THE SOUND OF 007 (2022) – Documentary Chronicles the Stories Behind the Music to the James Bond Movies

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Bond. James Bond.

Bet you like the sound of that. And I bet you can’t hear those lines without hearing the signature James Bond theme playing immediately afterwards.

That’s one of the many on-target points made in THE SOUND OF 007 (2022), a new documentary by director Mat Whitecross that is now available on Prime Video, which chronicles the stories behind the iconic music in the James Bond movies.

The point that the music to these films is every bit as important as the James Bond character, the actors who played Bond, the action, and the overall adventures in each movie, is both true and pretty much unique to this film series. While other film series have notable and recognizable music— the STAR WARS franchise for example— more has been done with the Bond music, and it’s difficult to think of the movies and the character without the iconic theme.

THE SOUND OF 007 explains the origin of that signature theme, and tells the story how producers Albert Broccoli and Harry Saltzman hired Monty Norman to write the music for their first Bond movie, DR. NO (1962), and Norman, who till this day still receives sole credit for the James Bond theme, wrote many of the Jamaican songs for the movie, including the catchy “Underneath the Mango Tree,” but he was struggling with the overall music score, so Broccoli and Saltzman hired John Barry, and Barry took what Norman had started and tweaked it, and thanks to the efforts of the two, an iconic theme song was born, and the rest, as they say, is history.

THE SOUND OF 007 does its best to cover the music to all the James Bond movies, but there are so many, and so the film struggles to do justice to them all, and so I’m sure there will be certain fans who will be disappointed that their favorite score wasn’t given ample time in this documentary. But the film has its heart in the right place and does a decent job in its 90-minute running time covering most of the music in the James Bond movies.

It addresses multiple fronts: the actual scores, the theme songs, which became an entity in and of itself, and the process of hiring performers to sing these theme songs, which the film explains, for the producers, became almost as important as hiring the right actor to play Bond himself.

This process really started in GOLDFINGER (1964), which really is the quintessential James Bond movie of the 1960s Sean Connery era. Everything in this movie works, including the music, and it pretty much defined James Bond for a generation. GOLDFINGER was the first Bond movie where composer John Barry was allowed to also write the theme song, and when Barry chose Shirley Bassey to sing the song, it became a huge hit. Barry also incorporated elements of the theme song into the score for the film, a first for a James Bond movie.

THE SOUND OF 007 contains a lot of fun anecdotes. When Shirley Bassey asked John Barry what the song “Goldfinger” was about, since he really didn’t know, all he could tell her was it was about the villain in the movie, so think of the villain. Other anecdotes include Tom Jones nearly passing out when singing and holding the incredibly long note on the song “Thunderball,” Barry telling Bassey to think of the male sex organ when singing “Diamonds Are Forever,” and Michael Caine, who was John Barry’s roommate in 1964, telling a story of how he was kept awake all night by Barry playing the piano, and when he awoke the next morning and asked Barry what he was playing, he answered his new song, “Goldfinger,” and he played it for Caine; so Caine said he was the first person ever to hear “Goldfinger.” And he heard it all night.

The film talks about how the Bond music changed over the years, how Paul McCartney’s “Live and Let Die” was the first rock song to be a James Bond theme song, and how Bill Conti’s score to FOR YOUR EYES ONLY (1981) was the first score to use disco elements. The film makes the point that the James Bond music followed the trends of the time, and so the music changed with the different periods in history, taking on different sounds in the 1960s, 70s, 80s. 90, and 2000s.

The movie spends a lot of time on the music to the latest Bond movie, NO TIME TO DIE (2021), both on the theme song by Billie Eilish, and the film’s score by Hans Zimmer. While this makes sense since this is the latest Bond movie, I found these stories the least interesting in the documentary. I mean, they were fine, but they didn’t deserve nearly a third of the screen time of this movie. There’s a lot of other James Bond movie music that was barely mentioned here and could have been covered rather than spending so much time on NO TIME TO DIE, films like THE MAN WITH THE GOLDEN GUN (1974), which has a great theme song which wasn’t even mentioned, although singer Lulu, who sang the song, is interviewed, but not about her song, and Madonna’s “Die Another Day,” which also wasn’t covered.

But other than this, THE SOUND OF 007 is an excellent documentary and does a very good job covering its subject. Its coverage on composer John Barry is the film’s best part, and every James Bond movie fan needs to know the story behind the Bond movies’ most famous composer. It also does a nice job with the rationale behind the controversial scoring to Daniel Craig’s first James Bond movie, CASINO ROYALE (2006), in which the James Bond theme isn’t played until just before the end credits. I enjoyed this portion of the documentary because this decision in CASINO ROYALE has always been one that I really liked, and it was fun to listen to composer David Arnold explain the reasoning and tell the story of how emotional it was to finally blast that theme song just at the right moment in the movie, and as a fan of CASINO ROYALE, I have to say I completely agree with what Arnold did with the music in that film. It works tremendously well.

All in all, I really enjoyed THE SOUND OF 007. If you’re a fan of the James Bond movies, you will enjoy this one too. And even if you’re not a fan, it’s worth a look, as its stories of how John Barry in particular used some innovative methods to create his film scores, are both interesting and informative for all movie buffs and scholars.

To tweak a famous phrase from GOLDFINGER:

Do you expect me to talk?

No, Mr. Bond. I expect you to— SING!

THE SOUND OF 007 sings, and then some.

I give it three stars.

—END—

RATING SYSTEM

Four stars- Excellent

Three stars- Very Good

Two stars- Fair

One star- Poor

Zero Stars- Awful

SAMARITAN (2022) – Sylvester Stallone Kicks Butt as Grizzled Gray Superhero

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Sylvester Stallone as a superhero?

Who’s he playing? Senior Citizen Man?

And with that, we’ll dispense with the “old people” jokes for the rest of this column. I just think it’s funny that in this day and age, between CGI effects in the movies, and the healthy regimens of many actors who like Stallone are aging much better than previous generations, you can tell a story about an older superhero with a 76-year-old actor in the lead role and have it be believable! This is a good thing.

SAMARITAN (2022) opens with young Sam Cleary (Javon “Wanna” Walton) recounting the story of twin brother superheroes Samaritan and Nemesis, who fought to the death twenty years earlier when Nemesis went rogue and tried to kill his good superhero brother Samaritan with a special hammer he forged just for the job. Both men were killed in a massive explosion inside a warehouse, but Sam doesn’t believe Samaritan died. He believes the former superhero is just hiding out somewhere.

And when the garbage man named Joe (Sylvester Stallone) who lives in the apartment across the street from him shows up one day and saves him from some gang member bullies, showing off superior strength and fighting skills, Sam believes he has found his man. He believes Joe is Samaritan.

