Review: ‘Resurrection’ (2022), starring Rebecca Hall, Tim Roth, Grace Kaufman and Michael Esper

September 11, 2022

by Carla Hay

Rebecca Hall in “Resurrection” (Photo courtesy of IFC Films)

“Resurrection” (2022)

Directed by Andrew Semans

Culture Representation: Taking place in upstate New York, the horror film “Resurrection” features a predominantly white cast of characters (with one Asian American) representing the working-class and middle-class.

Culture Clash: A business executive, who’s a single mother to a teenage daughter, experiences emotional turmoil when a man from her past comes back into her life.

Culture Audience: “Resurrection” will appeal primarily to people who are fans of stars Rebecca Hall and Tim Roth, and will appeal to viewers who are open to watching horror movies with unexpected and disturbing twists.

Tim Roth and Rebecca Hall in “Resurrection” (Photo courtesy of IFC Films)

Just like the 2021 horror film “Malignant,” the 2022 horror film “Resurrection” has an unsettling and shocking reveal that viewers will either love or hate. The movie isn’t perfect, but the surprise ending offers a bizarre twist that shows bold originality. “Resurrection” is better than the average horror movie, largely due to the suspenseful mystery at the center of the story, as well as the cast members’ convincing performances.

“Resurrection” is the second feature film from writer/director Andrew Semans, who previously directed the offbeat comedy/drama “Nancy, Please,” about a hellish experience with a roommate. “Nancy, Please” made the rounds at several film festivals in 2012, before getting a very limited release in the U.S. in 2013. “Resurrection” (which has its world premiere at the 2022 Sundance Film Festival) is a movie that is much darker in tone and will leave many viewers disturbed by some of the visuals and how the story concludes.

“Resurrection” takes place in an unnamed part of upstate New York (the movie was actually filmed in Albany, New York), where biotech executive Margaret Ballian (played by Rebecca Hall) thinks she has her entire life under control and in order. The movie’s opening scene shows Margaret having a private meeting in her office with her young intern/administrative assistant Gwyn (played by Angela Wong Carbone), with Margaret giving Gwyn some advice about Gwyn’s personal life. Apparently, Gwyn is in a very bad relationship with a love partner, because Margaret tells Gwyn that Gwyn’s belittling partner is a “sadist,” so Margaret advises Gwyn to end this toxic romance.

Because of the sensitive nature of this conversation, Gwyn asks Margaret not to tell anyone about what they discussed in this meeting. Gwyn doesn’t know it, but Margaret’s own love life isn’t exactly going so well either. She’s having a secret affair with a married man named Peter (played by Michael Esper), who is the father of a teenage daughter named Chloe. Margaret, who is not married, is also a parent to a teenage daughter. Margaret’s daughter Abbie (played by Grace Kaufman), who 17 or 18 years old, is a college-bound student in her last year of high school.

Although Peter and Margaret care about each other, they’re not in love with each other. They both know it’s a dead-end affair that came about from lust and a need for companionship. During one of their sexual trysts, Margaret gets an alarming phone call: Abbie is in a hospital after getting into a drunken biking accident with a friend named Lucy. Luckily, Abbie recovers from her injuries, but this health scare starts to trigger maternal feelings in Margaret that affect her for the rest of the story.

Margaret and Gwyn are then shown in another private meeting in Margaret’s office, where Gwyn confides in Margaret that she broke up with the abusive partner. Margaret congratulates Gwyn and praises her by saying, “You’re tougher than leather.” Although Margaret and Gwyn have not been working together for very long, it’s apparent that Margaret feels protective of Gwyn, almost like a mother is protective of a child.

Not long after this meeting, Margaret attends the Biotech Rising Conference and is shocked to see who someone who is one of the conference’s speakers: His name is David Moore (played by Tim Roth), who is a confident and intelligent scientific researcher. Margaret’s reaction to seeing David on stage is that of someone who suddenly physically ill from fear.

Margaret is so unnerved by seeing David, she rushes to her home and calls out for Abbie, who is at home, safe and sound. Margaret bursts into Abbie’s room and asks Abbie if she is okay. Abbie says yes. Margaret is immensely relieved to see that nothing has happened to Abbie, who is confused over why Margaret is acting so paranoid, and she asks Margaret why.

Margaret won’t tell Abbie anything, except to insist that everything is just fine. But when Margaret goes into a bathroom, she begins sobbing. What is it about David that’s caused Margaret to be so distressed? It should come as no surprise that David is someone from Margaret’s past whom she wants to forget. And he ends up making contact with her, much to her dread.

Most of “Resurrection” is about the unnerving cat-and-mouse game between David and Margaret. David takes pleasure in knowing that his presence is upsetting to Margaret. She starts having nightmares, including one where she finds a burned baby inside of a stove. It’s enough to say that much of the horror in “Resurrection” is about Margaret’s issues with motherhood and abuse.

The nightmare about the burned baby isn’t what most viewers will think it is, because the secrets about Margaret’s past, which are eventually revealed in the movie, have some unpredictable elements. Hall gives a very tormented performance as Margaret, whose mental health begins to unravel the more that she sees David. Roth gives an effective performance too, but he’s played creepy villains in many other movies, so there are no real surprises in how Roth portrays David in “Resurrection.”

The pacing of “Resurrection” sometime drags slowly, but Semans’ writing and directing are solid enough to maintain viewers’ curiosity about what will happen next. “Resurrection” has some horror imagery about children that might be too upsetting for sensitive viewers. As gruesome as “Resurrection” can be, it’s a horror movie that offers glimmers of hope and makes a memorable statement about the power of a mother’s love.

IFC Films released “Resurrection” in select U.S. cinemas on July 29, 2022. The movie was released on digital and VOD on August 5, 2022.

Review: ‘Passing’ (2021), starring Tessa Thompson and Ruth Negga

December 18, 2021

by Carla Hay

Ruth Negga and Tessa Thompson in “Passing” (Photo by Edu Grau/Netflix)

“Passing” (2021)

Directed by Rebecca Hall

Culture Representation: Taking place in New York City in the late 1920s, the dramatic film “Passing” features a cast of African American and white characters representing the working-class, middle-class and wealthy.

