Culture Representation: Taking place in an unnamed U.S. city, the dramatic film “The Gateway” features a predominantly white cast of characters (with some African Americans, Latinos and Asians) representing the working-class, middle-class and criminal underground.
Culture Clash: A well-meaning bachelor, who works for a city’s social services department, finds himself caught up in criminal warfare when he tries to protect a mother and her young daughter after the child’s father gets out of prison.
Culture Audience: “The Gateway” will appeal primarily to people who are interested in forgettable and formulaic crime dramas.
Shannon Adawn and Frank Grillo in “The Gateway” (Photo by Antony Platt/Lionsgate)
“The Gateway” is such a generic and unimaginative rehash of many other crime dramas, it’s likely to be soon forgotten after people see it. It’s yet another story about a hero who has an “against all odds” struggle against gangster thugs. In “The Gateway,” the protagonist does battle against drug-dealing goons, in order to save (cliché alert) a damsel in distress and her child. It’s all very hackneyed and boring. There’s absolutely nothing creative about this movie, which lumbers along until its very predictable end.
“The Gateway” was directed by Michele Civetta, who co-wrote the drab screenplay with Alex Felix Bendaña and Andrew Levitas. The movie is Civetta’s second feature film as a director. His feature-film directorial debut was the unremarkable 2020 horror flick “Agony,” which describes what any viewer might have felt if they watched that painfully dull film. And although Civetta says in “The Gateway” production notes that “The Gateway” was inspired by crime thrillers such as John Huston’s “Fat City” (released in 1972) and John Cassavetes’ “The Killing of a Chinese Bookie” (released in 1976), “The Gateway” has none of the intrigue or style of those films.
The name of the U.S. city where “The Gateway” takes place is never shown or mentioned by the characters in the movie, which was actually filmed in Norfolk, Virginia. Wherever “The Gateway” is supposed to take place, it’s a city where gambling is legal, because the “damsel in distress” is a blackjack dealer in a casino. She’s not the movie’s protagonist though. The story’s main character is yet another stereotype of a “regular Joe” who suddenly has to battle gangsters as if he’s an experienced member of law enforcement. Yawn.
The protagonist of “The Gateway” is Parker (played by Shea Whigham), a lonely middle-aged bachelor whose life revolves around his job working as an investigator for the city’s social services department. In the movie’s opening scene, viewers see that Parker is compassionate when he responds to a complaint about child endangerment in a house that’s basically a drug den. Parker finds a boy at the house who’s about 7 years old, and he comforts the boy when it’s discovered that the boy’s mother has overdosed. Two men in the house are then arrested.
For an unspecified period of time, Parker has been looking out for another child named Ashley (played by Taegen Burns), who’s about 12 years old. His interest in Ashley extends beyond his social worker job. He has become somewhat of a father figure to Ashley, whose father has been in prison for an untold number of years. Ashley’s mother Dahlia (played by Olivia Munn) has been raising Ashley while Dahlia holds down a job as a blackjack dealer.
Viewers never see any flashbacks of how Parker became close to this family, so the relationship that he has with Dahlia and Ashley feels too rushed and contrived in this movie. As an example of how Parker goes beyond his social worker duties for Ashley, Parker volunteers to take Ashley to school when he’s needed. It’s hinted that maybe Parker is attracted to Dahlia, but he doesn’t cross the line into making any inappropriate and unprofessional moves on her.
Dahlia might have a substance abuse problem, because the reason why Parker takes Ashley to school in an early scene in the movie is because she seems to be drunk or high, and Parker doesn’t want Dahlia to drive under the influence. The dynamics between Parker, Dahlia and Ashley change when Ashley’s father Mike (played by Zach Avery) gets out of prison and makes it clear to Parker that Mike wants to be the only father figure in Ashley’s life.
Soon after Mike get out of prison, he goes right back into a criminal lifestyle. At a bar frequented by shady people, Mike meets up with a local drug kingpin named Duke (played by Frank Grillo, in yet another one of his “tough guy” roles) to set up a heroin deal. Mike tells Duke and Duke’s associate Louis (played by Alexander Wraith) that Mike knows about two bricks of heroin that were stolen from a Mexican drug cartel.
Mike offers to deliver this heroin to Duke. In exchange, Duke says that he will set Mike and Louis up with enough money for Mike and Louis to open their own bar. Duke also offers to lend out the services of his henchman Hector (played by Mounir Quazzani) to help Mike and Louis for protection in retrieving this heroin, which is hidden in a place that could be guarded.
“The Gateway,” which already has a very simple-minded plot that would barely be enough for a short film, stretches everything out to tedious levels with repetitious scenes of Mike and his cronies committing crimes; Mike and Dahlia having tensions in their already shaky relationship; and Mike threatening Parker to stay away from Ashley. Parker was assigned to check on the welfare of Ashley, so he tells Mike that it would be up to the city to decide when Parker will no longer have to check up on her.
This movie is so poorly written that it does little to show who Parker is as a person. The only thing about his personal life that’s shown is that he has a rocky relationship with his father Marcus (played by Bruce Dern), because (as shown in flashbacks) Marcus was a verbally abusive alcoholic to Parker when Parker was a child. In fact, all of the characters in the movie don’t have much depth or personality. They’re just hollow vessels to act out the movie’s unimpressive action scenes. Two police detectives named Detective Vaughn (played by Shannon Adawn) and Detective Bachman (played by Nick Daly) are essentially useless, since this movie is about making Parker the biggest hero.
Needless to say in a predictable movie like “The Gateway,” Parker, Dahlia and Ashley unwittingly get caught up in Mike’s big heroin deal when the heroin stash goes missing. Expect the usual chase scenes and shootouts that clog up substandard thrillers such as “The Gateway.” The cast members and the filmmakers don’t put much effort into bringing any creative spark to this tired story. With all the better-quality movies that have already been made about drug deals gone bad, viewers don’t have to waste their time on “The Gateway.”
Lionsgate released “The Gateway” in select U.S. cinemas and on digital and VOD on September 3, 2021. The movie was released on Blu-ray and DVD on September 7, 2021.
Culture Representation: Taking place in 2016 in Texas City, Texas, the comedy/drama film “Red Rocket” features a predominantly white cast of characters (with some African Americans and one Asian) representing the working-class and middle-class.
Culture Clash: A washed-up and financially broke porn actor goes back to his Texas hometown, where he tries to hustle up enough money to leave town and go back to California, with the hope of making a comeback in the adult entertainment industry.
Culture Audience: “Red Rocket” will appeal primarily to people who are fans of filmmaker Sean Baker and tragicomic stories about people with unsavory lifestyles.
Simon Rex and Bree Elrod in “Red Rocket” (Photo courtesy of A24)
“Red Rocket” continues writer/director/producer Sean Baker’s pattern of doing raw and restless films about people who live on the fringes of American society. Baker’s movies aren’t appealing to everyone, but his biggest strengths as a filmmaker are in creating very memorable characters and making smart casting decisions. Simon Rex (an actor/rapper who’s also a former MTV VJ) is an inspired choice to play a destitute and desperate former porn actor who goes back to his Texas hometown, with the intent to get enough money to go back to California, so he can jumpstart his career in adult entertainment. Rex has his own real-life history with doing porn, since it’s not a secret that he did solo/masturbation porn videos before he became famous on MTV in the mid-1990s.
In “Red Rocket” (which Baker co-wrote with Chris Bergoch), Rex gives a “go for broke” performance, even though many viewers might grow to dislike or get irritated by his self-centered and disreputable Mikey Saber character, a drifter in his mid-40s, who always seems to be on the hustle for something that benefits himself. Baker doesn’t make movies where audiences are supposed to expect that the protagonist will go through some kind of redemption. Instead, his movies are about how the main character gets stuck in a rut and often makes things worse through a series of misguided shenanigans.
That’s exactly what goes on with Mikey, who has suddenly moved back to his working-class hometown of Texas City, Texas, after years of living in California and working as a porn actor for the past 17 years. It would be overstating Mikey’s status in the adult entertainment industry by describing him as a “porn star,” even though he would like to think that he’s a “porn star.” Mikey might be somewhat well-known to porn aficionados, but he’s not famous enough to get automatic invitations every year to the Adult Video News (AVN) Awards, which are the Oscars of porn movies.
Whatever money he made as a porn actor is long gone, because by the time Mikey moves back to Texas City (the movie takes place in 2016), he’s broke and looking to make some quick cash, even if it’s through illegal means. The first clue that Mikey gets himself into violent trouble is that he has bruises on his face, as if he recently got into a fight. Mikey has some unfinished business that he left behind in Texas City when he moved to California, but now he has to face some realities that he’s been trying to avoid. Just like a true hustler, he tries to turn things around to his advantage.
The biggest unfinished business that Mikey has in Texas City is that he’s still legally married to his estranged wife Lexi (played by Bree Elrod), who wants to get back together with him. Even if Mikey could afford to go through with the divorce, Lexi doesn’t really want to get divorced. Mikey and Lexi used to do porn together, but Lexi is no longer in the adult entertainment industry, and she doesn’t want to go back to it.
When homeless Mikey shows up unannounced at Lexi’s house, she’s initially irritated with him, but she’s generous enough to give him a place to stay. Not much is said about Mikey’s biological family members, but it’s implied that he’s an only child. It’s briefly mentioned that his single mother is in a nursing home.
Lexi lives with her mother Lily, nicknamed Lil (played by Brenda Deiss), and it’s later revealed that they both smoke heroin or another opioid on a regular basis. Mikey doesn’t really approve of this drug use, but he’s not in a position to be preachy about illegal drug activities. He smokes weed, and he ends up doing some small-time drug dealing (mostly marijuana) for a local gang involved in drug trafficking.
Mikey has done this work before in Texas City, so he asks for his old job back from the dealer in charge: a gang maven named Leondria (played by Judy Hill), who leads a group of mostly young men, but she has her young adult daughter June (played by Brittney Rodriguez) working as the gang lookout and enforcer. It’s quite problematic that Baker chose to make the only African Americans in “Red Rocket” into gangsters and drug dealers, which are unimaginative and negative stereotypes. And for a movie that takes place in Texas, which has a large Hispanic/Latino population, it’s also appalling how there’s no Hispanic/Latino representation (in terms of speaking roles) in “Red Rocket.”
When Mikey first shows up at Lexi’s place, he begs to take a shower. “I just need a place to crash,” Mikey pleads. Soon enough, he tells Lexi that he doesn’t just need a place to crash for a few days. He needs to stay for at least 180 days (or six months), which is the legal minimum requirement to establish residency in Texas.
Why does Mikey want to establish residency in Texas? He wants to collect unemployment benefits and other government benefits from the state of Texas. Until that happens, Mikey turns to drug dealing for money.