Meanwhile, local gang leader Cyrus (Pilou Asbaek) discovers Nemesis’ hammer and mask and decides to use them both as he begins a crime campaign to wreak havoc and cause chaos across the city. Sam is part of this gang, and Cyrus has taken a liking to him, but when things get more dangerous and Sam’s life is endangered, he turns to Joe for help, and he gets it, but not in the way he was expecting.

As superhero stories go, the one told in SAMARITAN, now playing in theaters and also available to watch for free on Amazon Prime Video, is pretty standard. It didn’t really do all that much for me, and the longer it went on, the less I was interested in it. Also, the big reveal at the end wasn’t that hard to figure out, because there were enough clues in place earlier in this one to see how it was going to go down. Bragi F. Schut wrote the screenplay, and other than a few good lines for Stallone, it’s nothing to write home about.

I like Stallone, and admittedly he’s the main reason I wanted to see this move, and on that front, it wasn’t a disappointment because he’s pretty darn good in the role. Of course, he’s been doing this for so long he can probably do it in his sleep, but that doesn’t mean it’s not another enjoyable performance. From Rocky to Rambo to a myriad of other action film performances, Sylvester Stallone has a presence and persona that serves him well. He’s the working man’s action hero, the blue-collar tough guy, who is more at home dishing out wisdom and advice over wise-cracking one-liners.

And he’s at it again here. Joe becomes a mentor and father figure to Sam, and late in the movie schools the boy on the nuances of good and bad in the world, of how people mistakenly believe it’s all about good vs. evil. Joe tells Sam it’s not that clear cut because there is good and bad in every person, and it’s all about the choices people make. It also goes without saying that Stallone is believable here as the grizzled superhero, as he efficiently kicks the butts of much younger villainous foes.

This also isn’t the first foray into superheroes for the Rocky/Rambo star. He provided the voice for the CGI-created King Shark in the hilarious THE SUICIDE SQUAD (2021), a fun performance in a very fun movie. He was less memorable in a small role in Marvel’s GUARDIANS OF THE GALAXY VOL. 2 (2017) as Stakar Ogord. Stallone is currently working on THE EXPENDABLES 4, due out next year, a series I’ve enjoyed.

I can’t say that I was all that impressed with Javon “Wanna” Walton as Sam. There was something rather annoying about his personality.

Pilou Asbaek is decent as the villain, Cyrus. He’s had plenty of practice. He’s played similar tough guy roles in films like OUTSIDE THE WIRE (2021) and GHOST IN THE SHELL (2017). He also played Euron Greyjoy on GAME OF THRONES (2016-2019).

I did enjoy Dascha Polanco as Sam’s mom Tiffany. She makes for a memorable hard-working single mom who because of her job can’t be there as often as she likes for her son. She’s as tough as nails, a side of her which she gets to show off later in the story.

Moises Arias also stands out as an annoying gang member named Reza who is a constant thorn in Sam’s side.

Directed by Julius Avery, SAMARITAN is a decent superhero movie, but not a great one. Its look is standard and didn’t offer anything I hadn’t seen before, and its action sequences, while okay, aren’t mind-blowing. It’s ultimately successful for a couple of reasons. It tells a simple straightforward story and doesn’t get lost in a convoluted muddled mess of storytelling like some of the recent Marvel entries, films like DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS (2021) and THOR: LOVE AND THUNDER (2022). It’s also not overlong and doesn’t get boring.

Most of all, it benefits from the presence of Sylvester Stallone. Watching him play the lead role was a real treat. It’s like ROCKY meets UNBREAKABLE (2000).

He’ll not only go the distance; he won’t even be down for the count. Not ever.

Yo, Adrian! Look, no black eyes!

—END–

THIRTEEN LIVES (2022) – Ron Howard Expertly Chronicles True Story of Extraordinary Underwater Rescue

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THIRTEEN LIVES (2022), the latest movie from director Ron Howard, tells the extraordinary true story of the rescue of thirteen young soccer players from a flooded underground cave in Thailand in 2018, and it does so in a straightforward manner without fanfare or fuss.

This is both good and bad.

But since the story on its own is indeed so extraordinary, it’s mostly good.

In June 2018, a group of school-age boys on a soccer team decide to visit a cave before going to one of their teammate’s birthday parties, and they’re accompanied by their coach. Despite the fact that the cave has a history of flooding, it’s still before the monsoon season, so the boys feel they are safe. However, torrential rains hit shortly after they descend into the cave, flooding it and trapping them deep below. By the time their families arrive at the cave looking for them, it’s too submerged in water for them to go inside and search for the boys.

They call the local authorities, who quickly see they are in over their heads, both figuratively and literally. Soon, Navy Seals arrive, but they too cannot get far into the cave to reach the boys, as it’s all underwater in narrow passageways, and there is zero visibility. The call goes out worldwide for help, and two of the most skilled cave divers in the world, John Volanthen (Colin Farrell) and Rick Stanton (Viggo Mortensen) heed the call and arrive in Thailand where they are looked down upon by the Thai Navy Seals for being too old, and while they certainly are older than the Seals, John points out that they train specifically for diving in and around caves.

John and Rick receive permission to dive into the cave, and after many trials and errors, they eventually, after a six hour plus dive, find the boys and their coach alive. They promise to return to the boys with help. When news breaks that the boys are alive, there is great joy and celebration, but Rick is not happy at all, and as he tells the authorities privately, the boys may be alive now, but there is no way they are getting out of the cave alive. For that to happen, each of them would have to be able to swim underwater with the divers for six to eight hours, and as Rick points out, even when earlier they helped an adult volunteer who had been trapped inside, he had panicked during a much shorter swim.

Faced with a no-win situation, the authorities go silent, frustrating the waiting families, but it’s Rick who suggests a very controversial plan, one that had never been tried before. Even though it is extremely risky, and he tells the authorities point blank that the boys may die, if they try nothing, they will die anyway.

Ron Howard directs this one without any frills, and it plays out like watching news footage or a documentary. It’s really well done. I’m not always the biggest fan of Howard’s movies, but he definitely taps into here the suspense of one of his best movies, APOLLO 13 (1995) starring Tom Hanks which chronicled the ill-fated Apollo 13 moon mission. I enjoyed THIRTEEN LIVES more than some of his recent movies, including SOLO: A STAR WARS STORY (2018) and IN THE HEART OF THE SEA (2015). Howard won an Oscar for Best Director for A BEAUTIFUL MIND (2001), which also won for Best Picture that year.

