and John David Washington sharing ample screen time in your movie, chances are things are going to be purdy darn good. And they are.
Christian Bale is a phenomenal actor, and his performance as broken Burt Berendsen drives the entire movie forward. With his quirky Peter Falk-style delivery, Bale is watchable throughout. The same goes for Margot Robbie and John David Washington. The three of them deliver throughout this movie.
The supporting players also make their mark. Probably the two best supporting performances belong to Rami Malek as Valerie’s manipulative brother Tom, and Anya Taylor-Joy, who other than Bale, delivers hands down the best performance in the movie, as Tom’s eccentric wife Libby.
It was fun to see Mike Myers back on screen again, playing a British intelligence officer named Paul Canterbury, in a role which would have been perfectly suitable for Michael York a few years back. Myers and Michael Shannon, who plays Canterbury’s American intelligence counterpart, share lots of scenes together and seem to be having a great time as the two men who steer Burt and his friends towards uncovering the conspiracy plot.
Chris Rock in limited screen time gets some genuine laugh out loud moments as Milton King, one of the other soldiers in Burt’s and Harold’s platoon. Timothy Olyphant is also memorable under heavy face-altering prosthetics as Taron Milfax, a villainous henchman and murderer. And Zoe Saldana is enjoyable as a beautiful coroner who has eyes for Burt.
By the time Rober De Niro shows up as the level-headed general who refutes the coup, the film has lost a lot of its energy and pizzaz. While it remains entertaining throughout, the first two thirds of AMSTERDAM are much more energetic than its third act, which slows down as all the answers are revealed.
And David O. Russell’s screenplay keeps things simple. When De Niro’s General Dillenbeck delivers his much-anticipated speech, the words he uses to explain the evil that these men plan to do sounds like he’s speaking to a room of first graders. I suppose this is better than an explanation that is unclear and cryptic, but things are explained in straightforward simplistic black and white terms, in language that definitely calls to mind current events and what was attempted in the United States on January 6, 2021.
Overall, I enjoyed AMSTERDAM quite a bit, and I liked it better than Russell’s previous two movies, JOY and AMERICAN HUSTLE (2013). My two favorite Russell movies remain THE FIGHTER (2010) and SILVER LININGS PLAYBOOK (2012), but AMSTERDAM is right up there with them.
The 1933 New York sets, costumes, and cinematography were so authentic, I half expected to see King Kong rampaging through the streets on his way to the Empire State Building.
AMSTERDAM covers more than just its murder/coup plot, as it touches upon love, relationships, race, and art. At the end of the movie when Valerie and Harold have to leave the country, because they know their mixed-race relationship will not be allowed in the United States, it’s a powerful point that not many movies have felt comfortable making, and when Burt vows to work towards changing things, so his friends can return and live in this country freely, it’s a bittersweet moment because while we have come a long way, we still have a long way to go.
But the overall feel of this drama/comedy period piece is definitely on the lighter side, and the film provides plenty of humorous moments and laughter, most of it of the quirky variety, and it all works, even if the final third of the film slows down somewhat.