Culture Clash: Two African American women, who were friends in high school, see each other for the first time in years and find out that they are living two very different lives: One of the women lives as her true identity as a black woman, while the other woman passes herself off as white. 

Culture Audience: “Passing” will appeal primarily to people who are interested in well-acted movies about how racial identity affects people’s perceptions about themselves and about other people.

André Holland and Tessa Thompson in “Passing” (Photo by Emily V. Aragones/Netflix)

If you could live your life identifying as another race, would you do it? It’s a question that viewers will inevitably have when watching the dramatic film “Passing,” where racial identity is used as both a weapon and as a shield, depending on the individual and the racial identity that the person presents to the world. Social class and sexuality are other identities that “Passing” shows can be used to confine or liberate people. A talented cast and steady direction from Rebecca Hall bring a cinematic vibrancy to this fictional story from the 1920s, but it’s a story that applies to many people’s lives in the past, present and future.

“Passing,” written and directed by Rebecca Hall, is Hall’s feature-film directorial debut. She adapted the movie from Nella Larsen’s 1929 novel of the same name. Larsen based the novel on her own experiences as a biracial person (her father was African American and her mother was Dutch), who was raised by her mother and white stepfather. Hall (who is British) also has “passing as white” in her family history: Hall’s maternal grandfather was an African American who passed himself off as white, according to the “Passing” production notes and according to what Hall has said in interviews.

“Passing” had its world premiere at the 2021 Sundance Film Festival. Although the “Passing” novel and the movie are set the late 1920s, many of the same social constructs exist today. Most societies still expect biracial or multiracial people to choose just one race to identify with the most. And white supremacy still makes people think that the “whiter” someone is, the more “superior” that person is, and therefore more entitled to the best things that life has to offer.

It’s why in the story of “Passing,” when two African American women who were friends from high school, see each other for the first time in about 12 years, one of them has decided to live her life as a white woman. It’s a sweltering day in New York City when Irene Redfield (played by Tessa Thompson) stops by the restaurant of the upscale Drayton Hotel to cool off and have some lunch. Irene is a light-skinned black woman who considers herself to be a cultured and classy, but she knows that as long as people know that she is black, she won’t be allowed into certain places, such as this hotel whose guests are white people.

Therefore, when Irene is out in public, she tends to wear outfits (such as a hat that’s worn low enough to obscure much of her eyes) and talk a certain way so that people assume that she might be white. She doesn’t deny that she’s black, but she lets people think that she’s white if it helps her get through her day a lot easier. Irene lives in New York Cit’s Harlem neighborhood with her doctor husband Brian (played by André Holland) and their two sons Junior (played by Ethan Barrett) and Ted (played by Justus David Graham). Junior is about 10 or 11, whle Ted is about 8 or 9.

At the Drayton Hotel’s restaurant, Irene sees another woman sitting by herself at a table nearby. They look at each other, almost like they’ve just seen a ghost from their past. The other woman is Clare Kendry Bellew (played by Ruth Negga), who was a close friend of Irene’s when they were both in high school. Irene and Clare haven’t communicated with each other in the approximately 12 years since they’ve seen each other. They’re about to find out how their lives have gone down different paths.

After Clare and Irene greet each other and make small talk, Clare says that she’s visiting from Chicago. Clare is married to businessman named John Bellew (played by Alexander Skarsgård), and they have a daughter together named Marjorie, who is not on the trip with them and who is never seen in the movie. Clare proudly announces to Irene that John is white, and that they are raising their daughter as white. Clare also mentions that she was worried before Marjorie was born what shade the child’s skin color would be.

And there’s something else: John doesn’t know that Clare is not white. Clare was raised by her white aunts, which is one of the reasons why it was easy for her to conceal her true racial identity from John. Clare smugly comments on the burden of lying to her husband and many other people about her true racial identity: “All things considered, it was worth the price.”

When Irene says that she’s married to a black man who’s a doctor, Clare laughs in a surprised and condescending way. It’s as if Clare can’t believe that Irene chose to marry a black man with the knowledge that by doing so, Irene’s life would be harder. Irene asks Clare with some curiosity and envy if Clare is happy. Clare gloats, “Of course! I have everything I wanted!”

Shortly after this somewhat awkward reunion, John joins Clare at the restaurant table. Because this restaurant’s customers are white people and because Clare is talking to Irene, John incorrectly assumes that Irene must be white. He tells Irene that Clare dislikes black people so much that Clare won’t even have black maids. And in case it wasn’t clear that John is a racist, he says the “n” word during this conversation.

Clare smiles and agrees with John, without seeming to care how this conversation might be hurting Irene, who is too polite to object to all the racist talk in the conversation. However, it’s clear from the expression on Irene’s face that she’s feels hurt and betrayed. And so, when the conversation ends with Clare saying that they should keep in touch, Irene can barely hide the look of disbelief at Clare’s blatant phoniness.

At home, Irene tells her husband Brian about this uncomfortable encounter. He’s appalled, and he advises Irene to completely distance herself from Clare if Clare tries to get in touch with Irene again. At first, Irene takes that advice by ignoring the apology letter that Clare sends to her.

But one day, Clare shows up at Irene’s home unannounced and uninvited. This time, Clare says that she’s traveled to New York City for an extended visit without her husband and child. Clare is able to charm her way back into Irene’s life, with results that neither woman expects.

“Passing” is a “slow burn” movie where the pacing might be too sluggish for some viewers. But as a psychological drama, the movie is fascinating. It might be worth it to watch the movie more than once to pick up on subtle clues that might not have been noticed during the first viewing.

During Clare’s extended visit, she spends most of her time in Harlem, where she is introduced to Irene and David’s social circle. Viewers find out that when in Clare and Irene were in high school, Clare was considered to be prettier, more glamorous and more charismatic than reserved and introverted Irene, who often felt overshadowed by Clare. Those same dynamics start to repeat themselves as Clare starts to become the center of attention at social gatherings that she attends with David and Irene.