Here, the most amazing part of Howard’s work is the underwater photography. It’s breathtaking. The scenes of the divers submerged in the caves are claustrophobic, riveting, and heart pounding. And like I said, Howard doesn’t film these like a suspense movie. He simply lets the action unfold, and we are drawn in watching these volunteers risk their lives to save these boys. Just as astounding, the actors, including Mortensen and Farrell, did their own underwater stunts! Even though professional divers were there and available, Mortensen felt so strongly about the authenticity of the project that he and the others trained to dive in caves, and they convinced Howard to let them do it.

And while obviously it was filmed in a massive underwater set and not inside real caves, it was still a dangerous undertaking for all the actors. Their dedication pays off, because these scenes really work.

Viggo Mortensen is terrific in the lead role as diver Rick Stanton. His cool, aloof persona is perfect for a man who spends his time swimming in life-threatening, narrow underwater caves. And he’s not reckless. At one point, he says point blank that as much as he wants to save the boys, if he thinks they (the divers) can’t get out alive, he’s not going in.

Colin Farrell is also superb as fellow diver John Volanthen. He’s the more empathetic of the two, and as a divorced dad of a young son, his own child is always on his mind as he tries to rescue the trapped boys.

Equally as good in a supporting role is Joel Edgerton as Harry Harris, another diver who John and Rick call in to join them, as they assemble a team of the best cave divers in the world. And they are particularly interested in Harry because of his expertise, which is part of Rick’s controversial plan to rescue the boys. And when they first tell Harry of this, he refuses, because he knows it could kill the boys, but later, when he sees there is no other alternative, he relents and changes his mind.

The screenplay by William Nicholson based on a story by Don MacPherson is comprehensive and thorough and goes beyond just the story of the divers. There’s a whole other story of other volunteers led by a water expert who understands that the cave is not flooding from below but from the rains above, and so he assembles a team to find and plug up all the sink holes in the area, an undertaking that is nearly as impossible as the underwater diving mission. In fact, the sacrifice among the locals is just as great, as plugging up the sink holes means diverting the water, which will destroy the local farmers’ crops. The farmers agree, knowing they are helping to rescue the boys.

There’s the story of the families, waiting anxiously over the course of seventeen excruciating days, and of the local leadership who have to navigate around the politics of the lives and possible deaths of thirteen children under their watch. It’s a really good screenplay, which comes as no surprise, because William Nicholson has a ton of writing credits, including EVEREST (2015), MANDELA: LONG WALK TO FREEDOM (2013) and LES MISERABLES (2012) to name just a few.

If there’s any knock against THIRTEEN LIVES it’s that it runs for two hours and twenty-seven minutes, and with its no frills style, sometimes it seems a bit long. When the divers are underwater, the film had me on edge. When the action returned to above ground, things could have been edited a bit more tightly.

THIRTEEN LIVES is an Amazon Original movie and premiered on Prime Video and in select movie theaters. It’s one you definitely want to see.

Sure, you may already know the ending, but the story of human ingenuity, camaraderie, and bravery it took to rescue these boys under pretty much impossible odds, is one you don’t want to miss.

Thirteen lives could very easily have been lost that day. But they weren’t.

The movie THIRTEEN LIVES successfully celebrates this fact by so expertly telling this amazing story.

—END–

THE FORGIVEN (2022) – Compelling Drama Features Superior Acting and Script

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These days, when so many movies are shamelessly superficial, and emphasize action and CGI effects over story and characterizations, THE FORGIVEN (2022), a new drama now playing in theaters and available to rent on Prime Video, is like a breath of fresh air, even if that air blows from the arid hot Moroccan desert.

THE FORGIVEN opens with married couple David (Ralph Fiennes) and Jo Henninger (Jessica Chastain) driving through the dark roads of Morocco on their way to one of David’s friend’s wedding. Lost, arguing with his wife, and heavily inebriated, David fails to see a young man in the road ahead of them, and he hits him and runs him over.

At the party in a ridiculously rich mansion in the middle of the desert, David’s friend Richard Galloway (Matt Smith) and his soon to be husband Dally Margolis (Caleb Landry Jones) entertain their guests and wonder why David and Jo are late. When they find out, they are none too happy, as they realize this will complicate their wedding. Even though they don’t trust the authorities, Richard makes the decision to call the police and report the accident and that they have a body on the premises, since David and Jo brought the body back with them from the desert road.

The police arrive, don’t ask for any bribes, and explain the body will have to remain until the boy’s family comes to claim it, which happens soon after, as the boy’s father Abdellah Taheri (Ismael Kanater) arrives and after seeing his son’s body, asks to meet David. The expectation is that Abdellah will demand money, but instead he requests that David return with him to pay his respects and bury his son’s body. David initially balks at the idea, fearing that Abdellah could be an ISIS terrorist, but he eventually changes his mind and agrees to go.

The remainder of the movie follows David as he journeys with Abdellah to bury his son and begins to learn about Abdellah’s Muslim culture and traditions, juxtaposed with scenes of the insanely lavish and ongoing wedding party with Richard and Dally and all their guests, including an American named Tom Day (Christopher Abbott) who grows close to Jo, as we learn that she is not happy being married to David, and this time away from him makes her ripe for a tryst with an interested young American.

THE FORGIVEN is a thoroughly captivating, intense movie that I really enjoyed from start to finish. It gets off to a riveting start with the car accident in the opening moments of the film, and it never looks back. Directed and written by John Michael McDonagh, based on a novel by Lawrence Osborne, THE FORGIVEN is both shot and written with great care and attention to detail, especially to its characters. The story is full of all kinds of different characters, and they all make their mark and are all written and acted to near perfection. McDonagh’s work here reminded me of the early work of Peter Weir, specifically THE YEAR OF LIVING DANGEROUSLY (1982) and WITNESS (1985).

The screenplay, unlike so many screenplays these days, really hammers out its characters and brings them all to life. Earlier this week I saw THE GRAY MAN (2022), a new Netflix actioner starring Ryan Gosling and Chris Evans. It has performed so well financially that Netflix has already announced a sequel. Yet, I found this movie terribly boring, as other than the action sequences, it had nothing to offer, with dull characterizations and a sterile plot. Yet, it’s making lots of money and is getting a sequel, which explains why movies like this continue to be made, while movies like THE FORGIVEN, which is superior in every way, will struggle to be recognized.

Which is too bad because it tells an intriguing story and features a whole host of fleshed out characters who could have walked off the pages of a modern-day F. Scott Fitzgerald novel.