Mikey and Lexi start having sex again. For Mikey, it’s convenient sex to keep Lexi happy and for his own physical pleasure. For Lexi, it’s reunion sex, which she thinks is Mikey’s way of showing that he still loves her and wants to get back together with her. For any adult who’s watching this movie, it’s sex that will obviously not end well for someone in this movie, because someone will get emotionally hurt in the end.
And sure enough, Mikey starts to lose interest in Lexi once he meets a nubile 17-year-old named Strawberry (played by Suzanna Son), who works behind the counter of a donut shop. It’s lust at first sight for Mikey, who sees Strawberry (yes, that’s her real name) as his meal ticket out of Texas City because he wants her to do porn with him and move with him to California when he has enough money. In Texas, the minimum legal age of consent to have sex is 17, but Strawberry will soon turn 18, the minimum legal age to do porn. Slowly but surely, Mikey charms and seduces his way into Strawberry’s life. And he finds out that Strawberry, who has a kind and open heart, is not as innocent as she looks.
Lexi has another reason why she wants Mikey back in her life. She has an underage son named Eric from a previous relationship. Lexi lost custody of Eric (it’s easy to see why), and she wants to convince Child Protective Services that she’s now living a stable life as a happily married woman. Lexi puts pressure on Mikey to give their marriage another chance, but he won’t fully commit to it.
At the same time, Mikey doesn’t want to alienate Lexi too much because she’s the only person who’s giving him a place to live in Texas City. Therefore, when Mikey and Strawberry start dating and having sex, Mikey thinks it’s best to hide this information from Lexi, because he knows that she’ll get jealous and possibly kick him out of the house. Lexi has a mean-spirited temper: It’s not unusual for her to throw things during an argument at the person who’s making her angry.
“Red Rocket” has a rambling tone that reflects Mikey’s haphazard life. Unfortunately, even though the cast members’ performances are believable, the movie tends to be repetitive in showing any of these three things: arguments between Mikey and Lexi; Mikey’s tensions with the gang members/drug dealers he’s doing business with while Mikey is tempted to steal some of their money; and Mikey’s manipulation of Strawberry, who is still in high school. Strawberry lives with her single mother (who’s not seen in the movie) and seems to have a fairly stable home life, but she’s bored with her dead-end job and can’t wait to get out of Texas City.
A problematic part of “Red Rocket” is how it has a tendency to present Mikey as a loveable bad boy, when he’s just a low-life sleaze (and not a very smart one), through and through. There’s really no good excuse for why a middle-aged person would want to persuade a barely legal teenager to start doing porn. Mikey doesn’t have much to lose by doing porn, but a teenager who hasn’t really found an identity yet and might be too emotionally immature to make this decision has a lot to lose by doing porn.
Mikey doesn’t care about the consequences for Strawberry though. He’s only thinking about how much money he can make if they do porn together. If anything, “Red Rocket” has some realism in showing how young women are easily manipulated by sexual predators to do this kind of sex work. Mikey effusively compliments Strawberry by telling her how beautiful and sexy she is. He also sells her on the idea that they can live a glamorous life in California, by getting paid for having sex on camera.
It’s obvious that Strawberry still has a lot to learn about life, because she falls for Mikey’s big talk, but she’s blind to the big picture. She seems to have some awareness of how doing porn will affect her, when she says, “I’m about to have a very awkward senior year. I’m not about to have a very awkward life.” But it’s almost like she’s in denial about how doing porn could really affect the rest of her life, in terms of job opportunities, what kinds of lovers might or might not accept her porn activities, and how her involvement with porn could affect any children she might have in the future.
More experienced or more emotionally mature people would be able to see right through Mikey’s scammer ways. After all, Mikey is pretending to be a big shot porn star, when in reality, he’s essentially homeless and trying to use an inexperienced teenager to peddle her flesh for his own financial gain. How much of a loser do you have to be to think this scummy exploitation is cool?
“Red Rocket” doesn’t really condone or condemn Mikey’s sleaziness, but Baker expects audiences to show a certain type of fascination with Mikey, by making an entire movie about this type of sexual predator. The movie puts an almost comical spin on the sordid antics of Mikey, by giving the movie a lightweight pop tune as its theme song: *NSYNC’s 2000 hit “Bye Bye Bye.” Audiences are supposed to see the irony in contrasting a song from a polished boy band with the very dirty and chaotic life of Mikey.
“Bye Bye Bye” is the first song heard blaring on the movie’s soundtrack when Mikey is shown on a bus on his way back to Texas City. The song is also heard in various forms in other parts of the movie, such as when Strawberry does a compelling, stripped-down version of the song while playing piano. Making “Bye Bye Bye” the theme song to “Red Rocket” is essentially a nod to the early 2000s, at the beginning of Mikey’s porn career, so the song probably reminds him of his youth. (Rex was no longer a VJ on MTV by the time *NYSNC hit it big.)
Physically, Mikey is still in great shape, compared to other men in his age group. But the rest of his life is a mess. (Viewers will see all of Mikey’s physique in a full-frontal nude scene that Rex does toward the end of the movie.) Baker invites audiences to laugh at Mikey, as this fast-talking hustler digs himself further into a self-destructive hole. But it’s not the kind of laughter that should make people feel good because it’s about laughing at pathetic people who are caught in a cesspool of degradation, often of their own doing.
What makes “Red Rocket” worth watching is to see how Strawberry navigates her relationship with Mikey. As Strawberry, Son gives an interesting performance that’s open to interpretation. Strawberry is grounded, open-minded and independent, yet she’s also unsophisticated, insecure about her place in the world, and susceptible to Mikey’s manipulations. Therefore, viewers might see her as a teenager who’s capable of growing up fast and handling herself well, or as teenager who could get easily mixed up in situations that she might end up regretting.
Truth be told, “Red Rocket” would have been a more compelling movie to a lot of people if it had been told from Strawberry’s perspective. She’s the only character in the movie who doesn’t veer into caricature territory. Lexi becomes a screaming shrew. The gangsters/drug dealers are depicted in a very predictable way. Other characters, such as Mikey’s hometown friend Lonnie (played by Ethan Darbone), aren’t in the movie long enough to have much of a personality or an impact on the story. Lonnie is essentially a sounding board for Mikey’s bragging about his sexual exploits.
There are so many movies already about egotistical jerks who are at the center of the story. “Red Rocket” just happens to have better acting than most of these movies. Baker seems enamored with doing films about people who exist on the seedy side of life. Let’s hope his future movies are centered on a more unique protoganist than the type of overrated toxic male who doesn’t earn filmmakers’ efforts to make viewers think that he’s just “misunderstood.”
A24 released “Red Rocket” in select U.S. cinemas on December 10, 2021.
Pictured clockwise, from top center: Maya Kazan, Rosanna Arquette, Polly Draper, Joanne Whalley, Nancy Carlin, Cybill Shepherd, Elea Oberon, Alyson Reed, Valarie Pettiford and Rita Wilson in “Love Is Love Is Love” (Photo courtesy of Blue Fox Entertainment)
Culture Representation: Taking place in various U.S. cities, the dramatic anthology film “Love Is Love Is Love” features a predominantly white cast of characters (with a few Latinos and African Americans) representing the working-class and middle-class.
Culture Clash: Challenges in sustaining loving relationships are presented in three separate and unrelated stories within the film.
Culture Audience: “Love Is Love Is Love” will appeal primarily to people who don’t mind watching a boring movie about love, featuring some well-known cast members.
Marshall Bell and Kathy Baker in “Love Is Love Is Love” (Photo courtesy of Blue Fox Entertainment)
“Love Is Love Is Love” should’ve been titled “Dull Is Dull Is Dull,” if people want an accurate description of this slow-moving train wreck. The movie wastes the talents of the cast in this badly conceived and clunky anthology film. Directed by Eleanor Coppola, who co-wrote the snooze-worthy screenplay with Karen Leigh Hopkins, this movie’s main purpose seems to be to give jobs to some well-known, longtime actresses, who unfortunately do not work enough due to age discrimination. These actresses deserve better than this misfire that does little to dispel the Hollywood movie stereotype that women over the age of 60 have boring love lives whenever they’re put in a movie.
What’s also off-kilter about the three-story anthology film “Love Is Love Is Love” is that the first two stories are much shorter than the third story. The first story, titled “Two For Dinner,” is 20 minutes long. Next is “Sailing Lesson,” which totals 16 minutes. Last but not least is “Late Lunch,” which is 49 minutes long and is the best story in the anthology. But that’s not saying much, because “Late Lunch” is still monotonous and ends in a very corny way.
“Two for Dinner” and “Sailing Lesson” are so inconsequential and forgettable, the movie would’ve been better off if it focused solely on the “Late Lunch” story, but only if it had gone through a major rewrite that improved the dialogue. Most of the cast members in the entire film do an adequate job in their performances. But they are hampered by playing characters who have the somewhat sad air of people who think that their best days are behind them.
“Two for Dinner”
“Two for Dinner” is literally about a video conference conversation that a bored and lonely wife named Joanne (played by Joanne Whalley) has with her film producer husband Jack (played by Chris Messina) while he’s away on location for a movie shoot in Whitefish, Montana. The movie never says exactly where Joanne is, but it’s supposed to be somewhere in the U.S., thousands of miles away from Montana. The conversation is supposed to be “cute” because Joanne and Jack have each taken their laptop computers to a local restaurant, so they can talk to each other while having dinner at a restaurant table.
If you think it’s romantic to watch a husband and wife make small talk about what to order on the menu and discussing whom their college-age daughters are dating while restaurant servers occasionally interrupt the conversation to take orders, then “Love Is Love Is Love” is the movie for you. You’ll find out more about the adult daughters’ love lives then you’ll find out about this longtime married couple.
For example, Joanne talks about a daughter named Kate, who’s dating a guy who rides a motorcycle. Joanne tells Jack that one day, the boyfriend asked Joanne for advice on how to have a long marriage. Joanne’s reply? “Don’t get divorced.” The end of this dull-as-dirt “Two for Dinner” segment ends with Joanne making an impulsive decision that’s supposed to show she wants to bring some spark to the marriage. Too late. Viewers might already be tempted to fall asleep or stop watching.
“Sailing Lesson”
Things don’t get much better in “Sailing Lesson,” which is about a married, retired couple who get stranded on a lake when they take what’s supposed to be a romantic boat ride by themselves. The movie doesn’t mention the name of the city where these spouses live. Diana (played by Kathy Bates) and John (played by Marshall Bell) have been together for 41 years, but John tells Diana that he’s gotten so bored with her, he openly jokes to Diana that he’s going to find a girlfriend.