Things get complicated because of an unspoken romantic attraction that Irene seems to have for Clare that apparently existed since they knew each other in high school. Clare drops big hints in conversations that her own sexuality is fluid, while Irene seems to also be somewhere on the queer spectrum but is definitely in the closet about it. Any sexual attraction between the two women seems to be mostly on Irene’s part, based on the furtive, longing glances that she gives to Clare when Irene thinks no one else is looking.

Clare, who is extremely vain and manipulative, seems to sense this attraction and uses it to her advantage. It should come as no surprise when Clare starts flirting with Irene’s husband Brian, who seems attracted to Clare too. It puts Irene in a difficult situation because she doesn’t want to react too strongly by sending Clare away. After all, Irene still wants Clare to be around because Irene is attracted to Clare.

Meanwhile, Irene and Brian have disagreements over how to teach their sons about the dangers of white supremacist racism. Brian thinks that the boys should know about this harsh reality as soon as possible to prepare them for the real world. Irene thinks that the boys are too young to know, and that this type of knowledge will ruin what she thinks should be the boys’ happy childhoods.

For example, when there’s a newspaper report about a black man being lynched, Brian wants to talk about it with the kids, while Irene vehemently objects. They argue about it. Brian gets so frustrated with Irene that he blurts out to her: “I don’t understand how as intelligent you are, you can be so stupid!”

Over time, it becomes obvious that although Clare is lying about her racial identity to certain people, Irene is in a type of denial of her own—not just about her sexuality, but also about how her children will be treated as black people in a society that enables, teaches, and encourages white supremacy. Clare’s presence is a reminder to Irene about the extreme lengths that people will go to kowtow to a white racist mentality.

However, what Irene doesn’t expect is that Brian, who seemed to be all about black pride and who previously disapproved of Clare, is starting to grow closer to Clare. As for Clare, it’s eventually revealed that her so-called “perfect” life with her husband John isn’t so perfect after all. Clare’s lies about her racial identity have affected her a lot more than what she originally told Irene.

“Passing” has a few other characters in the movie who are mostly there as people who are part of Irene and David’s social life. Hugh (played by Bill Camp) is a white bachelor who is among the well-to-do white people who think it makes them look “cool” to hang out with black people in Harlem, but the same black people would never be invited into these white people’s homes. Hugh is a big gossip who likes making sarcastic observations about people.

Another person in the movie’s party scenes is black man named Ralph Hazleton (played by Amos Machanic), whose dance partners are often white women. Ralph often gets mentioned as an example when Hugh and other people at these parties talk about dark-skinned black men who attract white women. When Hugh asks Irene if she thinks Ralph is handsome, she says no but that Ralph is “exotic.” It’s left up to viewer intepretation to think if Irene really believes that or she just said something that she thought Hugh wanted to hear.

These are all just side characters to the main focus of the story, which is about Clare and Irene’s rekindled friendship and how it starts to affect Irene’s marriage to David. “Passing” could have taken a predictable melodrama route by turning this story into a love triangle involving screaming arguments or women catfighting over a man. But the movie has a low-key approach that is more about repressed feelings, with fear bubbling under the surface that secrets might be revealed.

Negga rises to the challenge of depicting Clare, who could be completely unlikable, as a complex character who is neither a hero nor a villain but someone who masks her insecurity with a “bon vivant” personality that can shapeshift to whatever can get Clare what she wants. When Clare sees that Irene is happily married and that Irene doesn’t have the burden of pretending to be another race, Clare wants some of that happiness too.

Thompson gives Irene an aura of someone who is used to being hurt but is trying to hold on to whatever dignity that she has when she’s in situations that cause her emotional pain. It’s why she’s reluctant to confront people or cause a scene. And it’s why she wants to delay as much as possible how and when her sons find out about the evils of racism.

“Passing” was filmed in black and white, using 4:3 aspect ratio, which was the standard aspect ratio for movies of the 1920s and 1930s. The movie admirably recreates a lot of other characteristics of the era, such the costume design, production design and music. Thompson’s body language and speech patterns as Irene seem particularly calibrated to embody someone from that era who wants to be a highly respected society woman, no matter who is with her. Irene is not someone who talks one way with white people and another way with black people. Clare, who comes from a higher-income household than Irene does, is the one who seems coarser and less refined than Irene when Clare is around other African Americans.

What the cast members and Hall are able to achieve with this film is more than commentary about people’s attitudes when it comes to race, social class or sexuality. By the end of the movie, audiences will understand that “Passing” is ultimately about truth telling about ourselves and other people. And telling the truth can sometimes have dangerous consequences when people are invested in perpetuating lies or keeping secrets.

Netflix released “Passing” in select U.S. cinemas on October 27, 2021. The movie premiered on Netflix on November 10, 2021.

Review: ‘The Night House,’ starring Rebecca Hall, Sarah Goldberg, Vondie Curtis Hall, Evan Jonigkeit and Stacy Martin

August 24, 2021

by Carla Hay

Rebecca Hall in “The Night House” (Photo courtesy of Searchlight Pictures)

The Night House”

Directed by David Bruckner

Culture Representation: Taking place in upstate New York, the horror film “The Night House” features a predominantly white cast of characters (with a few African Americans) representing the working-class and middle-class.

Culture Clash: A recent widow is convinced that her house is haunted because her late husband is trying to contact her. 

Culture Audience: “The Night House” will appeal primarily to people who don’t mind watching slower-paced horror movies that are more about psychological terror than violent gore.

A scene from “The Night House” (Photo courtesy of Searchlight Pictures)

Moody and atmospheric, sometimes to a fault, “The Night House” still delivers enough mystery and intrigue to make it a noteworthy psychological/supernatural horror movie. Rebecca Hall’s effective performance improves the quality of what could have been a movie that’s too dull and repetitive. It’s not the best ghost story you’ll ever see, but at least it attempts to give more unique visuals and better acting than most horror movies.

There are long stretches of “The Night House” that will test the patience of viewers who might be expecting more action or more jump scares. “The Night House” (directed by David Bruckner and written by Ben Collins and Luke Piotrowski) is essentially a long meditation on grief and finding out secrets of a deceased loved one. It has the added supernatural element of the loved one’s spirit hanging around and trying to make contact.