Ralph Fiennes is excellent as David, the alcoholic husband who snubs his nose at those beneath him, who is full of confidence and is not afraid to stir the pot, and who at the outset is about as sympathetic and likable as a scorpion. When he hits and kills the boy, he shows no remorse, other than a shrug and a “these things happen” attitude. But if there’s one character who journeys to self-awareness in the film, it’s David, as his time with Abdellah opens his eyes, not from bonding with the father, but from a combination of fear— it’s uncertain if the boy’s father will kill him for revenge— and a closeness to the deceased boy’s spirit. Add this to the long list of superb performances by Ralph Fiennes, following upon the heels of his equally engrossing acting in THE DIG (2021).

Jessica Chastain plays David’s wife Jo as a woman who is unfulfilled and unhappy with her marriage, and ironically, just as she invites the young American into her life at the party, unknown to her, David undergoes a transformation of character. Like Fiennes, Chastain is a superior actor, and she is every bit as good here in THE FORGIVEN, as is the rest of the cast.

Matt Smith, who we just saw in LAST NIGHT IN SOHO (2021), is memorable as Richard, the man who knows how to throw a wedding party. Smith, of course, is most famous for playing Doctor Who a few years back.

Caleb Landry-Jones makes for a lively young groom who is not above insulting his guests. It’s another in a long line of strong performances by Landry-Jones, who we’ve seen in such films as GET OUT (2017), THREE BILLBOARDS OUTSIDE EBBING, MISSOURI (2017), and THE OUTPOST (2019). The cast is really a strength here.

Likewise, Ismael Kanater is menacing and effective as the deceased boy’s grieving, probing, and uncertain father. While he brings David back with him as part of a tradition, he’s also trying to learn as much as he can about the man who killed his son and how it all happened. Kanater possesses the steely eyes of a Lee Van Cleef or Robert Shaw.

Said Taghmaoui is also very good as Anouar, the interpreter who accompanies David and Abdellah, and who actually becomes friends with David. Mourad Zaoui is superb as Hamid, Richard’s patient and dedicated head servant. And Christopher Abbott is amiable as Tom Day, the American who is attracted to Jo and makes no secret about it.

There are more characters as well, all of them equally as fleshed out and interesting.

The screenplay by John Michael McDonagh is really a strength of this movie.

In addition to the wealth of characters, there’s a captivating plot, and a theme worth exploring, of the wealthy and decadent Westerners who seem to have no further desire in life than to have fun, get high, and have sex, juxtaposed with the poor and traditional Muslims who simply want to survive. The contrast is unsettling.

It’s never said outright in the movie, but the plot drives home the reasons why Muslims in Morocco or elsewhere would hate Westerners. And the character who starts off as the most unlikeable of the lot, David, is the one who makes the journey of self-awareness learning just how shallow and uncaring he once was before finally embracing responsibility for the taking of another human being’s life.

THE FORGIVEN is a superior movie, a film that knows how to create characters and tell a story, and the story it has to tell, and the characters in it are both worthy of your time, even if the wealthy Westerners often represent the worst humanity has to offer.

That’s kinda the point.

—END—

WATCHER (2022) – Thriller Speaks to Women’s Fears and Frustrations at Being Stalked

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The best part about WATCHER (2022) is that it speaks to the vulnerabilities and frustrations women face when speaking out about being stalked, as here even the main character’s husband struggles to believe her fears are real.

The worst part is its story is told at such a dreadfully slow pace that it is difficult to get through, and it withholds any real shock until the final few minutes of the movie.

WATCHER, which premiered in theaters in June and is now available to rent or buy on Prime Video, tells the story of Julia (Maika Monroe), an American woman who relocates with her husband Francis (Karl Glusman) to Romania, as his job gives him the opportunity to return to his native country. Not knowing the language, Julia finds herself isolated and alone while Francis works long hours at the office, and she soon notices in the window of an apartment across from theirs the figure of a man who seems to be watching her. While she’s out and about in the city, she notices a man (Burn Gorman) following her, and she believes it’s the same man in the window.

Further complicating matters is the fact that there is a serial killer at large who decapitates his female victims. Julia tells Francis about the man, and they call the police, and the officer investigates and basically tells the man to stop watching Julia through the window. But Julia continues to see him, and she decides to be proactive and starts following him to learn more about his identity. Eventually he calls the police on her, and when the police show up at their door, Francis begins to believe that his wife is getting carried away with things that aren’t real. But Julia persists in believing that the man is following her, and her frustrations grow when her husband pretty much stops believing her.

The audience most likely stops believing her as well, as the film offers very little evidence to support that her fears are real. But just before the end credits roll, the film takes a shocking turn, and the final few minutes of this one, by far the very best part of this movie, go for the throat and really deliver a horrifying crushing conclusion.

That being said, while I really liked the ending, WATCHER is the type of movie with its long-drawn-out scenes of Julia alone roaming around Bucharest looking over her shoulder that I don’t generally enjoy, as for the bulk of the story not a lot happens. We mostly watch Julia exist alone as her fears ramp up that she’s being stalked by a serial killer. This doesn’t translate to easy viewing, even for a movie that’s only 91 minutes long. So, I have to admit that for a lot of this movie I was bored.

But director Chloe Okuno succeeds on two fronts. One, we really feel the same sense of isolation which Julia feels living in a foreign country not knowing the language and having a husband who works all the time. Most of the movie features scenes of Julia alone and struggling to adapt. And two, as I mentioned earlier, Okuno captures that sense of frustration for women who struggle to be believed when they report their fears of being stalked. At one point Francis makes a joke to his co-workers at Julia’s expense, in Romanian, but Julia gets the gist of it and storms away. And as the movie shows, the price for not being believed is often deadly.

Maika Monroe, with her fashionable haircut and clothes, looks more mature than the younger lead character she played a few years back in the superior horror movie IT FOLLOWS (2014), and she gives a performance that is equally as effective. She plays Julia as a character who is not overwhelmed by her isolation and who takes proactive steps to fit in, but the longer the stranger watches and follows her without anyone intervening to stop him, the more unraveled she eventually becomes. Even so, she remains steadfast and strong to the last. It’s a really good performance.

I also enjoyed Karl Glusman as Julia’s husband Francis. He’s just the right balance of concerned loving husband with the “I have to work, and I don’t know what else to do to help you” attitude to make him seem very real. He never deviates into a complete jerk which would have made him cliche.

And Burn Gorman is sufficiently creepy as the silent man who watches Julia, pretty much saying nothing until late in the movie, and even then, even as he is proclaiming his innocence, he still exudes weirdness.

Director Chloe Okuno wrote the screenplay based on a prior screenplay by Zack Ford, and it features realistic dialogue and characterizations, as well as a story that ultimately works, even though it takes its time getting to anything worthy of this movie being called a thriller. It’s a slow burn ride for sure.