Even though he’s only joking, Diana is alarmed enough to coax John to go a date with her on a boat where they are the only two people on the boat. While they sail on a lake, Diana and John have some bland conversations where they talk a little bit about their relationship. John doesn’t like that Diana seems to care more about her book club and going to gardening events than she seems to care about him.
And then, what do you know: The boat’s engine malfunctions, and it can’t start. There are no other people in sight to help John and Diana. Predictably, the boat is so basic, it doesn’t even have an emergency radio. John and Diana also can’t get any signals on their phones.
While Diana and John wait for any type of help to show up, the movie tries to have a sexy moment when Diana decides that she’s going give oral sex to John. (There’s nothing explicit shown, but it’s clear what Diana is about to do when she unzips John’s shorts and lowers her head.) It’s all so staged and phony that it’s anything but sexy. It doesn’t help that Bell is a supbar actor who just recites his lines in a robotic way.
It’s easy to predict what happens in the midst of this sex act. Let’s just say that after being “stranded” alone for hours, John and Diana suddenly don’t have privacy when they need it. By the time this plot development happens, viewers won’t care what really happens to John and Diana during and after this boat excursion. There are tidal waves that are more exciting than this couple.
“Late Lunch”
“Late Lunch” isn’t about a couple trying to spice up their marriage but it’s about a young social-justice attorney named Caroline (played by Maya Kazan), who has invited the dearest friends of her late mother, Claire Reynolds, to have a luncheon at Claire’s house, which is somewhere in California. Claire, who died a month earlier in a car accident, was a widow and a retired photo editor. The “love” in this story is about the love between friends and between a parent and a child.
Almost the entire segment consists of the conversation around the table during this lunch. One by one, the women talk about their lives and share their stories. Caroline, who’s lived on the East Coast since she was 18, had a tension-filled relationship with her mother. Claire disapproved when bachelorette Caroline broke up with a fiancé whom her mother wanted Caroline to marry. Caroline is filled with some guilt and regret because her last conversation with her mother was an argument.
The guests at the luncheon share their fondest memories of Claire and how she affected their lives. Anne (played by Rosanna Arquette) talks about how when she and Claire were teenagers, they made plans to lose their virginity around the same time. Jackie (played by Alyson Reed) is a lesbian who says that even though Claire was politically conservative, Jackie admired how Claire was so accepting of Jackie when Jackie came out of the closet about her sexuality.
Marlene (played by Polly Draper) had a sometimes-rocky friendship with Claire, whom she met when they both worked at Vogue. At the time, Marlene was an intern, and Claire was an assistant to the photo editor. Marlene says that Claire was a “bitch” to Marlene when they first got to know each other. Marlene and Claire found out that they were both dating the same guy at the same time, but Marlene and Claire ended up becoming friends. When Marlene reveals a secret that happened later in her friendship with Claire, it’s not too surprising, considering what happened early in their friendship.
Whalley, who was in the “Two for Dinner” segment, is in “Late Lunch” as another character named Joanne. The Joanne in “Late Lunch” says that her husband left her for another man. Nancy (played by Cybill Shepherd) confesses an emotionally painful secret from her past that has to do with parenthood. Mary Kay (played by Rita Wilson) is an aspiring singer, which means that Wilson promotes her own music in the movie. She sings a song during this lunch called “Because Love,” which Wilson co-wrote with Laura Karpman.
Wendy (played by Valarie Pettiford) is a doctor who often confided in Claire about the challenges and bigotry that Wendy experiences as an African American woman. Patty (played by Nancy Carlin) is Claire’s childhood friend from Dayton, Ohio, who feels self-conscious that her life isn’t as sophisticated and well-traveled as many of the other women’s lives. The other women try to reassure Patty that her life is just as interesting as theirs, but they don’t sound very convincing because no one really wants to hear about Patty’s life in depth.
Rose Simone (played by Elea Oberon) is a French woman from Paris who is a latecomer to the lunch. She brings a box of French chocolate as a gift. When the subject of forgiving infidelity comes up, Rose Simone offers this trite platitude: “Love. It’s bigger than the bedroom.” This is the type of mawkishness that the movie tries to pass off as “witty” conversation. Unfortunately, this luncheon, which was supposed to be a tribute to Claire, often sounds like a pity party of women expressing regrets about decisions they made in their youth.
“Love Is Love Is Love” misses the mark because viewers are left wondering what the point of the movie is when the movie presents love in such a passionless way. The movie basically just shows two stories about two longtime married couples having boring conversations while on a date, and a third story about women at a luncheon talking about themselves and a dead woman. Much like the tone of this movie, the “love” isn’t vibrant at all but is rather outdated and unaware of how lackluster it is.
Blue Fox Entertainment released “Love Is Love Is Love” in select U.S. cinemas on November 12, 2021. The movie’s release on digital and VOD was on December 14, 2021.
Culture Representation: Taking place in the Los Angeles area, the dark comedy/drama “The Beta Test” features a predominantly white cast of characters (with a few Asians and African Americans) representing the middle-class and wealthy.
Culture Clash: A hard-driving Hollywood talent agent tries to find out who wants revenge on him after he was lured into a one-night stand where he cheated on his fiancée.
Culture Audience: “The Beta Test” will appeal primarily to people who think that it’s entertaining to watch a relentlessly obnoxious main character in an easy-to-solve mystery.
PJ McCabe, Jacqueline Doke and Jim Cummings in “The Beta Test” (Photo courtesy of IFC Films)
“The Beta Test” is a one-note satire that’s filled with misogyny and has a mystery that’s so easy to solve, it insults viewers’ intelligence. Jim Cummings and PJ McCabe co-wrote and co-directed this shrill ode to toxic masculinity, as if they think it’s somehow automatically artistic to make a movie where almost everyone is selfish, idiotic or annoying in ridiculous ways. The problem is that the story is so weak and repetitive, the movie stomps along tediously until the “plot twist” (which isn’t much of a surprise) is finally revealed to underwhelming results.
Cummings stars in “The Beta Test” as Jordan Hines, a hotshot Hollywood talent agent who finds himself trying to cover up the fact that he cheated on his fiancée Caroline Gaines (played by Virginia Newcomb) when he had a blindfolded one-night stand with an anonymous stranger in a hotel room less than two months before his wedding. (Jordan and his sex partner both wore eye masks during their encounter.) After Jordan and Caroline get married, whoever knows about his infidelity tries to anonymously threaten Jordan until he feels that his life is in danger.
The fling happened under unusual circumstances because Jordan was propositioned to have this fling by getting an anonymous mailed invitation. The invitation said that an attractive “admirer,” who has never met Jordan, wanted to have a one-time, “no strings attached” sexual encounter with him. The invitation also said that the hotel room was already paid for in advance. The time and date for the tryst have also been pre-arranged.
Everything about this invitation screams “setup,” but Jordan takes the bait anyway, like a fool. The invitation was engraved and in a distinctive purple envelope, so the movie wastes a lot of time showing Jordan being an amateur detective trying to find out where the invitation was printed and other clues to the sender’s identity, after he starts to get anonymous threats that his fling will be exposed. Jordan becomes so consumed with finding out who sent the original invitation and these threats, he becomes paranoid and starts verbally lashing out at people.
Jordan is yet another loud-mouthed, crude and abrasive character that seems to be Cummings’ specialty whenever he writes, directs and stars in a movie. (Cummings did a similar schtick in his 2020 horror film “The Wolf of Snow Hollow,” but at least that movie had better characters overall and a mystery that wasn’t as easy to figure out as the mystery in “The Beta Test.”) It seems like Cummings watched a lot of HBO’s “Entourage” episodes and decided to rip off the hostile and rude Ari Gold agent character in “Entourage” (for which won Jeremy Piven several awards, including three Emmys) and do a less-entertaining version of Ari Gold in “The Beta Test.”
Ari Gold wasn’t the main character in “Entourage.” Unfortunately, Jordan Hines is the main character in “The Beta Test.” There’s a very dull subplot to “The Beta Test” where Jordan and his business partner PJ Pruitt (played by McCabe) are desperate to boost their business by signing a wealthy, middle-aged investor named Raymond Lee (played by Wilky Lau), who’s playing hard-to-get.
One of the problems for Jordan and PJ in getting this sought-after potential investor is that Raymond takes an instant dislike to Jordan. At a business party, Jordan tries to charm and schmooze his way into Raymond’s conversation. But Raymond coldly dismisses Jordan by telling him: “We don’t need agents pretending to be producers. You are a dying social network, and everyone can’t wait to see you fall apart.”
“The Beta Test” seems to poke fun at the type of culture where men in positions of power abuse their power and cheat on their love partners with willing or not-so-willing “admirers,” who think they’ll get career advancement or some other perks from these sexual encounters. At the same business party, Jordan tries to ingratiate himself to Raymond by downplaying the aggressive and abusive reputation of Hollywood agents. “We’re not the angry bulldogs ‘Entourage’ makes us out to be,” Jordan says to Raymond. “A lot of that industry aspect left with Harvey [Weinstein].”
On the surface, “The Beta Test” is a movie that seems to be supportive of the #MeToo movement. But as the movie goes on, there’s a noticeable and gleeful delight in showing Jordan’s increasingly unhinged misogyny and boorishness. For example, Jordan often goes on verbal tirades against his administrative assistant Jaclyn (played by Jacqueline Doke), whom he hallucinates is asking him inappropriate questions about his sex life. He also angrily confronts a woman (played by Olivia Grace Applegate), whom he’s sure was his blindfolded sex partner in the hotel.
Eventually, viewers find out that Jordan wasn’t the only person to receive a mysterious invitation to cheat on a loved one in an anonymous, blindfolded sexual encounter. The other people also received their invitation in the same type of purple envelope. Other people in the Los Angeles area who accepted the invitation have met a gruesome fate, including a Swedish woman shown in the movie’s opening scene. “The Beta Test” sets everything up to make viewers wonder if Jordan will meet the same fate.
All of it is just filmmaking posturing that attempts to cover up a poorly conceived mystery. If you think about who would have a motive to get revenge on a cheating lover, it’s not hard to figure out who would be involved in setting up Jordan. And this movie is hardly a “thriller,” since there’s not much thrill or suspense in watching Jordan’s dumb outbursts and bullying. The end of the movie leaves no doubt that although “The Beta Test” is pretending to skewer a sleaze such as Jordan, who disrespects and degrades women, the filmmakers really love that Jordan says and does what he wants—so much so, they let him off the hook for being so awful.
IFC Films released “The Beta Test” in select U.S. cinemas, digital and VOD on November 5, 2021.
Culture Representation: Taking place in the Chicago area in the present day and in 1988, the comedy film “8-Bit Christmas” features a predominantly white cast of characters (with some African Americans) representing the working-class, middle-class and wealthy.