In an unnamed city in upstate New York, Beth Parchin (played by Hall) is a lonely widow whose architect husband Owen Parchin has recently died in a horrific way: He went in a row boat on the lake outside their house, and he shot himself with a pistol. The beginning of the movie takes place less than a week after Owen’s suicide. Owen (played by Evan Jonigkeit) is shown in flashbacks and in home videos that Beth watches in her grief.

Beth and Owen had been married for almost 15 years. He built their lake house for Beth. The house is isolated in a heavily wooded area, which is a horror movie cliché that works pretty well in this movie. Beth is unsure if she wants to sell the house, now that Owen is gone, and the house is filled with painful memories. Beth is a high school teacher, whose closest friend is another teacher at the school named Claire (played by Sarah Goldberg), who becomes increasingly concerned about Beth’s mental health as time goes on.

Beth confides in Claire that she has no idea why Owen wanted kill himself, because he was the more upbeat and positive person in their marriage. Claire says she’s the one in their marriage who’s had a history of depression and negative thoughts. It’s also revealed in the movie that Claire had a near-death experience at 17 years old, so she has very a strong opinion about what might happen to human souls after death.

Almost immediately after this movie begins, Beth has nightmares or visions that Owen is trying to contact her. Get used to multiple scenes of Beth hearing Owen’s voice in a room or getting text messages from Owen—only to have her wake up because it was just a dream. Or was it? It gets to the point where Beth starts to question her own sanity.

Things get more interesting when Beth goes through Owen’s phone and laptop computer and finds photos of women she does not recognize. Was Owen cheating on her? Beth is determined to find out. And she discovers things about Owen that take her down a very dark path.

Viewers of “The Night House” have to get used to many scenes of Beth having nightmares. These scenes are genuinely spooky but can get a little tiresome because the point is made over and over that Beth is being haunted by what she’s sure is the ghost of her husband. It isn’t until she tries to find out his secrets that the pace and intrigue start to pick up.

The parts of “The Night House” that seem the most awkward are scenes showing Beth at work less than a week after Owen’s suicide. These scenes don’t take up too much of the movie (less than 10 minutes), but they beg the question: Why is Beth back at work so soon after her husband’s suicide, when she’s obviously emotionally fragile? The movie never answers that question. Because people grieve in different ways, viewers will have to assume that Beth is the one who insisted on going back to work.

Beth also has a concerned neighbor named Mel (played by Vondie Curtis Hall), who checks up on Beth occasionally. During her sleuthing, Beth discovers Owen’s architect sketchbook, which has some major clues about what’s going on. She also finds a voodoo doll, as well as an occult book that leads her to a bookstore. She meets a bookstore employee named Madelyn (played by Stacy Martin), who discloses some information that leads Beth closer to solving the mystery.

Rebecca Hall—who’s in all of the movie’s scenes—gives a fairly riveting performance as a grieving widow who misses her husband so much that she’s willing to go down a proverbial rabbit hole to find out secrets that might end up destroying her happy memories of him. And if Beth does find out some disturbing truths about Owen, will it cut short her growing obsession to communicate with him and possibly summon him back, just so he can be with her again in some way? Those questions are answered in the movie, but “The Night House” will leave viewers guessing over what the long-term repercussions will be.

Searchlight Pictures released “The Night House” in U.S. cinemas on August 20, 2021.

Review: ‘Godzilla vs. Kong,’ starring Alexander Skarsgård, Millie Bobby Brown, Rebecca Hall, Brian Tyree Henry, Shun Oguri, Julian Dennison and Demián Bichir

March 29, 2021

by Carla Hay

Godzilla and King Kong in “Godzilla vs. Kong” (Photo courtesy of Warner Bros. Pictures and Legendary Pictures)

“Godzilla vs. Kong”

Directed by Adam Wingard

Culture Representation: Taking place in various other parts of the world, the action flick “Godzilla vs. Kong” features a racially diverse cast (white people, African Americans, Asians and Latinos) who are part of the scientific community, corporate business or are underage students.

Culture Clash: Gigantic monster enemies Godzilla and King Kong cross paths, while some greedy corporate people want to exploit the monsters’ power sources in order to make deadly weapons.

Culture Audience: “Godzilla vs. Kong” will appeal primarily to people who are fans of “Godzilla” and “King Kong” movies and don’t care if the story is badly written, sloppily directed and populated with hollow human characters.

Alexander Skarsgård, Rebecca Hall and Kaylee Hottle in “Godzilla vs. Kong” (Photo by Chuck Zlotnick/Warner Bros. Pictures and Legendary Pictures)

The tedious and atrociously made train wreck that is “Godzilla vs. Kong” probably will please people who have extremely low standards for action flicks. But considering that several superhero movies have proven that action movies can be entertaining spectacles with distinct and memorable characters, there’s really no excuse for why “Godzilla vs. Kong” stinks more than any toxic excrement that can be expelled from these fictional monsters’ bodies. “Godzilla vs. Kong” is the epitome of a “cash grab” film that lazily exploits the nostalgic brand names of beloved creature feature films. In “Godzilla vs. Kong,” the filmmakers do almost nothing to create intriguing characters that can exist in a cinematic art form.

Directed by Adam Wingard and written by Eric Pearson and Max Borenstein, “Godzilla vs. Kong” takes an annoying amount of time building up to the inevitable fight scenes described in the movie’s title. The filmmakers inexplicably overstuffed the movie with a lot of characters that barely do anything except act egotistical (if they’re the villains) or look anxious (if they’re the heroes). The human characters who are involved in the most action and decision making in the movie are reduced to spouting idiotic dialogue that makes the monsters in the movie look more intelligent.

Yes, it’s another movie about a creature that threatens to destroy the world, while humans think they can stop the destruction in time, and the greedy ones think they can get rich off of this crisis. That’s pretty much the plot of every movie about Godzilla, King Kong or other giant monster. Pitting two supersized titan monsters against each other should raise the stakes even higher, but “Godzilla vs. Kong” fails in delivering an enjoyable story and has an ending that falls very flat. The movie’s visual effects from Luma Pictures are adequate but not outstanding.