However, the ending is really, really good! Shocking is the best word for it.

But because of its snail-like pacing, taken as a whole, WATCHER is a mixed bag. Intellectually, I liked its story and what it had to say about women needing to be believed and taken seriously from the get-go, but emotionally the film is lacking until its powerful final few minutes.

And the voyeurism theme is downplayed here. Even though the film is entitled WATCHER and does feature someone watching Julia inside her apartment, this plot point is minimal, and the story is more about the fear Julia feels from being followed on the streets of Bucharest. The film THE VOYEURS (2021) starring Sydney Sweeney did a better job overall dealing with the theme of voyeurism, although its plot eventually goes down a ridiculous path leading to a rather dumb disappointing ending, whereas WATCHER remains low-key throughout and then goes for the jugular in the final few minutes of the movie. The ending to WATCHER is its best part.

I imagine women will appreciate WATCHER more than men, as they can more easily relate to the fears Julia experiences throughout the story. However, regardless of gender, if you can stick with it and get through the slow burn pace, you’ll come face to face with quite the lurid ending.

—END—

THE OUTFIT (2022) – Mark Rylance Performance Leads Compelling 1950s Era Mob Thriller

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Mark Rylance delivers another superb performance in THE OUTFIT (2022), a compelling thriller which takes place in 1950s Chicago and is about a tailor, played by Rylance, who finds himself in the middle of a mob war fighting for his survival when efforts to find a mob rat play out in his shop during one eventful evening.

Rylance plays Leonard, a World War I veteran who says he moved to Chicago from London when the market for fine clothing dwindled after blue jeans took over the men’s clothing scene. Leonard is quick to point out that he’s not a tailor but a cutter, someone who designs and makes quality suits. The film opens with a voice over of Leonard explaining the many intricate steps of creating such a suit. Leonard owns a small shop with just one employee, his young secretary Mable (Zoey Deutch), who seems to have eyes for the young mobster Richie (Dylan O’Brien) who frequents the shop.

At times, this movie called to mind PHANTOM THREAD (2017), another 1950s period piece in which Daniel Day Lewis played a dressmaker, but that film became a love story, whereas THE OUTFIT becomes a mob crime thriller.

Richie is the son of mob boss Roy (Simon Russell Beale), who uses Leonard’s shop as a front to deposit and retrieve messages from other mobsters. Leonard wants no trouble and allows them use of his shop without argument, as he quietly goes about his cutting business. But one night, Richie and Roy’s right-hand man, Francis (Johnny Flynn) return to the store after being ambushed by a rival family, and Richie has been shot. Francis forces Leonard to sew up the wound, and afterwards, Leonard learns that Richie and Francis have in their possession a cassette tape which when played will reveal the identity of the rat in their outfit who has been supplying information to the FBI. Richie and Francis were on their way to obtaining a recorder to play the tape when they were attacked, and now both the FBI and the rival mobsters want that tape.

Tensions rise between Richie and Francis, as they both suspect the other of being the rat, and things grow more complicated when Roy arrives and then Mable, and through it all, Leonard finds himself having to outwit the mobsters in order to save his life and Mable’s.

THE OUTFIT is a handsome, polished production by first-time director Graham Moore, who also co-wrote the screenplay. Moore also wrote the screenplay for THE IMITATION GAME (2014), the excellent World War II drama which starred Benedict Cumberbatch as genius Alan Turing, the man who cracked the Nazi messaging code.

Here, Moore gives THE OUTFIT a claustrophobic feel as the entire film takes place within the small confines of Leonard’s shop. The costumes and sets look authentic to the period, and the somber cinematography supports the quiet, unobtrusive persona of the solitary cutter.

The screenplay by Moore and Johnathan McClain is excellent. The dialogue is first-rate and the characters, especially Leonard, Richie, and Francis, are well-developed. Things do get more contrived as the story goes along as Leonard continues to pull one rabbit out of his hat after another, and the final premise of the movie, the notion that things were more planned than they seemed, is not terribly convincing.

Mark Rylance, as always, is a joy to watch. If you like fine acting, you want to watch Rylance. He’s a master at his craft and has been memorable in such movies as BRIDGE OF SPIES (2015), DUNKIRK (2017), and more recently DON’T LOOK UP (2021). Here, Rylance plays Leonard as a man who definitely seems to be hiding from some past life, harboring a tragic secret, and we know this long before the plot tells us, because Rylance plays him this way. With his quiet, unassuming and methodical delivery, Rylance makes Leonard someone who is adept at listening and observing details, two skills which serve him well when dealing with the mob.

Also making an impression and giving the second-best performance in the movie is Johnny Flynn as Francis. Flynn stood out as Ian Fleming in the recent World War II drama OPERATION MINCEMEAT (2021), as well as in THE DIG (2021) and in EMMA (2020). Francis is a much different role than the ones Flynn played in these other movies. Francis is a hardened killer, a man who has risen in the mob ahead of the obvious heir apparent, the mobster’s son, which causes a lot of tension between Francis and Richie. Flynn gives an edge to the character which make other characters in the movie as well as the audience feel uncomfortable whenever he’s around.

Simon Russell Beale is spot-on once again as head mobster Roy. Beale also starred in OPERATION MINCEMEAT alongside Johnny Flynn, as Beale played Winston Churchill in that movie. Beale was most memorable, however, in THE DEATH OF STALIN (2017).

Dylan O’Brien is also very good as Richie.

And Zoey Deutch is fine as Mable, Leonard’s secretary, and the two characters share a sort of father/daughter relationship. But the role is limited and doesn’t allow Deutch to show off her talents as well as she has in some other movies, films like BUFFALOED (2019) and ZOMBIELAND: DOUBLE TAP (2019).

THE OUTFIT was released theatrically in March and is now available to rent on Prime Video.

The term “outfit” has a double meaning here, as it refers to what Leonard creates as well as being the term used to describe the league of mobsters spread out all around the country. And more specifically, at one point in the movie, Richie’s outfit, his coat, becomes a key item in the plot.

I really enjoyed THE OUTFIT. I could watch Mark Rylance all day, and his performance is the driving force behind this movie, which also tells an entertaining story filled with some twists and turns, and it’s fun to watch Rylance’s character Leonard outsmart the mobsters. It’s also shot very well by first-time director Graham Moore who invites you into this small shop in Chicago in 1956, and under his expert direction, you really feel as if you are truly there.

So much so that when Leonard and Mable are fighting for their lives, you feel as if you are right there with them, which only adds to the suspense and intensity of this fine period piece thriller.