Culture Clash: A man in his mid-40s tells his 11-year-old daughter the story of his misadventures in 1988, when he was an 11-year-old boy who desperately wanted a Nintendo Entertainment System for Christmas, even though his parents forbade him from playing video games at the time.
Culture Audience: “8-Bit Christmas” will appeal primarily to people who are interested in watching lightweight Christmas holiday comedies that are steeped heavily in 1980s nostalgia.
Sophia Reid-Gantzert and Neil Patrick Harris in “8-Bit Christmas” (Photo by Sabrina Lantos/New Line Cinema/HBO Max)
The formulaic family comedy “8-Bit Christmas” is elevated by a watchable and occasionally amusing performance by Winslow Fegley as an 11-year-old boy in 1988 who goes to great lengths to get a Nintendo Entertainment System for Christmas. Directed by Michael Dowse, “8 Bit Christmas” is really just a series of slapstick scenarios that culminate in a sentimental “life lesson” that’s expected in a movie with a Christmas theme. Kevin Jakubowski adapted the “8-Bit Christmas” screenplay from his 2013 novel of the same name. The movie is best appreciated by viewers who have some fondness for 1980s nostalgia or who know how big of a deal a Nintendo Entertainment System was to many kids during this decade. (The movie’s title refers to the primitive 8-bit data resolution of 1980s video games.)
“8-Bit Christmas” begins with a man in his mid-40s named Jake Doyle (played by Neil Patrick Harris), who is traveling with his 11-year-old daughter Annie Doyle (played by Sophia Reid-Gantzert) to the home of Jake’s widowed mother for a Christmas holiday visit. Jake grew up in Batavia, Illinois (a suburb of Chicago), where his mother still lives. Annie has been pestering Jake to get her a smartphone for Christmas.
Jake adamantly refuses because he thinks Annie is too young to have this type of phone. Annie has to use Jake’s phone, only when he’s with her. It’s embarrassing to Annie that she doesn’t have her own phone, but Jake won’t change his mind.
Instead, Jake tells Annie about the time in 1988, when he was Annie’s age and was obsessed with getting a Nintendo Entertainment System for Christmas. Jake says to Annie, “When I was a kid, I wanted a Nintendo worse than you wanted a phone.” Annie replies, “That’s not possible.”
Jake is prompted into telling this story when he and Annie arrive at his mother’s house and they find his old Nintendo Entertainment System in the room that Jake had as a child. Annie knows that there was a time when Jake’s parents didn’t allow him to play video games, so she wants to know how he ended up with a Nintendo Entertainment Sysem . Most of the movie then switches to flashback mode when Jake tells his story in voiceover narration, with occasional scenes that go back to the present-day Jake and Annie.
In 1988, 11-year-old Jake (played by Winslow Fegley) considered himself to be an average boy in an average middle-class American family. His parents John Doyle (played by Steve Zahn) and Kathy Doyle (played by June Diane Raphael) are happily married. Jake has a precocious younger sister named Lizzy (played by Bellaluna Resnick), who is about 6 or 7 years old in 1988. Lizzy is a “goody-two-shoes” child who likes to snitch on Jake to their parents whenever Jake does something wrong.
The kids at Jake’s school are envious of a spoiled rich boy named Timmy Keane (played by Chandler Dean), who’s apparently the only kid for miles who has his own Nintendo Entertainment System. Therefore, small crowds of children gather in front of Timmy’s house on a regular basis because they want to get invited inside Timmy’s home to play Nintendo games with him. However, Timmy will only allow certain kids inside, based on whatever gifts or favors they can offer to him.
Needless to say, Timmy is an obnoxious brat who takes advantage of his social status to make some kids feel bad about themselves if they don’t get invited into his house. Timmy has an elaborate play area in his home that would rival any recreational arcade for children. The first time that Jake plays Nintendo, it’s at Timmy’s house. Jake instantly gets hooked and wants his own Nintendo Entertainment System.
It’s the same wish for many of Jake’s friends too. Jake hangs out with a small group of kids, who eventually make it their mission to get their own Nintendo system. The close-knit pals in Jake’s clique are:
Mikey Trotter (played by Che Tafari), whom Jake describes as being allowed to watch R-rated movies, and Mikey has an adult cursing vocabulary and mischievous nature to prove it.
Evan Olsen (played by Santino Barnard), who is nervous and neurotic.
Tammy Hodges (played by Brielle Rankins), who is smart and confident.
Teddy Hodges (played by Braelyn Rankins), who is Tammy’s fun-loving twin brother.
Other kids who are not part of this clique but who factor into the story are:
Josh Jagorski (played by Clay Arnold), the school’s large and violent bully, who looks like he’s a teenager, not a pre-teen like all the other students.
Jeff Farmer (played by Max Malas), whom Jake describes as a “pathological liar.”
Conor Stump (played by Jacob Laval), who is the school’s nerdy social outcast.
Katie Sorrentino (played by Sofie Michal Maiuri), a classmate who casually observes some of the shenanigans of Jake and his friends.
Jake knows that his parents are not inclined to want to give him a Nintendo Entertainment System for Christmas. Therefore, he comes up with a scheme to trick them into saying yes to his request. With his mother, Jake waits until she’s distracted and asks her for this gift when she’s not really listening to him. She says yes.
With his father, whom an adult Jake describes in a voiceover as a “dyslexic Bob Vila” when it comes to carpentry hobbies, Jake waits until they have some father/son time doing some woodshopping in the garage. Jake compliments his father John on John’s hand strength. Jake says he would like a gift for Christmas that would let him build up his hand strength, so Jake suggests a Nintendo Entertainment System. John says yes to this request too.
But there would be no “8-Bit Christmas” movie if Jake got his wish so easily. Eventually, Jake’s parents (and some of his friends’ parents) become paranoid that video games are bad for children, so the parents are determined to not have anything related to video games in their homes. Undeterred, Jake and his male friends, who are members of the Ranger Scouts, find out about a Ranger Scouts contest where the person who sells the most Christmas wreaths will win the grand prize of a brand-new Nintendo Entertainment System.
A large part of “8-Bit Christmas” is about this race against time to sell the most Christmas wreaths, as friends turn into rivals to win this contest. There’s also some gross-out comedy, such as a scene of a child vomiting profusely and repeatedly, and a joke that goes on for too long about Jake having to clean up defecation from the family dog Ellwood. Not surprisingly, Jake wants avoid cleaning up after the dog as much as possible, so it leads to some minor conflicts with between Jake and his father John.
David Cross has a small role in “8-Bit Christmas” as an unnamed opportunist, who sells toys (probably stolen) out of the trunk of his car. His stash includes a Nintendo Entertainment System and Cabbage Patch dolls. Jake’s sister Lizzy wants a Cabbage Patch doll for Christmas, so Jake feels some sibling jealousy when John is more eager to get Lizzy’s most-wanted Christmas gift but is unwilling to get Jake’s most-wanted Christmas gift.
There’s a lot of mediocre slapstick scenarios in “8-Bit Christmas” that clog up the story. For example, a recurring “joke” in the movies is that Jake’s mother Kathy accidentally bought a pair of girls’ Esprit snow boots (purple with flower-print trimming) during a frenzied shopping sale. Kathy never bothered to get Jake any other boots, because apparently she didn’t want to go back to the store to exchange the Esprit boots for boots that Jake actually wants to wear.
Jake is embarrassed because his mother makes him wear these boots to school and other places when there’s snow outside. (Animotion’s 1984 hit “Obsession” plays on the movie’s soundtrack every time Jake puts on these boots.) And predictably, Jake gets harassed by bully Josh when Josh sees Jake wearing these feminine-looking shoes. It’s a not-very-well-written part of the story because this problem would’ve easily been solved by a merchandise exchange at the store.
Jake’s humiliation for wearing these boots (which is an over-used gag in “8-Bit Christmas”) plays into tired movie/TV stereotypes that anything “feminine” associated with a boy is supposed to automatically be a reason for the boy to be ridiculed and bullied. The movie makes a half-hearted attempt at explaining this sexist trope, by having the adult Jake explain to his daughter Annie that in the 1980s, people were less open-minded about gender equality and many other things. But if the filmmakers wanted a recurring joke about Jake being embarrassed about something that his mother makes him do, they could’ve picked a funnier scenario than Jake having to wear feminine-looking boots.
The good news is that “8-Bit Christmas” at least presents the girls in the movie as just as intelligent if not smarter than the boys. It certainly makes up for how this movie gives most of the screen time and the most adventurous parts of the story to the male characters. It’s pretty obvious that the movie’s main target audience is supposed to be anyone who has nostalgic memories of 1980s Nintendo video games, even though there isn’t one particular Nintendo game that gets spotlighted in the movie.
In terms of the “8-Bit Christmas” cast members, Fegley as the young Jake absolutely carries this movie to any level of charm that it might have to audiences. And that helps a lot, because the young Jake gets the vast majority of the screen time in this movie. Fegley has good comedic timing, and his character is relatable to most people who’ve been an 11-year-old child, regardless of gender. The rest of the cast members are serviceable in their roles, with some of the actors continuing to be typecast as characters they’ve played in many other movies. (Zahn as a goofball; Cross as a sarcastic wiseass.)
“8-Bit Christmas,” which clocks in at a breezy 97 minutes, isn’t the type of movie that’s going to be considered a Christmas holiday classic, but it’s an agreeable way for viewers to pass some time if they want to see an entertaining Christmas holiday film for people in various age groups. The last 20 minutes of “8-Bit Christmas,” which are the best parts of the film, make up for much of the silliness that lowers the quality of the rest of the movie. “8-Bit Christmas” is ultimately a film that’s enjoyable without demanding too much intelligence or emotional investment from viewers.
HBO Max premiered “8-Bit Christmas” on November 24, 2021.
Culture Representation: Taking place in an unnamed city in England, the dark comedy film “Silent Night” features a nearly all-white cast of characters (with two black people) representing the working-class and upper-middle-class.
Culture Clash: Before an impending apocalypse, a family gathers for one last Christmas dinner, where secrets are revealed, and there are emotionally painful debates over suicide.
Culture Audience: “Silent Night” will appeal primarily to people that are interested in watching very dark satires of how people deal with certain death.
Clockwise from bottom left: Lucy Punch, Hardy Griffin Davis, Roman Griffin Davis, Gilby Griffin Davis, Keira Knightley, Matthew Goode, Annabelle Wallis, Davida McKenzie, Rufus Jones, Kirby Howell-Baptiste and Ṣọpẹ́ Dìrísù in “Silent Night” (Photo by Robert Viglasky/AMC+)
“Silent Night” takes heartwarming movie clichés about Christmas holiday gatherings, and burns those stereotypes to a crisp. It’s not a horror film but a very dark comedy about how an apocalypse brings out the best and worst in people. Some viewers who have no problem watching apocalypse movies might have a problem with how the impending doom in “Silent Night” involves children and is set during the Christmas holiday season. Therefore, this movie is not for people who are very religious, or sensitive people who are extremely offended by debates about committing suicide versus waiting to be killed by an apocalypse.