“Godzilla vs. Kong” begins with King Kong living in a biodome on Skull Island, where he is being observed by scientists for research. Leading the team of scientists is Dr. Ilene Andrews (played by Rebecca Hall), who is a single mother to an adopted deaf/mute daughter named Jia (played by Kaylee Hottle), who’s about 9 or 10 years old. Apparently, Ilene cares more about her research than the safety of her underage daughter. Jia is allowed to be in many completely dangerous situations that would be more than enough for child protective services to get involved.

But dumb movies like “Godzilla vs. Kong” pander to the lowest common denominator by showcasing people with horrific parenting skills and acting as if nothing is wrong with it. And if that means making it look like kids should be allowed to be in the line of fire and actively fighting these monstrous and deadly creatures, then so be it. Kaylee and some of the other underage characters in “Godzilla vs. Kong” are portrayed as having uncanny knowledge and skills that the adults don’t possess. It’s just more pandering to a kiddie audience or people with a child’s mentality.

The movie (which was filmed in Hawaii and Australia) jumps all over the place in a haphazard manner, but here are the main locations in the film:

  • Skull Island, where King Kong lives until he’s brought out of hiding for reasons explained in the movie. It’s also where Ilene and her daughter Jia live until they decide to travel to wherever Kong will be relocated.
  • Apex Cybernetics, a high-tech corporation in Pensacola, Florida, is involved in cybertechnology related to military defense weapons. The CEO of Apex is a typical money-hungry villain named Walter Simmons (played by Demián Bichir), who has a conniving daughter named Maya Simmons (played by Eiza González), who wants to take over the business someday. Walter’s loyal right-hand henchman is Apex chief technology officer Ren Serizawa (played by Shun Oguri). Apex also has an engineer named Bernie Hayes (played by Brian Tyree Henry), who ends up becoming a whistleblower.
  • Monarch Relief Camp, also in Pensacola, is the temporary home of refugees who were displaced by the destruction caused in the 2019 movie “Godzilla: King of the Monsters.” It’s where divorced dad Mark Russell (played by Kyle Chandler), a former Monarch animal behavior and communication specialist, works to help refugees. Mark has a headstrong and independent teenage daughter named Madison (played by Millie Bobby Brown), who wants to follow in his footsteps as scientist who studies animals.
  • Denham University of Theoretical Science is a think tank in Philadelphia where the workaholic and underappreciated Dr. Nathan Lind (played by Alexander Skarsgård) is working on a top-secret theory/experiment. Aren’t they all in movies like this one?
  • Hong Kong, where some of the characters in the story take a rocket, because apparently it’s not enough just to have transportation by planes, ships, trains or automobiles.
  • Tokyo, because you shouldn’t have a Godzilla movie without Godzilla fighting in Tokyo.
  • Hollow Earth, a place somewhere below the earth’s surface that was discovered in “Godzilla: King of the Monsters.” This location also plays a major role in “Godzilla vs. Kong.”

In “Godzilla vs. Kong,” King Kong somehow got access to a javelin (it’s never explained how), and like an Olympic champ, he throws it at the sky while he’s on Skull Island. The javelin pierces the biodome ceiling, so that’s how King Kong finds out that the world he’s been living in has been hermetically sealed.

You know what that means. King Kong becomes restless because he knows he belongs somewhere else. It isn’t long before Ilene and the rest of the scientists find out that King Kong has literally cracked their carefully constructed façade.

Ilene comments about King Kong to a co-worker named Ben (played by Chris Chalk): “The habitat is not going to hold him much longer.” Ben replies, “We need to think about off-site solutions.” Ilene then says, “The island is the one thing that’s kept him isolated. If he leaves, Godzilla will come for him. There can’t be two alpha titans.” Oh yes, there can, or else this movie wouldn’t exist.

The decision is made to move Kong out of Skull Island. King Kong is tranquilized and strapped to a cargo ship. And you just know that tranquilizer is going to eventually wear off. Somehow, Kong’s energy is sensed by Godzilla, who comes out of hibernation from deep in the ocean. Godzilla goes on a rampage in trying to find Kong. It’s all just filler until these two creatures face off against one another.

What does this have to do with Apex? The company has discovered a subterranean ecosystem that’s as “fast as any ocean light.” It has an energy life force that Apex wants to find in order to make a weapon that will defeat Godzilla.

Nathan, a former Monarch employee, says that he tried and failed to find the mysterious Hollow Earth entry. He believes in genetic memory, a theory that says all titans share a common impulse to return to their evolutionary source. Nathan wants to tag along with Ilene and her crew to find the power source that’s in Hollow Earth.

But since “Godzilla vs. Kong” isn’t interested in keeping things simple with only essential characters, there are more people who want to get to Hollow Earth too. There are the Apex villains, of course. And then there’s a motley trio that’s meant to be the movie’s comic relief but they end up saying a lot of corny lines and getting into stereotypical slapstick predicaments.

This trio consists of Apex engineer Bernie, who’s decided he’s going to expose Apex’s dastardly plans; teenage Madison, who apparently skips school so she can save the world in “Godzilla” movies; and her schoolmate Josh Valentine (played by Julian Dennison), who’s the type of character that Dennison is known to play in movies: a sarcastic brat. Josh is also the clownish “klutz” of the group who’s prone to be more terrified than the others. Meanwhile, Bernie sometimes acts like he’s uttering lines that were rejected from a bad stand-up comedy act.

How did Bernie get mixed up with these kids? Bernie is the host of a podcast called the Titan Trade Podcast, where he spouts “insider” conspiracy theories about Apex but doesn’t reveal his true identity. Even though Bernie’s voice and his irritating motormouth personality would be recognizable to his Apex co-workers on this podcast (Bernie makes no effort to disguise his voice), the movie wants people to believe that Bernie’s been able to keep his podcast identity a secret while he’s spilling confidential company information to the world.