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MONSTROUS (2022) – More Mournful Drama Than Monster Movie

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MONSTROUS (2022), a new horror movie starring Christina Ricci as a woman fleeing with her young son from her abusive husband and looking for a fresh start in a new home in a new town, has the advantage of taking place in the 1950s, not something you see every day in a horror movie.

But it also has the disadvantage of a plot twist, the likes of which audiences have seen all too often before.

The result is a slow burn horror film that takes its time laying out its story, a process that in its 1950s setting is generally interesting, but what it ultimately does with this story isn’t all that exciting or horrifying. In fact, the prevalent emotion throughout this movie isn’t horror but sadness, which in and of itself isn’t a bad thing, but it’s simply not enough to make this movie an effective horror film.

In MONSTROUS, Laura (Christina Ricci) and her young son Cody (Santino Barnard) relocate to a new California town, far away from her husband and Cody’s father. They set up shop in a farmhouse run by the pleasant Mr. Langtree (Don Durrell) and his cantankerous wife Mrs. Langtree (Colleen Camp). Laura enrolls Cody in a new school, and she starts a new job, all in the hope of starting a new life together and moving on from the life she had before with her husband, and with its brightly lit nostalgic 1950s cinematography, it seems like everything should be hunky-dory.

But such is not the case. And that’s because there is a monster in the pond in back of the farmhouse, a monster that emerges from the water and creeps into Cody’s bedroom. At first, when Laura is watching a black and white horror movie on TV also about a monster emerging from the water, the feeling is that perhaps MONSTROUS is going to be a creature feature type horror movie, but when Cody tells his mom that the monster isn’t really a monster, but a pretty lady, and that she’s talking to him, and he’s not afraid anymore, the film takes a different direction.

For most of the movie, the monster serves as a metaphor for the challenges and pain Laura experiences as she tries to raise her son on her own, dealing with his problems at school, stress at her job, and at home trying to deal with what seems to her to be a demon or spirit haunting their house, as well as her son’s changing personality. As I said earlier, there is a mood of sadness permeating the proceedings, and for most of this movie, I was reminded of another similar and better made tale, THE BABADOOK (2014). A lot of what happens in MONSTROUS is derivative of THE BABADOOK.

Carol Chrest’s screenplay works for most of the movie. I was definitely intrigued by the premise, and I was enjoying its 1950s setting, but the plot twist doesn’t do it any favors. It’s not awful. It’s just not very original. And there are enough hints throughout the movie for the audience to have a pretty good idea as to what is really happening.

I did like where the story finally goes, as it’s a touching emotional conclusion to a somber sad story. That being said, what comes before it doesn’t always make sense. In other words, l liked the conclusion, but the story of the monster and how the characters reach this point, didn’t completely work for me. The biggest question I have is, when you finally know the big reveal, why was it a monster in the first place?

Chris Sivertson’s direction is interesting. The brightly lit 1950s sequences work well, but the horror elements are few and far between. The film really isn’t scary. And without giving much away, the feel of this movie and the sense one has while watching it, is it definitely has a similar vibe as the Marvel TV show WANDAVISION (2021). You’re watching this “ideal 1950s world” and you just have that feeling in your gut that there’s something not right here. There’s also the TV commercial which plays nonstop nearly every time Carol turns on the TV, about a brand-new dishwasher— cleaning has never been easier, and water, water, water.

Water is everywhere here. Lots of hints. And the payoff works to an extent, but makes you question all that came before it.

Christina Ricci is fine as Laura, the mom who is fighting a losing battle in her attempts to raise her son on her own, and this in and of itself is sad to watch. Her life is a challenge even without a monster. And young Santino Barnard does what he has to do as Laura’s son Cody, acting sad, scared, and ultimately creepy weird. He does get the best scene in the movie, along with Ricci, when the two make peace with their situation, and Cody makes one final request of his mom. It’s an emotional moment, and the movie could have used more moments like this.

MONSTROUS really isn’t much of a horror movie, but it is a somewhat diverting drama with supernatural undertones that were enough to hold my interest for most of this slow burn chiller’s 90-minute running time.

It’s not the monster that’s monstrous here, but the hand with which life has dealt Carol. Seen through this prism, MONSTROUS is more mournful drama than monster movie.

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X (2022) – Exceptional Horror Movie Captures Feel of Both 1970s Horror and Porn Movies

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It’s 1979, and a group of young filmmakers set up shop at a farmhouse in rural Texas where they plan to shoot a porno movie, hoping to cash in on the growing genre, but the elderly owners of the farm where they are staying have some rather different ideas about sex and don’t take too kindly to the acts happening under the roof of their guest house. In fact, things get rather violent. And very, very bloody.

That’s the premise behind X (2022), a new horror movie by writer/director Ti West, which in the process of telling this compelling story, also captures the feel of both a 1970s porn flick and a 1970s horror movie. It’s DEBBIE DOES DALLAS meets THE HILLS HAVE EYES (1977).

Maxine (Mia Goth) wants to be a star, and as she says, she doesn’t want to be denied all that life can give her, and so she travels with her much older boyfriend Wayne (Martin Henderson) to make an adult movie in which she will star. Wayne is the brains behind the movie and serves as the producer. He hires a young filmmaker RJ (Owen Campbell) whose intent is to make more than just a porn film, as he wants to give it style. Helping RJ is his young girlfriend Lorraine (Jenna Ortega), and rounding out the team is Bobby-Lynne (Brittany Snow), a stripper with adult movie experience, and her boyfriend Jackson (Kid Cudi) who plays the main male lead in their movie, “The Farmer’s Daughter,” which follows Jackson’s character as he arrives at a farmhouse when his car breaks down and meets the various daughters at the farm. Well, it is a porn movie, after all!

All is well, until the old couple at the main farmhouse discover what they are doing, and then the body count begins.

I really enjoyed X, and one of the main reasons is that Ti West’s screenplay in addition to creating interesting characters tells a far deeper story than a murder tale about two elderly prudes who want to stamp out the evils of sex. The prevalent them in X is aging and how life goes by in the blink of an eye. The couple, Howard (Stephen Ure) and Pearl (also played by Mia Goth)— both actors are under heavy prosthetic make-up to make them look exceedingly old— are haunted by the fact that the best times of their lives have passed them by, especially Pearl, who seeks out Maxine, and is sexually attracted to her.

Heck, you can break things down here to the fact that Pearl just wants to have sex, and she can’t anymore. Her husband Howard is too afraid to touch her because of his weak heart, and he fears that he won’t survive a sexual encounter. So, when Pearl observes these people having sex while making their movie, she is motivated more by jealousy than out of moral disdain.