“Silent Night” is the feature-film debut of writer/director Camille Smith, who took a bold risk to make her first feature film focused on such an uncomfortable topic and making it a satire. It’s a dialogue-heavy film about an upper-middle-class British family gathered for one last Christmas dinner on the eve of an apocalypse. There are secrets and lies that are revealed during this dinner, but this is not a typical apocalyptic movie where all the characters want to stay alive.
What makes “Silent Night” so different from other apocalyptic movies is that people in the movie have the option to take an Exit pill, which will kill them almost immediately, in order to avoid suffering during the apocalypse. It’s this suicide angle that’s the most likely to make “Silent Night” offensive or controversial to some viewers. However, the movie does point out the uncomfortable truth that tragedies such as suicide don’t stop just because of an impending apocalypse.
The movie is a disquieting roller coaster ride about how people’s minds can be messed with when dealing with the destructive end of the world as they know it. Some people want to plan ahead and be as prepared as possible. Some people want to deny it all and act like everything’s fine until the last possible moment. Some people don’t want to stick around for the apolocaypse to happen and want to take control of how and when they will die. Other people want to hold out hope that maybe they and their loved ones can survive the apocalypse.
This varied range of emotions and attitudes are all on display with the family gathered for this meal. Although there are many characters in the story, they have distinct personalities, so it’s easy to tell them apart. These family members are:
Nell (played by Keira Knightley), a high-strung socialite who is determined to keep the annual holiday tradition of having a fabulous Christmas dinner at her home.
Simon (played by Matthew Goode), Nell’s patient and loving husband, who is more willing to discuss the impending apocalypse than Nell is.
Art (played by Roman Griffin Davis), Nell and Simon’s outspoken and foul-mouthed youngest child, who’s about 12 or 13 years old.
Hardy (played by Hardy Griffin Davis) and Thomas (played by Gilby Griffin Davis), the identical twin sons of Nell and Simon. The twins, who are about 14 or 15 years old, are almost as bratty as their younger brother Art.
Sandra (played by Annabelle Wallis), Nell’s materialistic and judgmental older sister.
Tony (played by Rufus Jones), Sandra’s laid-back and often-henpecked husband.
Kitty (played by Davida McKenzie), Sandra and Tony’s prim and proper daughter, who’s about 12 or 13 years old.
Bella (played by Lucy Punch), Nell and Sandra’s irresponsible queer older sister, who is a single mother, but her child is not with her at this dinner.
Alex (played by Kirby Howell-Baptiste), Bella’s girlfriend, who works as a bodyguard and is more sensible than Bella.
James (as Ṣọpẹ́ Dìrísù), Alex’s younger brother, who is an oncologist in his early 30s.
Sophie (played by Lily-Rose Deep), James’ American girlfriend, who’s about 10 years younger than James is.
At first, the gathering seems festive and full of cheer, as everyone avoids talking about the apocalypse in depth. However, not everyone wants to be at this party. An early scene in the movie shows that while Sophie and James were driving to Nell and Simon’s house, Sophie expresses her reluctance to go to the party this year. There’s definitely disagreeable tension between this couple. Eventually, the bickering and discord begin among other people at this gathering.
Sandra and Bella have a little argument because someone named Lizzie wasn’t invited to this dinner party. Sandra was supposed to invite Lizzie, whom Bella doesn’t like. But Sandra thought that Bella would invite Lizzie. The two sisters can’t agree on whose responsibility it was to give the invitation, so they reach a stalemate.
Meanwhile, brothers Art, Hardy and Thomas are little terrors when teasing Kitty, who is a serious and often-mopey child. Kitty is offended by the brothers’ cursing. She snootily says that coarse language is for “common” people. Kitty is also upset because she wants sticky toffee pudding, which Kitty has every year at this dinner, but Nell forget to buy the pudding this year, and Nell tries to hide this fact.
Later, when the family members open their gifts around the Christmas tree, Kitty is unhappy with her gift (a talking doll), and refuses to give a “thank you” hug to her mother Sandra. Why? As Kitty pouts to Sandra, “You’re wearing my education on your feet.” In other words, Sandra spent the money for Kitty’s future school tuition on high-priced shoes. After all, what good is that money going to be in the future if the world is going to end and there’s very little chance of survival?
Before dinner, the three sisters gather in the kitchen to exchange gossip and catty remarks. They wonder out loud if Sophie is anorexic because she’s very thin. Nell and Bella mention that before they became mothers, they used to do cocaine to keep their weight down. All three sisters think that Sophie is too young for James.
Meanwhile, the men gather in the greenhouse on the property, where James reveals a big secret that he doesn’t want Nell, Sandra, Bella, Alex and the children to know about. The secret involves a major decision that has to be made before the apocalypse happens. The problem is that certain people involved in the decision don’t agree on what should be done.
By the first 15 minutes of “Silent Night,” it becomes obvious that this family is not the warm and fuzzy type, with or without an apocalypse. Nell has her big annual Christmas dinner mainly so she can show off to other members of the family. But this year, it’s different. There’s enough food and drinks to go around, but the meal isn’t as lavish as it was in the past. For example, instead of having a fancy potato dish that would be normal for this dinner, Nell says that the entire group can only have one potato per person.
It’s the first sign of rationing that implies a food shortage has been going on for quite some time. Over this scaled-back dinner, Sophie gets confrontational with Kitty about the Queen of England’s recent televised Christmas speech. Sophie is offended because she thinks that the queen looked like she was giving the speech inside of a bunker. Sophie thinks that the British royal family secretly has access to apocalypse-proof safe houses. Kitty says that it doesn’t matter because the queen is “old” and “the Russians want us all dead.”
And then, people at this fateful dinner start talking about the apocalypse, which is described as an “environmental disaster.” It’s implied that scientists predicted the exact day that the apocalypse would arrive, much like hurricanes can be predicted with precision. On television, Art sees a commercial for the Exit pill. His curiosity about the pill leads him to ask questions that the adults find difficult to answer.
The movie makes a little bit of a sociopolitical commentary when it soon becomes clear that the Exit pill is only for people who can afford it. Simon tells Art that some people in society, such as homeless people and illegal immigrants, haven’t been given the Exit pill. Simon explains to Art that the Exit pill has been withheld from certain groups of people because the government doesn’t think they legally exist.
“Silent Night” doesn’t get bogged down in political preaching. Instead, the big ethical debate in the movie is whether or not parents have the right to decide if their underage children should take the Exit pill or not. Art has an opinion that is very different from his parents. Other people at this family gathering have conflicting opinions if they or other people should take the Exit pill.
Because “Silent Night” takes place entirely on the estate property of Nell and Simon, the movie is meant to be somewhat claustrophobic in its contained setting. (Trudie Styler, who is one of the movie’s producers, has a cameo as a family friend named Nicole, who says her last goodbyes via a video conference call.) The number of people in the cast is relatively small, but the movie is realistic in showing that most people in an impending disaster would want to stick close to home with family members.
“Silent Night” has its share of flaws (there’s some contrived soap opera melodrama), and the movie will disappoint viewers who are expecting more action or more likable characters. However, all of the cast members give capable performances, and writer/director Griffin maintains an effective level of suspense over what’s going to happen in this story. Ultimately, “Silent Night” succeeds in its intention to pose disturbing questions about how an apocalypse should be handled when power and privilege play more of a role than some people would like to admit.
RLJE Films released “Silent Night” in select U.S. cinemas, and AMC+ premiered the movie on December 3, 2021.
Culture Representation: Taking place in San Francisco, Tokyo and various parts of the universe, the sci-fi action flick “The Matrix Resurrections” features a racially diverse cast of characters (white, African American and Asian) representing the working-class, middle-class and wealthy.
Culture Clash: Thomas Anderson, also known as universe-saving hero Neo, gets pulled out of his “normal” life and back into the Matrix, as he strives to reunite with his long-lost love Trinity.
Culture Audience: “The Matrix Revolutions” will appeal primarily to people who are die-hard fans of “The Matrix” franchise and star Keanu Reeves, because everyone else will be easily lose interest in the movie’s jumbled and monotonous plot.
Jessica Henwick, Keanu Reeves and Yahya Abdul-Mateen II in “The Matrix Resurrections” (Photo by Murray Close/Warner Bros. Pictures)
If you’re not familiar with any of the previous “Matrix” movies, then “The Matrix Resurrections” doesn’t care about you. The visual effects and stunts are dazzling, but this sci-fi/action movie’s plot is convoluted and duller than it should have been. Many people who’ve seen the previous Matrix movies will get confused or bored. You really need encyclopedic “Matrix” knowledge and an excellent memory to keep track of all the references to the previous “Matrix” movies that “The Matrix Resurrections” keeps dumping in the story without a proper explanation or much context.
Even if you prepare to watch “The Matrix Resurrections” by watching or re-watching the previous “Matrix” movies, you’ll notice that “The Matrix Resurrections” doesn’t do anything clever or innovative with the story. It’s just a tangled and tedious retelling of a basic adventure concept of a male hero going to a lot of trouble to impress and save the woman he loves.
In “The Matrix Resurrections,” which is the fourth movie in “The Matrix” film series, Lana Wachowski returns as a solo director, after co-directing the previous three “Matrix” films with her younger sister, Lilly Wachowski. The three previous films are 1999’s “The Matrix” (still the best one in the series), 2003’s “The Matrix Reloaded” and 2003’s “The Matrix Revolutions.” The first “Matrix” movie earned four well-deserved Academy Awards: Best Visual Efects, Best Film Editing, Best Sound Editing and Best Sound Mixing.
Lana Wachowski co-wrote “The Matrix Resurrections” with David Mitchell and Aleksandar Hemon. These screenwriters have a clear disregard for the possibility that “The Matrix Resurrections” might be the first “Matrix” movie that some people will ever see. There is almost no attempt in “The Matrix Resurrections” to clearly explain what happened in the previous “Matrix” movies. When familiar characters appear in “The Matrix Resurrections,” viewers who are new to the franchise will not have an understanding of how these characters are relevant to the story, unless viewers know what these characters did in the previous “Matrix” movies.
There are some flashback scenes in “The Matrix Resurrections,” but they do little or nothing to explain the purpose of the characters who are shown in the flashbacks. Pity anyone who watches “The Matrix Resurrections” without this basic knowledge: Thomas Anderson, also known as Neo (played by Keanu Reeves), is the chosen hero, who is called The One, in an ongoing battle over control of humans and other beings in the universe. There’s an alternate world called the Matrix, where people are under the delusion that the world they live in is reality, but the Matrix is in fact a simulated reality.