“Something bad is going in here,” Bernie warns in one of his podcast episodes. He says that he’s going to download evidence of a “vast” corporate conspiracy. “It’s more than a leak. It’s a flood,” he adds. “And this flood is going to wash away all of Apex’s lies.” And with that announcement, Bernie essentially tells the world that he’s a company whistleblower, without thinking that the company could possibly catch on to his exposé plan before he actually does it. So dumb.

Madison listens to the podcast and essentially drags a reluctant Josh along when they meet Bernie. Madison uses Josh because he has a car and she doesn’t. As if to put an emphasis on how Bernie is the “out of touch” adult in this trio, he has a very outdated flip phone that he uses a lot in the movie. It might be some type of weird irony that a guy who works as an engineer at a highly advanced tech company doesn’t even have a smartphone, but it just makes Bernie look even more dimwitted, considering all the benefits of a smartphone that he would need on this mission.

Because “Godzilla vs. Kong” is meant to be a family-friendly film, there are the obligatory sappy moments to make it look like this isn’t just a movie with fights and explosions. Jia has an emotional bond with King Kong that’s intended to tug at people’s heartstrings, because somehow she’s taught him sign language without her mother knowing. Ilene eventually finds out, but you have to wonder how much of neglectful parent Ilene must be if she let her daughter spend enough time alone with King Kong that Ilene didn’t know that Jia has now become King Kong’s personal American Sign Language tutor. Kids these days.

And while this awful movie whips around from place to place like a flea in search of a mangy dog, somehow the filmmakers forgot to have any meaningful story arc for Madison’s father Mark (who was a protagonist in “Godzilla: King of the Monsters”), who is completely sidelined in “Godzilla vs. Kong.” The parents in this movie are insultingly portrayed as incapable of making truly effective decisions unless the kids show them the right way.

There’s nothing wrong with precocious kid characters, but not at the expense of making the adults with years of scientific knowledge look clueless next to kids who haven’t even graduated from high school yet. The movie completely undervalues and dismisses the life experiences of adults whenever the kid characters are in the same scene. It’s why “Godzilla vs. Kong” has the mentality of video game or a cartoon instead of a live-action movie.

“Godzilla vs. Kong” doesn’t even bother giving the villains anything memorable about their personalities, which is what all worthwhile “good vs. evil” stories are supposed to do. Heroes often have bland, interchangeable personalities, but villains are the ones who are supposed to get the biggest audience reactions in these stories. And audiences like to see some of the clever ways that villains make mischief. None of that happens in “Godzilla vs. Kong.”

There could have been so much improvement to the movie’s lackluster human interactions if the villains were compelling. Walter is very generic, Ren doesn’t talk much, and Maya is a completely unnecessary character. All of the actors in “Godzilla vs. Kong” give performances like they know they’re in a movie where they don’t have to show much acting talent and it’s all about the paychecks they’re getting.

As for the Godzilla vs. King Kong fight scenes that come too late in the movie, they are extremely predictable but at least better than the witless dialogue that the audience has to endure whenever the movie’s scenes focus only on the humans. In order for a monster movie to have the most impact, viewers should care not just about the fight scenes but also about the people whose lives are in danger. And in that regard, “Godzilla vs. Kong” stomps out a lot of humanity to distract viewers with CGI action that isn’t even that great in the first place.

Warner Bros. Pictures will release “Godzilla vs. Kong” in U.S. cinemas and on HBO Max on March 31, 2021. The movie was released in several countries outside of the U.S. on March 25 and March 26, 2021.

Review: ‘A Rainy Day in New York,’ starring Timothée Chalamet, Elle Fanning, Selena Gomez, Jude Law, Diego Luna and Liev Schreiber

November 5, 2020

by Carla Hay

Timothée Chalamet and Selena Gomez in “A Rainy Day in New York” (Photo by Jessica Miglio/MPI Media Group)

“A Rainy Day in New York”

Directed by Woody Allen

Culture Representation: Taking place in New York City and in upstate New York, the romantic comedy “A Rainy Day in New York” features a predominantly white cast of characters (with a few Latinos) representing the upper-middle-class and wealthy.

Culture Clash: A college student and his schoolmate girlfriend spend the day in New York City and experience unexpected entanglements with other people.

Culture Audience: “A Rainy Day in New York” will appeal primarily to die-hard fans of writer/director Woody Allen and star Timothée Chalamet, because this movie is clearly not their best work.

Timothée Chalamet and Elle Fanning in “A Rainy Day in New York” (Photo by Jessica Miglio/MPI Media Group)

“A Rainy Day in New York” is writer/director Woody Allen’s very misguided attempt at making a teenage romantic comedy, but the results are as phony and pretentious as many of the characters in the film. Movie aficionados who are familiar with Allen’s work already know that he sticks to certain formulas and themes in his movies. His movies are usually about privileged people in a big city who are preoccupied with their spouses or lovers cheating on them. There’s usually at least one much-older man in the story who makes sexual advances toward a much-younger woman—or the older man at least makes it known that he’s sexually attracted to her. And there’s always jazz in the soundtrack because Allen is a big fan of jazz music.

And even though Allen’s movies usually take place in the racially diverse city of New York, he excludes African Americans and Asians from being in his films in any significant speaking roles. Occasionally, as he did in “A Rainy Day in New York” and in “Vicky Cristina Barcelona,” he might have a few Latinos in his films. The elitist and pseudo-intellectual worlds that Allen has in his movies are usually filled with people whining about personal problems that they create for themselves because they are addicted to self-sabotage.

You don’t have to see the poster for “A Rainy Day in New York” to know exactly who’s going to end up together by the end of the story. But until viewers get to that point, they have to sit through about 92 minutes of college-age people in their late teens and early 20s talking as if they’re about 10 years older, with very affected mannerisms. Unfortunately, much of the movie’s screenplay sounds exactly like what it is: dialogue written for young people by a senior citizen who doesn’t know how today’s young people really talk. Even though these young people are supposed to be privileged and well-educated, they still sound like an old person wrote their words for them.