There’s also a PSYCHO vibe happening here… in fact, Hitchcock’s classic is mentioned in a conversation in the movie… as when Pearl disappears, and Howard asks for help finding her, he says she’s not well, and after a pause says he’s afraid she would get lost in the woods alone, but during that pause, the implication is that, in the words of Norman Bates, “she just goes a little crazy sometimes.”

We will learn more about Pearl, because Ti West is filming a prequel to this movie about the character, and Mia Goth will reprise the role.

Speaking of Goth, she is outstanding here in the dual role of Maxine and Pearl. As Maxine, Goth exudes sexuality and promise, and it’s clear that she will do just about anything to fulfill her goal of becoming a famous star. As Pearl, Goth captures a weary sadness of a life gone by, while at the same time imbuing the old woman with an underlying sense of insanity. You know right away that there’s something off about this lady, and that she is capable of some truly violent acts.

Mia Goth is no stranger to horror movies. She starred in A CURE FOR WELLNESS (2016), Gore Verbinski’s atmospheric and steamy flick about a sinister wellness center that captured the look and feel of the classic Hammer movies of yesteryear. It was one of my favorite movies that year. Goth also starred in the remake of SUSPIRIA (2018).

With his cowboy hat and southern drawl, Martin Henderson channels a Matthew McConaughey vibe in his performance as Wayne, the smooth-talking producer and man running the show. Brittany Snow as Bobby-Lynne is sufficiently sexy and wise to the ways of the world, and Kid Cudi is solid as Jackson, the porn actor who is also a Vietnam vet who is cool under pressure.

Owen Campbell is convincing as RJ, the young innovative filmmaker, who wants to be creating art here rather than pornography, and Jenna Ortega is spot on as Lorraine, RJ’s girlfriend who barely says a word and seems to frown upon the type of movie they are making, but then does an about face and decides she wants to be in the movie, a turnaround that does not sit well with RJ. She also gets one of the film’s better moments, late in the game, when she’s screaming and hysterical, and Maxine begs her to calm down, that they need to work together, to which Lorraine basically tells her to go f*ck herself and she runs smack dab into the end of her life, which is one of the few laugh out loud moments in the movie.

Once the movie pivots to straight horror in its final thirty minutes, director Ti West holds nothing back in the gore department. As I said, it captures the feel and flavor of 1970s horror. Some of the killings are over the top and will generate nervous laughter. In fact, in a few places, West uses humor well, including the last line of the movie, spoken by the sheriff who up until that point hadn’t uttered a single line in the entire film.

So, on top of ample sex, there’s plenty of blood and gore, and West handles it all expertly. The film earns its R rating, and then some. I was somewhat disappointed that the film included yet another “bare foot stepping on a nail” scene, which seems to be a thing nowadays and has been featured in numerous horror movies in recent years. But the rest of the fright scenes work well, from eye gouging to head smashing, and even a hungry alligator gets in on the action. If you love gore, you won’t be disappointed, and if you’re squeamish, you may find yourself looking away from the screen.

The “X” in the title obviously refers to the X rating which was used for porn films back in the 1970s, but it also has the double meaning for something Wayne continually talks about in the movie, the “X-factor,” which is as he says that thing which some people just have which makes them a success and separates them from people with equal talent. He continually tells Maxine that she’s got it.

And in life, this is largely true. Regardless of the endeavor, some people just have “it,” that uncategorized intangible thing, some call it charisma or a gift, that gives them an edge. In this film, Maxine believes she has this X-factor, and it drives her personality forward and influences her actions. She is someone who is trying to break away from her past, take part in the American dream, and become a success.

X, which was released theatrically back in March, and is now available to rent on Prime Video, is a well-made horror movie that I liked a lot. It has interesting characters, a plot that goes deeper than one would expect in a horror movie about the making of a porn movie, and once it gets to its horror sequences, takes no prisoners and goes for the throat all the way down to its final reel.

X is X-ceptional horror.

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EMERGENCY (2022) – Exceptional Eloquent Drama About Racism Intense Yet Funny

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My favorite movies often are the ones in which the script is spot on and honest and taps into truth, so that regardless of where its story goes, it’s believable and clicks, because the audience knows where its coming from and understands what’s going on.

EMERGENCY (2022) is such a movie, with an exceptional script by K.D. Davila that speaks to race relations in the here and now, specifically the treatment of black men by the police, and it does so in a way that not only isn’t overbearing and heavy-handed, but instead is wild and insane and even funny.

EMERGENCY, now available on Prime Video, tells the story of two black college students, Kunle (Donald Elise Watkins) and Sean (RJ Cyler), who on the eve of spring break, are on their way to an epic night of partying, but first they return to their campus apartment and there discover the door open and an unconscious body of a white girl lying on their living room floor. Their video game playing dorky roommate Carlos (Sebastian Chacon) is in his room playing on his computer and doesn’t even realize there’s a girl sprawled out on their floor.

Kunle wants to call 911, but the streetwise Sean stops him from doing so, explaining that if they call the police, no one is going to believe them that this girl just showed up on their doorstep. They will suspect Kunle and Sean of foul play, and worse, things could get out of hand quickly and they could be shot. This plot point isn’t hard to believe because… it’s true.

Kunle, who is responsible to a fault, eventually convinces his two friends that they should drive this girl to the hospital, as she definitely seems intoxicated or perhaps worse, drugged, and needs medical attention. Sean and Carlos agree, and they covertly carry the girl out to Sean’s car where they hope to drive her across town and leave her at the emergency room.

And thus begins an odyssey of a night that gets crazier and more intense by the second, as what could go wrong does go wrong, and then some.

While director Carey Williams obviously seems to have been influenced by the work of Spike Lee and Jordan Peele, two other films come to mind when describing how EMERGENCY plays out. In terms of sheer intensity and frenetic stress, I was reminded of brothers Benny and Josh Safdie’s GOOD TIME (2017), the film which told the story of the harrowing efforts of a bank robber played by Robert Pattinson trying to spring his mentally challenged brother from a hospital before he was transferred to prison. EMERGENCY also calls to mind the original THE HANGOVER (2009), the insane comedy starring Bradley Cooper and Zach Galifianakis, where three men awake after a bachelor’s night out to find the groom missing and their lives in complete disarray, and their attempts to locate the missing groom only make things worse. THE HANGOVER of course was played completely for laughs, whereas EMERGENCY isn’t, but the two films share the zany unpredictability of the best of intentions gone awry.

EMERGENCY captures that same HANGOVER- type journey blowing-up-in-your face vibe as things continue to unravel for these three young men as they try to do the right thing, even as they remain afraid of the simplest solution, calling 911, fearing it could cost them their lives.