In the first “Matrix” movie, Neo had a mentor named Morpheus (played by Laurence Fishburne), who gave Neo the choice between taking a blue pill or a red pill. The blue pill would ensure that Neo would continue to live a blissful but delusional existence. The red pill would open Neo’s eyes to the truth. Neo took the red pill.
During Neo’s battle to save the universe in the first “Matrix” movie, Neo met another warrior named Trinity (played by Carrie-Anne Moss), and they fell in love. Neo and Trinity are soul mates and the biggest love of each other’s life. Their biggest nemesis was Agent Smith (played by Hugo Weaving), who had the ability to shapeshift and morph into other people or clones of himself. This is an essential detail to have some understanding of “The Matrix Resurrections,” because when Agent Smith’s name is first uttered in the movie and he appears in disguise, viewers need to know why this character is such a big deal.
At the beginning of “The Matrix Reurrections,” which does a lot of time-jumping and traveling between various realities, Neo/Thomas is “retired” from his “saving the universe” legacy. He’s living and working in San Francisco as an award-winning, legendary video game designer at a company he co-founded called Deus Machina, where he works with people who are mostly in their 20s and 30s. Thomas is famous because he designed a blockbuster video game series called “The Matrix” that’s based on his own experiences.
Even though Thomas has achieved the pinnacle of success in this industry, he remains humble and low-key. His ambitious and greedy business partner Smith (played by Jonathan Groff) has coaxed a reluctant Thomas to do a fourth installment of “The Matrix” video game series. Smith mentions that Deus Machina’s parent company is Warner Bros., which is the movie’s way of referencing “The Matrix” movie franchise distributor Warner Bros. Pictures. There’s a self-deprecating “wink wink, nudge nudge” tone to the number of times that “The Matrix Resurrections” refers to this fourth installment (of Thomas’s video game series and this movie) as being a cash grab, until the joke is repeated so many times that it gets very old.
As for business partner Smith, the significance of the name is so obvious, when a big reveal about this character arrives, it’s actually no big surprise. (This reveal is already in one of the movie’s trailers.) He’s slick and has some high-octane fight scenes, but he’s not a particularly interesting adversary when he gets into conflicts with Thomas/Neo. Much like “The Matrix Resurrections,” Smith in this movie is very superficial and flashy with not much substance.
Thomas/Neo has been having nightmares or hallucinations, so he’s in therapy. And if he seems like a heartbroken loner, that’s because he is. He’s still pining for Trinity. But he’ll get his chance to reunite with her, because that’s essentially the main goal in this muddled film that takes too long (two hours and 28 minutes) to tell a story that could’ve been told in two hours or less.
Whenever “The Matrix Resurrections” gets stuck in a plot rut (and it happens a lot), it shows Thomas waking up from a “hallucination,” and he’s in the therapist office of his unnamed analyst (played by Neil Patrick Harris), who seems to know everything about Thomas. There’s a scene in the movie where Thomas/Neo looks in a mirror and finds out that his physical appearance is not what he thinks it is: He looks like an elderly man (played by Steven Roy) to many people.
The movie keeps people guessing on what’s reality and what’s not reality for Thomas/Neo, until it reaches a point when a lot of viewers won’t care much anymore. “The Matrix Resurrections” has too many gimmicks that are meant to deliberately confuse viewers. After a while, all these gimmicks are a turnoff. A big reveal toward the end the movie is not surprising because the movie telegraphs it many times.
Thomas’ identity as Neo has long been dormant, because most people think Neo is dead. However, a young computer hacker named Bugs (played by Jessica Henwick) has discovered that Neo is alive and well. In flashbacks, Bugs tells people how she found out: She works as a skyscraper window washer and saw Neo disguised as another man as he was about to jump off a nearby high-rise building. Bugs saw Neo jump off of the building and survive, so Bugs has been on a quest to find Neo ever since.
Of course, in a movie like “The Matrix Resurrections,” Bugs is no ordinary window washer/computer hacker. She has combat skills on the level of a super-soldier in a video game. Bugs has a computer hacking sidekick named Sequoia (played by Toby Onwumere), who’s mostly a virtual reality operator telling her what’s going on in alternate realities. Don’t expect a logical explanation for many of the identities of the new characters introduced in “The Matrix Resurrections.” It just seems like the filmmakers just made up things as they went along.
Bugs finds Neo, of course, and she takes it upon herself to be his “protector” when things go awry. Another person who finds Neo is the young-man version of Morpheus (played by Yahya Abdul-Mateen II), who predictably brings out that red pill and blue pill again for Neo to choose which path Neo’s life will take. However, anyone who’s seen any of the previous “Matrix” movies knows that Neo’s life was pre-ordained anyway.
One day, Thomas/Neo is hanging out at a coffee shop with a Deus Machina co-worker named Jude Gallagher (played by Andrew Lewis Caldwell), when Thomas/Neo sees Trinity, and Jude notices that Thomas/Neo seems attracted to her. However, Thomas/Neo pretends to Jude that he’s never met Trinity before. Thomas/Neo is too shy to approach her, so Jude (who tells Thomas/Neo that he thinks she’s a “MILF”) approaches Trinity on behalf of Thomas/Neo and makes the introduction.
Thomas/Neo is dismayed to find out that Trinity’s memory appears to have been blocked or erased, because she doesn’t know him when he starts talking to her. She’s now living as a woman named Tiffany, who builds and repairs motorcycles for a living. She’s also married to a guy named Chad (played by “John Wick” series director Chad Stahelski) and they have three underage kids together. At the coffee shop, Neo briefly meets Chad and two of the kids.
Later in the movie, Thomas/Neo and Trinity/Tiffany meet again at the same coffee shop, where she tells him that she thinks that she looks like Trinity in “The Matrix” video games. Trinity/Tiffany also says that when she mentioned the physical resemblance to her husband, he just laughed at her. It’s the first sign that Trinity/Tiffany might have a glimmer of recognition that maybe she had another life with Neo that has long been buried.
It’s enough to convince Neo to want to save Trinity from her blocked memory and get her back in his life. Along the way, he gets in numerous fights with people, creatures and machines that want to stop him in this quest. Bugs and Morpheus are also in most of these fight scenes with Neo. Also along for the ride to help Neo are young, good-looking combat warriors Lexy (played by Eréndira Ibarra) and Berg (played by Brian J. Smith), who look like they came from a modeling agency assembly line.
If you don’t know the purpose of Agents and Sentinels in the “Matrix” movies, then skip “The Matrix Resurrections.” If you have no idea who Niobe (played by Jada Pinkett Smith) and Sati (played as an adult by Priyanka Chopra Jonas) are and why they’re important to “The Matrix” saga, then skip “The Matrix Resurrections.” If you don’t care about the differences between the battle ships Nebuchadnezzar, the Hammer, and the Logos, then skip “The Matrix Resurrections.”
Simply put: “The Matrix Resurrections” can be extremely alienating to anyone who isn’t a die-hard, obsessive “Matrix” fan. Sometimes, people just want to turn their brain off and watch an action-filled sci-fi movie. But most viewers don’t want to watch a movie sequel where their brains have to work overtime trying to figure out what’s going on and who certain characters are. And some of the characters didn’t need to be in the movie at all, such as Deus Machina executive Gwyn de Vere (played by Christina Ricci), which is a small, inconsequential role that’s a waste of Ricci’s talent.
If viewers get confused over what’s going in “The Matrix Resurrections,” it’s because “The Matrix Resurrections” filmmakers made the arrogant assumption that everyone watching should have seen all the previous “Matrix” movies. Therefore, a lot of “inside jokes” in “The Matrix Resurrections” are not as impactful as they could’ve been if the previous three “Matrix” movies had been better explained in “The Matrix Resurrections.” However, the screenplay and editing still make the movie very difficult to follow for people who’ve seen the previous “Matrix” movies but have hazy memories about them.
In between the action scenes of “The Matrix Resurrections” are characters standing around or sitting in meetings that are quite boring. A great deal of what they discuss is shared history that will be meaningless to viewers who don’t know anything about this shared history because they haven’t seen the previous “Matrix” movies. It’s like going to a class reunion when you never even went to the school.
Although the visual effects and stunts are the best things of “The Matrix Resurrections,” they’re not enough to make the movie feel like a relatable human saga. All of the acting is mediocre or just plain awful. The dialogue isn’t much better.
The movie’s attempts at comedy usually fall flat, including the silly and useless end-credits scene. Throughout the movie, Reeves seems like he’s sleepwalking through some of his lines of dialogue. That’s not what you want for a protagonist in what’s supposed to be a high-energy action flick.
“The Matrix Resurrections” seems so enamored with its parade of sci-fi and technological tricks, it fails to bring enough in the story that will make viewers feel connected to the characters in a relatable way. Unfortunately, “The Matrix Resurrections” leaves new viewers of the franchise in the dark about essential, interpersonal histories about many of the characters. Other viewers who know all about familiar “Matrix” characters before seeing “The Matrix Resurrections” might still end up feeling disconnected and disappointed that they haven’t learned anything fascinating at all.
Warner Bros. Pictures released “The Matrix Resurrections” in U.S. cinemas and on HBO Max on December 22, 2021.
Directed by Chris Rodriguez and Grant Rosado (also known as the Ro Bros)
Culture Representation: Taking place in an unnamed U.S. city, the dark comedy film “Twas the Night” features a racially diverse cast of characters (white, black and Latino) representing the working-class and middle-class.
Culture Clash: After a street charity Santa Claus accidentally hits his head on the stairs in a newly engaged couple’s home and is presumed dead, the panicked lovebirds frantically try to hide the body in the house while their parents come over for a Christmas holiday visit.
Culture Audience: “Twas the Night” will appeal primarily to people who don’t mind watching amateurish independent films with horrible acting.
Pictured clockwise, from left: Lisa Panagopoulos, Paul Van Scott, Nicole Pringle, Cynthia D. Perry and James Lee Fronck in “Twas the Night” (Photo by Vertical Entertainment)
“Twas the Night” is a Christmas-themed dark comedy that’s as unappealing as stale egg nog: It’s nauseatingly bad, and it just plain stinks. The movie’s weak plot is made even worse by the entire cast having amateur-level, horrendous acting. Almost all of the characters are so obnoxious that spending time with them is like having a Christmas from hell.
“Twas the Night” was written and directed by Chris Rodriguez and Grant Rosado (also known as the Ro Bros), who took a flimsy idea that should have been a short film (at best) and stretched it out into a dull, unpleasant and repetitive slog of a feature-length film. There is absolutely nothing fun or imaginative about “Twas the Night,” which is filled with the cast members either over-emoting in the worst ways or woodenly reciting their lines, almost like robots.