All of the actors in “A Rainy Day in New York” are very talented, but they perform in this movie as if they’re all too self-aware that they’re in one of Allen’s films. And so, they all act is if they’re trying to conjure up the same neuroses and quirks of characters that were in classic Allen films, such as 1977’s “Annie Hall” and 1986’s “Hannah and Her Sisters,” which are considered two of Allen’s best movies.

“A Rainy Day in New York” follows the usual Allen formula of having the male lead character act like how a young Woody Allen would act, by being neurotic and showing some kind of intellectual snobbery. In this case, Timothée Chalamet plays the Allen surrogate with a character whose name is as pompous as his personality: Gatsby Welles.

Gatsby sees himself as quite the rebel because he dropped out of an unnamed prestigious university (presumably an Ivy League university) and is now enrolled in a small liberal-arts college in upstate New York called Yardley College. He likes to sneak off on a semi-regular basis to gamble with older men of dubious occupations. In reality, Gatsby isn’t that rebellious. He’s spoiled, a bit wimpy, and way too impressed with himself for someone who really hasn’t accomplished much and doesn’t know what he wants to do with his life.

Viewers can immediately see how self-absorbed Gatsby can be, but there’s no subtlety at all in this film. Allen over-amplifies Gatsby’s personality because he makes Gatsby have a constant stream of voiceover narration every time Gatsby is on screen. Other characters talk out loud to themselves when they wouldn’t need to do that if Allen trusted the actors enough to express emotions with their faces and body language.

In the opening scene, which takes place on the Yardley campus, Gatsby says in a voiceover: “This is Yardley, which is supposed to be a very good liberal college, which is supposed to be tony enough for my mother, which is total bullshit, because you get ticks [from] walking in the grass.” Gatsby further comments about his mother: “She says I have a high IQ and I’m not living up to my potential, even though last weekend I made 20 grand playing poker.”

Viewers will hear quite a bit about Gatsby’s domineering mother, because Gatsby can’t stop talking about her, even as he tries to avoid her. Gatsby’s parents (played by Cherry Jones and Jonathan Hogan) don’t have names in the movie, but viewers soon learn that Gatsby’s parents and his older brother Hunter (played by Will Rogers) live in New York City. Gatsby’s mother is a high-society influencer who’s presenting her big annual charity gala that Gatsby desperately does not want to attend.

There’s a scene in the last third of “A Rainy Day in New York” where Gatsby and his mother have a heart-to-heart talk, and it’s the best scene in the movie. Jones is fantastic in this role. Her performance is one of the few highlights of this meandering and often-dull film that recycles a lot of the same love-life problems and dilemmas that have been in other films by Allen.

Gatsby has a girlfriend named Ashleigh Enright (played by Elle Fanning), who also attends Yardley. On paper, Gatsby and Ashleigh both seem like a great match for each other. They both come from well-to-do families (Ashleigh’s father owns several banks in Arizona) that are politically conservative and white Anglo-Saxon Protestant. Gatsby and Ashleigh are both very intelligent and curious. However, Ashleigh tends to be very giggly, forthright and effervescent, which is in contrast to Gatsby’s more brooding, secretive and angst-filled personality. Ashleigh is a movie buff, while Gatsby is more of a literature enthusiast.

Gatsby and Ashleigh have been dating each other for a few months. He says in a voiceover that he’s in love with Ashleigh and she’s perfect for him. Gatsby also says that Ashleigh is the type of girlfriend his mother would approve of, which is why he plans to introduce Ashleigh to his mother for the first time at the big gala event.

It just so happens that Ashleigh, who’s a journalist for the Yardley student newspaper, has landed an interview with a famous New York City-based film director named Roland Pollard (played by Liev Schreiber), and she couldn’t be more ecstatic about it because she’s been a longtime fan of his. Ashleigh tells Gatsby that she’s going to New York City to interview Roland, so Gatsby decides the time is right to go to the city for a couple of days with Ashleigh and make a romantic trip out of it.

Gatsby takes charge of their trip. He tells Ashleigh that they’ll be staying at the Pierre Hotel, and he’s made plans for them to have dinner at Daniel, an exclusive, five-star French restaurant. It’s implied that Gatsby is so well-connected that he can easily get reservations at Daniel, which is a restaurant that’s known to take reservations weeks in advance. Gatsby also wants to possibly stay at the Carlyle Hotel, or at least have lunch there, during the trip. 

Ashleigh’s meeting with Roland isn’t really an interview as much as it is a talk session where she nervously gushes over him like a fangirl. Based on how Roland’s movies are described, he’s an “auteur” who prefers to direct creatively challenging films instead of crowd-pleasing blockbusters. Roland is flattered that this young reporter knows a lot of about his work, but he’s wracked with insecurities about his latest film. He also mentions to Ashleigh that his ex-wife’s name was Ashley and she also went to Yardley.

Because Ashleigh is so nervous around Roland, she starts babbling some “too much information” personal details to him. For example, she tells him that she starts to hiccup when she’s anxious. “When I’m sexually anxious, I’ll hiccup indefinitely,” she adds. And, of course, that’s a signal that this nervous tick will definitely happen later in the film.

Ashleigh is such a neophyte journalist that when Roland tells her that he’d like to give her a scoop, she naïvely asks, “A scoop of what?” When Roland explains that a “scoop” is a journalist term for exclusive information, she can’t believe her luck that he chose her. Roland says that the “scoop” he wants to give Ashleigh is that he’s not happy with the film he’s working on, and it might be the last film he directs because he’s thinking of quitting the movie business.

Ashleigh is shocked and tells Roland that he shouldn’t quit. Roland invites Ashleigh to go with him to a private screening room to watch a rough cut of the film and to tell him what she thinks of the movie. The only problem for Ashleigh is that the time it would take to watch the movie would conflict with the lunch date that she made with Gatsby.

The offer from Roland is too good to pass up, so Ashleigh apologetically cancels her lunch date with Gatsby and explains why. Gatsby is disappointed, but he understands why Ashleigh wants this opportunity to get a great interview with one of her idols. And so, Gatsby and Ashleigh make plans to meet up later.