Things that go wrong include the girl becoming more intoxicated when Carlos offers her a sports drink which he doesn’t realize is an alcoholic concoction created by Sean; the tail light on their car isn’t working, something that could get them pulled over by the police, and so they try getting another car; they learn that the girl, Emma, is underage, and Emma’s sister Maddie (Sabrina Carpenter) is hot on their trail with her friends, as she is tracking Emma with her cell phone.

I really enjoyed EMERGENCY. As I said, the script by K.D. Davila is as real as it gets, and it makes its points while also telling a compelling and entertaining story. Carey Williams’ direction is equally as good. The in-depth characterizations do not come at the expense of plot, as the film moves quickly through one ordeal after another. This is a high energy tale that does not sacrifice storytelling for poignancy.

Donald Elise Watkins is excellent as Kunle, the student with a bright future, described as the Barack Obama of the science world by his buddy Sean. Watkins plays Kunle as a young man who disagrees with his friend’s Sean’s take on the world and wants to call 911 and do the right thing, but ultimately, he doesn’t.

He also gets one of the best moments in the movie, the moment where his view of the world changes. When they are finally stopped by the police outside the hospital and are ordered at gunpoint to get out of the vehicle, Kunle is shoved to the ground after having a gun pointed directly in his face, even after he says that he is only trying to save the girl. The most interesting aspect of this scene is that the police do not overreact, but there is still a marked difference between the way Kunle is treated and the way the other students who are all white, are treated. It’s almost imperceptible, since this isn’t an overdramatic “shoot first ask questions later” scene, but it’s there. The experience not only frightens Kunle but traumatizes him, as shown by the last shot of the film, when he hears a police siren in the distance, and his expression goes cold.

RJ Cyler is also excellent as Sean, the street wise friend who knows a bit more of the real world than Kunle does. Sebastian Chacon as Carlos largely serves as the comic relief, and he’s very good at it. And although she spends most of the movie unconscious, Maddie Nichols makes her mark as Emma, and when she’s not vomiting and gets to speak some dialogue, has some key moments. Likewise, Sabrina Carpenter is explosive as Emma’s older sister Maddie, who is guilt ridden over bringing her sister to a college campus and then losing her. She has her own issues with racism which come out over the course of the movie, even as she pushes back and claims she’s not racist.

K. D. Davila’s screenplay provides first-rate dialogue throughout.

EMERGENCY is a superior movie, a film that tells a story of our time that as a wild and oftentimes funny vehicle is about as far removed from a preachy sermon as one can get. Yet, it makes its social and racial points as eloquently as any well-written speech or diatribe.

It’s one of my favorite movies of the year so far.

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UNCHARTED (2022) – Actioner Based on Video Game Wastes Talents of Tom Holland and Mark Wahlberg

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UNCHARTED (2022) proves once again that movies based on video games often play out like… video games, and as a result, aren’t any more fun than sitting there watching someone play video games. Some people like that sort of thing. I don’t.

I only decided to watch UNCHARTED because of its two leads, Tom Holland and Mark Wahlberg, two actors I enjoy a lot, and I was curious to see how they would be working together. And you know what? After watching this movie, I don’t really know how they are working together, because they are playing two characters with as much depth as characters… in a video game. In short, while they were both doing their thing on screen, Holland acting like he walked off the set of his latest SPIDER-MAN movie, and Wahlberg like he was in another action/comedy, it didn’t matter, because the characters they were playing in this movie could have been played by any actor.

UNCHARTED, which is based on the popular video game franchise by Sony PlayStation, tells the story of Nathan Drake (Tom Holland) who is recruited by wisecracking treasure hunter…. always a bad sign in a movie when the main character has as his main job title “treasure hunter,”….Victor Sullivan (Mark Wahlberg) to help him find a treasure lost by Magellan some five hundred years ago. I swear, as soon as this plot point was mentioned in the movie, I was ready to bale. I mean, if there was such a treasure, these two knuckleheads would be the last two people to be able to find it!

Anyway, Nathan agrees to help Sullivan, or “Sully,” because Sully tells him he had been working with Nathan’s older brother, who’s been out of Nathan’s life for years, and if Nathan helps him, Sully promises that there’s a good chance he’ll find his brother. Now, you don’t have to listen to Sully talk for more than three seconds before you realize he’s about as trustworthy as a villain in an Indiana Jones movie, but Nathan listens to him anyway and joins him on his treasure hunt. Along the way, they join forces with fellow treasure hunter and equally untrustworthy Chloe (Sophia Ali), and cross paths with villains Braddock (Tati Gabrielle) and Santiago Moncada (Antonio Banderas).

Yawn.

And more yawns.

There’s no getting around it. UNCHARTED was by far the dullest and most boring movie I’ve seen all year. In spite of polished and energetic directing by Ruben Fleischer, the story is a snooze, and the characters are literally right out of a video game with no more depth than that. It’s also one of those stories where the main characters find all the clues so easily there’s simply no dramatic tension whatsoever.

The screenplay by Rafe Judkins, Art Marcum, and Matt Holloway scores highest with the banter between Holland and Wahlberg, but at the end of the day, this dialogue doesn’t matter because neither character is fleshed out. The experience was like listening to Holland and Wahlberg exchange wisecracks while they were playing video games. Their characters were no more interesting than two dudes playing a game. And the story is dreadfully unbelievable and dull.

Director Ruben Fleischer has made some good movies, films like ZOMBIELAND (2009) and VENOM (2018), and this movie looks great, but none of it means anything. It’s one polished action scene after another with no compelling characters or story, the perfect recipe for a two-hour nap.

UNCHARTED opens with a rousing action scene featuring Tom Holland’s character battling bad guys while falling out of a plane. It’s a sequence that borrows heavily from a far better sequence in the Timothy Dalton James Bond movie THE LIVING DAYLIGHTS (1987). The sequence in THE LIVING DAYLIGHTS was better because they had real stuntmen up there falling out of the plane, whereas here it’s all CGI. Plus, it’s the opening sequence of the movie, and we know nothing about Holland’s character at this point. More importantly, we don’t know why he’s up there in that plane. Imagine if RAIDERS OF THE LOST ARK (1981) began with Indiana Jones simply fighting villains without seeing him attempt to snag the treasure first. You’d be like, neat action, but who is this guy and why is he fighting all these guys?

UNCHARTED, which premiered in theaters back in February and is now available to rent on Prime Video, is the emotional equivalent of its source material, a video game. Some people like this. I don’t.

And if you like movies, you probably won’t either.

So, for movie fans, UNCHARTED is best left unwatched.

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