The movie’s total running time is only 83 minutes, but it feels like longer because the movie is so bad, you can’t wait for it to end. “Twas the Night” wastes the first 15 minutes of the movie over-explaining that newly engaged couple—photographer Nick (played by David S. Perez) and psychiatrist Holly (played by Nicole Pringle)—are experiencing some unwanted backlash because Holly had a recent public outburst that went viral.
The movie takes place during the Christmas holiday season. There’s a man dressed as Santa Claus who’s been standing on the sidewalk in front of the couple’s house as he collects charity money in a small bucket. During his charity work, this Santa Claus constantly rings a bell.
One morning, the bell-ringing sounds annoyed Holly so much that she stormed outside and started yelling at this charity Santa Claus. Holly shouted at him to stop ringing the bell: “Do it again, and I’ll kill you!” she threatened. “Congratulations, you just ruined my day!” she screamed in a huff. A passerby on the street recorded Holly’s temper tantrum on video.
This video goes viral on social media and is covered on the local news. Holly is labeled a real-life Scrooge who threatened Santa. She starts to get hate mail from strangers, as shown in the movie’s opening scene when a little boy dressed as an elf (played by Samy Zipser) hand-delivers a hate letter to Holly’s house.
It’s one of many unbelievable aspects of “Twas the Night,” because this type of outburst definitely would not be newsworthy enough to be a top story on the local news. But it’s a contrivance that the movie has, in order to explain why Holly has become a despised “outcast” in the community. “Twas the Night” takes place in an unnamed U.S. city, but the movie was actually filmed in Savannah, Georgia. Holly is paranoid that her parents will find out about her embarrassing viral video and that she’s been in the local news about it.
Holly reads some of her hate mail and gripes to Nick: “They think I hate Christmas. I don’t! They just believe whatever they hear! They’re ignorant!” Holly isn’t the only one affected by this backlash. When Nick goes to a local candy store/cafe, he gets a snide attitude from a sales clerk named Joy (played by Skye Vreeken) about how she saw Holly on the news. Joy’s tone of voice suggests that she thinks Holly must be a nightmare to live with, so Joy seems to feel a little bit sorry for Nick.
Meanwhile, it’s Christmas Eve, and Holly and Nick have a more pressing matter to deal with that day: Their parents, who don’t live in the area, are coming over to Holly and Nick’s house to visit. It will be the first time that the parents will meet each other and the first time that the parents will see the house where Holly and Nick live.
Before this parental visit, Holly goes outside to the charity Santa on the sidewalk and tries to make amends with him. They introduce themselves to each other. She finds out that his name is Jesús. As a peace offering, Holly invites him inside her home to have some hot chocolate and cookies.
Jesús accepts her offer, and they make small talk. He tells Holly that he’s an architect as his day job. His charity fundraising dressed as Santa Claus is part of his volunteer work for the charity. During this house visit, Jesús notices that a decorative string of pine leaves needs to be fully attached to the top of a door frame that’s located near the front door. He offers to attach this decoration for Holly, who has to get a ladder for Jesús to use.
But what do you know: As soon as Jesús finishes hanging this decoration, Nick suddenly comes home and opens the front door. Jesús gets knocked off of the ladder and hits his head on the stairs. He’s unconscious and bleeding profusely on his head. In a panic, Nick and Holly check to see if Jesús still has a pulse, but they can’t find one, so they assume that he’s dead.
Nick wants to call an ambulance, but Holly adamantly refuses because she says that she was caught on video threatening Jesús, so she’ll automatically be a suspect and will probably be arrested. And just a few minutes later, Nick’s parents Mary (played by Cynthia D. Perry) and Rudy (played by James Lee Fronck), who live in Boston, show up at the front door. Holly’s parents Eve (played by Lisa Panagopoulos) and Joe (played by Paul Van Scott), who live in a Houston suburb, arrive shortly afterward.
And so, there’s a mad dash in the house as Nick and Holly scramble to find a place to hide the body inside the house, as they stall their parents from coming inside the house. After Nick and Holly hide the body, they let their parents inside the house but continue to act strange and jumpy. The rest of the movie involves more unrealistic stupidity, as the body gets moved around to different rooms when Nick and Holly fear that any of their parents could go into the room where the body is being kept.
That’s because in a dumb movie like “Twas the Night,” when Mary and Eve ask for a house tour, they don’t just look around. They have to open every closet and cupboard in every room they enter. During a family dinner, nervous Nick keeps getting up from the table to move the body, which makes him look even more suspicious.
A wide-eyed Holly comes up with not-very-believable excuses for why Nick keeps disappearing and why there are thumps and dragging noises in parts of the house when the body is being moved. And, of course, there’s the predictable scene where the body almost falls down the stairs while it’s being dragged to another part of the house. At one point, Jesús’ body is hidden in a bathtub, so more idiotic hijinks ensue when dimwitted Nick sees that blood in the bathtub needs to be cleaned up when the body is moved.
And what a coincidence: Holly’s father Joe just happens to be a police officer who works in a homicide department. It’s just a reason for the movie to have a character who immediately senses that something is very wrong with the way that Nick and Holly are acting. Rudy is a psychiatrist, and Mary is an emergency room doctor, which makes their later actions in the story particularly heinous and irresponsible. Joe isn’t much better, in terms of how he thinks a certain situation should be resolved, when he’s a cop who should know better.
Holly’s mother Eve, who’s a retired department-store clothing buyer, is very shrill and annoying throughout the entire movie. It’s easy to see where Holly gets her off-putting personality. Nick’s parents aren’t as high-strung in their personalities, but for two people who have medical degrees, they’re incredibly oblivious and unprofessional when certain things are brought to their attention.
As soon as viewers see that Nick and Holly barely examined Jesús after he hit his head on the stairs, it’s very easy to predict the outcome of this body-hiding farce. Until that happens, the movie is just a series of foolish slapstick scenes that become more and more irritating as the characters in the movie act more and more ridiculous. And the movie’s sloppy editing and cheesy sitcom-like score just ruin what should have been a smartly paced and amusing dark comedy.
“Twas the Night” is a comedy that is a pathetic failure at being funny. Perry is the only one in the cast who comes close to having some sense of comedic timing, but that’s not saying much when she’s given awful lines of dialogue, and her delivery is often stiff and unnatural. Everyone else’s comedic timing and how they deliver their lines are just completely atrocious with no redeeming qualities. At one point in the movie, Nick and Holly try to bury Jesús. It’s too bad that the horrific “Twas the Night” screenplay wasn’t buried, because this foul movie should never have been made in the first place.
Vertical Entertainment released “Twas the Night” in select U.S. cinemas, digital and VOD on December 3, 2021.
Culture Representation: Taking place in an unnamed U.S. city, the comedy/drama “A Holiday Chance” features a predominantly African American cast of characters (with some white people) representing the working-class, middle-class and wealthy.
Culture Clash: Two sisters, who have opposite personalities, are forced to work together when they inherit the family’s movie production/distribution company.
Culture Audience: “A Holiday Chance” will appeal primarily to people who are fans of family-oriented dramedies that stick to a predictable formula but have realistic characters and entertaining screenplays.
Sharon Leal, Amin Joseph, Richard Lawson, Vanessa Bell Calloway and Nafessa Williams in “A Holiday Chance” (Photo courtesy of Faith Media Distribution)
“A Holiday Chance” has almost no surprises, but this likable comedy/drama has appealing cast members that enliven this story about a family learning to resolve conflicts in business and in their personal lives. It’s mostly lightweight entertainment, but there are some serious issues about grief and forgiveness that add emotional gravitas to make the story more meaningful. If you enjoy stories about families during the end-of-year holiday season, then “A Holiday Chance” might be worth watching if you want a movie that’s the equivalent of familiar comfort food.
Directed by Jamal Hill and written by Curtis Bryant, “A Holiday Chance” is about a upper-middle-class clan whose family business is an independent film production/distribution company called Chance Vision. The company was founded by patriarch Garvin Chance (played by Richard Lawson), whose devotion to the business has often come at a cost to spending personal time with his family. Chance Vision has been financially struggling in recent years, which is a secret that Garvin has kept from most of the family until it can no longer be kept a secret.
Garvin and his loyal wife Sheryl (played by Vanessa Bell Calloway) have two daughters together: Noel (played by Nafessa Williams) and Naomi (played by Sharon Leal), who have very different personalities and are leading very different lives. Noel, who is very practical, is a 32-year-old never-married bachelorette who works with her father in Chance Media as a supervising manager. Naomi, who is very flaky, is a 36-year-old housewife and mother. Naomi’s husband Marcus (played by Amin Joseph) is an attorney; they have a daughter together named Ryan (played by Gabriela Merid), who’s about 7 or 8 years old.
For as long as they can remember, Noel and Naomi have been bickering sisters. Even though Naomi is the older sister, Noel is the more responsible sibling. For example, when Noel finds out that Naomi hasn’t paid her taxes in years, Noel writes a check to pay the taxes and make the problem go away. It’s also revealed in the story that Naomi has tried to start multiple businesses, which have all failed because she gave up too easily when she thought things got too hard.
Chance Vision is also headed for a possible business failure. The company has generated millions in revenue, but has fallen behind when adapting to technological changes in the marketplace. In a meeting between Noel and her father Garvin, Noel advise him to invest more in streaming and digital because they are growth areas for movie production and distribution. He says he’ll think about taking her advice.
When the movie begins, it’s around the Christmas holidays, and the family has gathered with other relatives for a traditional holiday dinner. Sheryl’s sister Joanne, nicknamed Jo (played by Pamela Shaddock), and Joanne’s daughter Terri (played by Chasity Saunders) are also part of this tight-knit clan. It also happens to be a dinner celebration for Noel’s birthday.
Someone who has stopped by the Chance family home but who isn’t staying for dinner is a movie producer named Keith Austin (played by Tobias Truvillion), who is a good-looking and charismatic available bachelor. Keith has stopped by for a private meeting with Garvin, to get some business advice. Before Keith leaves, he’s introduced to Noel, thereby making it obvious that maybe some family matchmaking might be at play.
Something happens during the dinner that changes the family’s lives forever. Without giving away too much information, it’s enough to say that Noel and Naomi end up being forced to run the business together, under Garvin’s orders. It’s not as phony as it sounds, because it’s a scenario that could happen in real life.
Predictably, Noel thinks that Naomi is ill-equipped to be a business person, while Naomi thinks that Noel is unfairly dismissive of Naomi’s ideas. Naomi wants to spend big money, while Noel is more frugal and cautious, considering that Chance Vision is losing so much money, it could be headed for bankruptcy. The sisters even clash over the Christmas decorations that Naomi has bought for the office. Naomi thinks that the decorations are festive, while Noel thinks the decorations are gaudy.