Gatsby now has unexpectedly a few spare hours of time where he’s free to do what he wants. He wanders outside the hotel and happens to see a former classmate from high school: a gossipy jerk named Alvin Troller (played by Ben Warheit), who is an elitist snob yet he has no manners. Gatsby isn’t too enthusiastic about seeing Alvin, but they make some small talk where they give updates on what they’ve been doing with their lives and why Gatsby is visiting in the city. Alvin tactlessly insults Gatsby and some other mutual acquaintances who are mentioned in the conversation.

Alvin tells Gatsby that a mutual former classmate from high school is directing a student film outside on a nearby street and that Gatsby should check out what’s going on with this movie if he’s curious. Before they part ways, Alvin tells Gatsby that if he were Gatsby, he’d be nervous about having his girlfriend alone in a room with a powerful movie director. It plants a seed of doubt in Gatsby about what might happen during the interview with Ashleigh and Roland.

When Gatsby arrives on the film set, the former classmate, whose name is Josh (played by Griffin Newman), is happy to see him. Josh convinces a reluctant Gatsby to make a cameo in the movie. Gatsby doesn’t feel comfortable about being in the movie because he tells Josh that he’s not an actor, but Gatsby agrees to the role only because it won’t take long and he won’t have to say any lines. All Gatsby has to do in the scene is kiss a young woman in a car.

And who is this young woman? Her name is Chan (played by Selena Gomez), and she happens to be the younger sister of Gatsby’s ex-girlfriend named Amy, whom Gatsby briefly dated when he was 16. Chan, who is a student at the Fashion Institute of Technology, is dryly sarcastic and comes from the same well-to-do type of family that Gatsby has. Before Gatsby and Chan start filming their kissing scene, Gatsby and Chan exchange the kind of teasing banter that makes it obvious that they’re thinking, “I’m attracted to you but I’m not going to admit it.” And you know what that means for a romantic comedy like this one.

Gatsby and Chan’s kissing in the scene starts off being very awkward. But then, eventually Gatsby and Chan become more relaxed with each other before the director tells them that he has the footage that he wants. Gatsby and Chan go their separate ways. But what do you know, they happen to see each other again when it starts raining and they both end up hailing the same taxi for their second “meet cute” moment. Gatsby and Chan decide to share the taxi ride, and then they have more banter filled with sexual tension.

During their conversations, Gatsby tells Chan that he’s in New York City with his girlfriend Ashleigh because Ashleigh is interviewing Roland Pollard for the Yardley student newspaper. Gatsby somewhat brags about Ashleigh coming from a wealthy family, but Chan shows some East Coast snobbery when she hears that Ashleigh and her family are originally from Arizona. Chan then proceeds to mock Ashleigh, whom she hasn’t even met, with jokes that imply that Chan thinks Ashleigh is an unsophisticated hick, even if Ashleigh’s family is rich.

It should come as no surprise that for the rest of the day, Chan and Gatsby find themselves spending time together, while Ashleigh gets more caught up in hanging out with Roland and his associates. Various hijinks ensue as Gatsby and Ashleigh make plans to meet up multiple times, only to have those plans changed because of a variety of circumstances. It’s all very predictable and formulaic because people who’ve seen enough romantic comedies know exactly what’s going to happen at the end of this movie.

At the screening room to watch the rough cut of Roland’s latest movie, Ashleigh meets Ted Davidoff (played by Jude Law), the screenwriter of the movie. Roland gets so distraught by what he sees in the rough cut that he storms off. Ted and Ashleigh take off in Ted’s car to try and find Roland. During this hunt for Roland, Ted sees his wife Connie (played by Rebecca Hall), who appears to be on a date with Ted’s best friend Larry Lipshitz. Connie told Ted that she was going to be hanging out with one of her female friends, and now Connie has been caught in a lie.

And so, Ashleigh finds herself tagging along and observing some of this marital drama, as Ted tries to find out if Connie is cheating on him or not. And speaking of infidelity, Ashleigh gets caught up in a situation where she has to decide if she’s going to be faithful to Gatsby or not. During the search for Roland, Ashleigh goes to Kaufman Astoria Studios in Queens, where she meets and is immediately dazzled by a sex-symbol movie star named Francisco Vega (played by Diego Luna), who’s almost twice the age of Ashleigh.

Francisco, who is in Roland’s latest film, doesn’t waste time in asking Ashleigh out on a dinner date. Francisco says he’s recently broken up with his actress girlfriend Tiffany (played by Suki Waterhouse), and when he and Ashleigh go outside together, they’re surrounded by paparazzi and news cameras. You don’t have to be psychic to know who will eventually see this footage.

During the time that Gatsby and Ashleigh are apart, there’s a minor subplot of Gatsby visiting his older brother Hunter and Hunter’s fiancée Lily (played by Annaleigh Ashford) in their spacious home. The wedding invitations have already been sent out, but Hunter confides in Gatsby that he doesn’t want to marry Lily. Why? Because Hunter says he doesn’t like Lily’s laugh, which Hunter describes as “a cross between Dad’s sister Betty and Lenny from ‘Of Mice and Men.'” 

It’s yet one of numerous examples of how superficial, status-conscious and image-obsessed so many people are in this story. And it’s why this so-called romantic comedy isn’t very romantic when almost everyone in the story does not seem capable of loving anyone but themselves. Anyone who doesn’t meet their standard of wealth just isn’t worthy enough of their time.

Chalamet and Fanning do their best to bring some relatable humanity to their roles. But Gatsby is just too conceited and Ashleigh is just too fickle to go beyond the “spoiled rich kid” caricatures that writer/director Allen has constructed for them. Gomez doesn’t have much to do with the character of Chan, whose personality is just an empty shell that only exists to lobby semi-insults back and forth with Gatsby as they pretend they’re not attracted to each other. A good romantic comedy will have audiences rooting for the protagonists, but most of the characters in “A Rainy Day in New York” are so insufferable that audiences will wish these people would just shut up and go away.

MPI Media Group and Signature Entertainment released “A Rainy Day in New York” in select U.S. cinemas on October 9, 2020. The movie’s digital, Blu-ray and DVD release date is November 10, 2020. “A Rainy Day in New York” was released in several countries outside the U.S. in 2019.

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