Noel thinks Chance Vision should expand its business to doing more TV programs. Noel is eyeing a possible merger with a TV studio owned by an entrepreneur named Samantha West (played by Christina Chauncey). And then another TV company called GTI Studios enters the mix with another potential offer.
During all of this drama with the Chance family and their business, Keith shows an interest in dating Noel, but she’s a commitment-phobe with trust issues. Meanwhile, Naomi and Marcus are having marital problems because of her spending, which has caused a strain on their marriage. Marcus gets promoted to partner of his law firm and ends up working closely with a newly hired associated named Meagan Wright (played by Crystal-Lee Naomi), who is smart and physically attractive. And you know what that means: Naomi gets jealous.
“A Holiday Chance” can get a little rough around the edges with the movie’s screenplay and editing, which could have improved in some areas where transitions between scenes are a little awkward. And some of the supporting cast members are on the mediocre side when it comes to their acting. However, the main characters handle their roles well, even if sometimes the dialogue and scenarios veer into sitcom-ish or melodrama territory.
Overall, “A Holiday Chance” is exactly like what it appears to be in the movie’s trailers, which thankfully do not give away too much of the movie’s plot developments. Even though you know how the movie is probably going to end, “A Holiday Chance” has enough amusing and heartfelt moments to make the movie enjoyable to a lot of viewers. There’s realistic chemistry between the actors depicting the family members that make this story relatable without being insincere or emotionally exhausting.
Faith Media Distribution released “A Holiday Chance” in select U.S. cinemas on November 24, 2021. The movie was released on digital and VOD on December 17, 2021.
Culture Representation: Taking place primarily in the United Kingdom and Russia from 1902 to the late 1910s, the action film “The King’s Man” features a predominantly white cast of characters (with a few black people) representing the working-class, middle-class and royalty.
Culture Clash: Orlando Oxford (a British former military man also known as the Duke of Oxford) and some allies, including his son Conrad, battle villains led by evil Russian monk Grigori Rasputin.
Culture Audience: “The King’s Man” will appeal primarily to people who are fans of star Ralph Fiennes, the “Kingsman” movies and poorly written action flicks.
Ralph Fiennes, Djimon Hounsou, Harris Dickinson and Gemma Arterton in “The King’s Man” (Photo courtesy of 20th Century Studios)
“The King’s Man” is a charmless prequel that’s messier than the unkempt beard and head of hair on Rasputin, the movie’s flashiest villain. Even with a talented cast, this origin story to the “Kingsman” movies gets bogged down in a jumbled plot and cringeworthy dialogue. And for an action movie, much of “The King’s Man” is downright dull.
“The King’s Man” is the precursor story of 2015’s “Kingsman: The Secret Service” and 2017’s inferior sequel “Kingsman: The Golden Circle,” which are all about a secret spy agency led by Brits. Matthew Vaughn directed and co-wrote all three movies, which are all based on the comic book series “The Secret Service” by Mark Millar and Dave Gibbon.
Audiences don’t have to see “Kingsman: The Secret Service” or “Kingsman: The Golden Circle” to understand “The King’s Man.” In fact, seeing “Kingsman: The Secret Service” and “Kingsman: The Golden Circle” will just prove how “The King’s Man” is such a witless disappointment in comparison. If you only care about explosions and fight scenes that are too choreographed to be believable, then you might find “The King’s Man” entertaining. But if you care about having an interesting storyline and engaging characters along with thrilling action, then “The King’s Man” will leave you bored or annoyed.
Vaughn and Jane Goldman co-wrote “Kingsman: The Secret Service” and “Kingsman: The Golden Circle.” For “The King’s Man” screenplay, Vaughn teamed up with Karl Gajdusek, which might explain why the quality of “The King’s Man” is worse than the movies that Vaughn wrote with Goldman. Gajdusek’s other movie screenplay credits includes stinkers such as 2011’s “Trespass” and 2020’s “The Last Days of American Crime.” The screenplay for “The King’s Man” is definitely the worst part of the movie.
“The King’s Man” tries to disguise how weak the plot is by tangling it up with more subplots and by introducing useless characters. “The King’s Man” also tries to look smarter than it really is by throwing in real-life historical figures into the mix. But all of these gimmicks cannot hide the gross stupidity of so many aspects of “The King’s Man,” which is nothing but a bloated over-indulgence in period set pieces and big-budget stunts that are just smoke and mirrors for a lackluster story.
The basic story, which takes place from 1902 to the late 1910s, is that wealthy nobleman Orlando Oxford (played by Ralph Fiennes), also known as the Duke of Oxford, is a military-officer-turned-pacifist, who finds himself caught up in a lot of violence and political machinations leading up to World War I. To make matters worse for Orlando, his young adult son Conrad (played by Harris Dickinson) wants to enlist as a soldier to fight during the war, much to Orlando’s objections.
The movie opens during the Boer War in 1902, when Orlando (who’s representing the Red Cross) is visiting a concentration camp in South Africa with other military officials. Traveling with him in the car are Orlando’s wife Emily Oxford (played by Alexandra Maria Lara) and Conrad at about 8 or 9 years old (played by Alexander Shaw), who wait in the car while Orlando goes to meet with the people in charge of the concentration camp.
The movie is so badly written, it never explains why Orlando brought his family into this dangerous situation. During the ride to this concentration camp, Emily tells Conrad about the legendary Knights of the Round Table. She also talks about how privileged people must share their power and that the knights’ round table equals equality.
When you visit a concentration camp and you bring your spouse and underage child with you, don’t expect good things to happen. And sure enough, there’s a shootout that results in Emily getting shot and killed in front of Orlando and Conrad. Orlando’s loyal bodyguard Shola (played by Djimon Hounsou) stabs and kills the shooter, but it’s too late to save Emily. Emily’s dying words to Orlando are: “Protect our son. Promise he’ll never see war again.”
Two other military men were also caught up in this tragic shootout: Lord Kitchener (played by Charles Dance) and his right-hand man Maximillian Morton (played by Matthew Goode), who is a trusted soldier. Lord Kitchener gets shot but not killed. Unlike Orlando, Lord Kitchener does not become a pacifist after this incident. (The Lord Kitchener character is based on the real-life Herbert Kitchener, the British Army officer who later became the U.K.’s secretary of state for war.)
The movie then fast-forwards about 12 years later. Orlando has left the military and is an over-protective father to Conrad, who has led a very sheltered life. As a young man, Conrad is getting restless. Conrad wants to experience life outside of the confines of his family’s lavish estate, but Orlando is reluctant to let Conad experience the real world, and Orlando constantly fears for Conrad’s safety. Conrad has gotten an invitation from his cousin Felix Yusupov (played by Aaron Vodovoz) to visit Felix in Russia, but Orlando won’t allow Conrad to go.
The United Kingdom is on the verge of getting involved in World War I, and Orlando is firm on being an outspoken pacificist. When he takes Conrad to the Kingsman Tailor Shop on London’s Savile Row to get fitted for a new suit, Orlando tells Conrad that he wants the both of them to lead very different lives from their ancestors. Orlando describes their forebears as “tough and ruthless” brutes, who conquered and pillaged their way to power.
Orlando and Conrad have a sassy housekeeper named Polly Watkins (played by Gemma Arterton), who says things to Orlando such as: “I’ll play by your rules, if you play by mine.” “The King’s Man” is yet another action movie where the people who get top billing are several men and one token woman. And the movie has the sexist trope that this token female character can’t be around these men unless she’s a love interest of one of the men.
Therefore, you know where this is going when “The King’s Man” makes it obvious that Polly’s snappy remarks to Orlando are just her way of flirting with him and testing how he’ll react to her. It takes a while for Orlando to catch on to Polly’s romantic interest in him. And there’s a formulaic soap opera subplot when this would-be romance hits a very big snag.
Of course, there would be no “King’s Man” movie if Orlando and Conrad led a peaceful and tranquil life. Orlando, Conrad, Shola and Polly get caught up in a series of events where they become a four-person combat team fighting off various villains, many of whom are real-life historical figures.
These rogues have meetings around a table in a dark, dungeon-type of room, where Russian monk Grigori Rasputin (played by Rhys Ifans) leads the discussions. But there’s a mysterious mastermind who’s seen in the shadows during these meetings. And this person is the one who’s really calling the shots. (The movie eventually reveals who this mastermind is.) Also part of this rogue’s gallery are Dutch spy Mata Hari (played by Valerie Pachner) and Austrian con artist Erik Jan Hanussen (played by Daniel Brühl).
One of the movie’s few highlights is in how it pokes fun at real-life rivalries of royal cousins King George of Great Britain, Kaiser Wilhelm of Germany and Tsar Nicholas of Russia. All three roles are played by Tom Hollander, who does a very good job at balancing comedy and drama in his performances. However, the movie’s attempts at having high-minded “history lessons” are just drowned in an avalanche of silly conversations and convoluted plot twists that aren’t very clever.
The movie also goes off on a weird and unnecessary tangent when it fixates on Rasputin’s reputation of being a hedonistic libertine. At first, Rasputin’s insults are mild. When he first meets Orlando and Conrad, he asks them, based on how Orlando and Conrad are dressed: “Are you waiters or Englishmen?”
Later, Rasputin ramps up the sex talk by saying, “I only make a decision when my belly is full and my balls are empty.” And then he says to Orlando, “If I didn’t know better, I’d think your son is trying to fuck me.” Orlando replies, “Knowing your reputation, I’d think you’re trying to fuck him.”
And the homoerotic innuendos continue. After Orlando gets a leg wound, Rasputin says to him, “Let me lick your wounds.” Rasputin then flicks his tongue on Orlando’s leg wound in a sexually suggestive manner. The filmmakers go overboard in making their point that Rasputin is supposed to be some kind of sexual predator.
But really, it’s all just a badly written and awkward-looking attempt at making audiences laugh at the idea that a straight guy like Orlando is supposed to be uncomfortable at male sexuality that isn’t heterosexual. And why is it that the only possibly queer character in this movie has to be a villain? It’s really just homophobic filmmaking that’s incredibly tone-deaf and outdated, much like many other aspects of his dumb film.
“The King’s Man” fails in much of its comedy, but the dramatic scenes aren’t much better. That leaves the action to possibly salvage the film, but the movie falls short in that area too. There are obvious stunt doubles and distracting CGI effects in too many of the action scenes.
The movie’s production design and costume design are actually two things that make “The King’s Man” enjoyable to look at on a superficial level. However, the movie’s tone veers from having slapstick-type goofy comedy to trying to be an intense and serious spy thriller. Ultimately, “The King’s Man” is a movie prequel that makes the “Kingsman” franchise look stuck in an unimaginative rut that’s in desperate need of fresh and new ideas.
20th Century Studios released “The King’s Man” in U.S. cinemas on December 22, 2021.
