Culture Representation: Taking place in an unnamed U.S. city, the sci-fi drama film “Swan Song” features a predominantly black cast of characters (with a some white people, Asians and one Native American) representing the working-class and middle-class.
Culture Clash: A graphic designer, who is dying from an unnamed illness, keeps it a secret from his family and secretly arranges for a clone to replace him.
Culture Audience: “Swan Song” will appeal primarily to people who are fans of star Mahershala Ali and will appeal to people who are interested in to seeing well-acted, emotionally heavy movies about how people might prepare for death.
Mahershala Ali and Naomie Harris in “Swan Song” (Photo courtesy of Apple TV+)
The sci-fi drama “Swan Song” is a somber and slow-paced film that viewers have to be in the right frame of mind to see. It’s a very well-acted film that handles its subject matter with sensitivity, but it should be avoided if you’re not in the mood to see a movie about terminal illness and death. The second half of the movie is much better than the first half, which has some pacing issues and takes a little long to get to the heart of the story. “Swan Song” viewers also must have patience with movies that tell stories in a non-linear, non-chronological way.
Written and directed by Benjamin Cleary, “Swan Song” does a lot with the relatively small number of people in the cast. The movie is set in an unspecified year in the future, in an unnamed U.S. city. A graphic designer named Cameron has recently found out that he’s dying from an illness, which is also not named in the movie. The only clue to what this illness might be is that it causes deterioration of the brain.
Cameron is married to a loving and loyal wife named Poppy (played by Naomie Harris), a British immigrant who works as a school teacher for children with learning disabilities. Poppy uses music therapy for her students and composes and sings a lot of the music for this therapy. Cameron and Poppy have a bright and energetic son named Cory (played by Dax Rey), who is 8 years old.
Cameron is the more introverted spouse in the marriage, while Poppy is more of an extrovert. These personality differences are reflected in what Cameron and Poppy chose for their respective careers. When the movie does show Cameron do anything related to his graphic designer job, he’s by himself, with any outside communication done electronically.
Because a great deal of “Swan Song” is shown in flashbacks (including the movie’s opening scene), this is not a movie that people should watch while being distracted by other things. There are subtle clues that can be picked up when people watch this movie with their full attention. These nuances can lead to greater appreciation of “Swan Song,” which might bore some viewers who are expecting more action.
Cameron hasn’t told his family that he doesn’t have much longer to live. That’s because he’s secretly decided to sign up for a relatively new scientific experiment from a company called Arra, which lets terminally ill people agree to have replacement clones made of themselves. (In this story, a human clone is sometimes called a “regeneration.”) As part of the contract with Arra, the terminally ill people who agree to be replaced by clones have to keep this decision a secret from everyone they know except for Arra employees.
Cameron’s clone is temporarily named Jack (also played by Ali), who not only has a replica of Cameron’s DNA but he also has a full transfer of Cameron’s memories, including subconscious memories. The only physical difference between Cameron and his clone is that the clone is given a small mole on the inside of his hand, so that the Arra staffers can tell the difference between the real Cameron and his clone. Clones are able to mimic human emotions, based on the clone’s implanted memories.
There’s a transition period when the terminally ill person and the assigned clone get to know each other. After this transition period, the clone officially replaces the terminally ill person when the clone starts to live its replacement’s life, and the clone’s memory of being a clone is permanently erased. The terminally ill person than lives at Arra headquarters until death comes.
“Swan Song” goes back and forth between Cameron’s ambivalence over wanting a clone to take over his life and flashbacks to what Cameron’s life was like before he knew that he was dying. In order to prepare for the clone to take over his life, Cameron has to spend time at Arra’s headquarters, which are designed to look like an upscale retreat. Cameron tells Poppy that he’s away on business to explain his absence from home.
Dr. Jo Scott (played by Glenn Close) leads Arra’s cloning project, and she’s determined to make it a success. She has only two human subordinates working with her: a technician named Rafa (played by Lee Shorten) and a psychologist/head technician named Dalton (played by Adam Beach). As Dr. Scott explains to Cameron, the rest of the staffing duties are done by artificial intelligence technology that she says can do the work of abut 50 humans.
Dr. Scott also tells Cameron, when he asks, that he’s only the third human who’s going through Arra’s clone replacement process. She has no ethical qualms about human cloning. “It’ll be as common as heart transplants, in a few years,” Dr. Scott confidently predicts to Cameron. Dr. Scott also keeps a tight reign on Arra’s secret cloning. When Cameron says he wants to tell his family about it, she’s quick to remind him that he signed a contract and that he will “lose the opportunity” if he tells anyone that he arranged to have a replacement clone.
During his stay at Arra headquarters, Cameron meets another terminally ill person named Kate (played by Awkwafina), whose clone has been out in the world for about 42 days when Cameron and Kate first meet. Dr. Scott says that Cameron should also meet Kate’s clone, so that Cameron can see how it’s nearly impossible to tell a clone from a real human being. Cameron goes to Kate’s job (she’s a real estate agent), where he meets Kate’s clone and Kate’s daughter Sammy (played by Mikayla Lagman), who’s about 10 or 11 years old. Sammy has no idea that Kate has been replaced by a clone. The experience of meeting a clone in the real world somewhat unnerves Cameron, who starts to doubt if he made the right decision.
Kate also has mixed emotions about seeing how her family and other loved ones were easily fooled into believing the clone is the real Kate. On the one hand, Kate says that “my guilt faded pretty quick” after she saw how her family wouldn’t have to worry if they knew the truth about Kate being terminally ill. On the other hand, it’s unsettling and sad for Kate to see a clone take over her life while Kate is still alive. Cameron will also go through the same mixed feelings, which Ali conveys with as much skill as a great actor can have when depicting an introvert.
There are additional reasons for why Cameron wants to keep his cloning decision a secret from his loved ones. Poppy is two months pregnant with their second child. And a few years earlier, Poppy’s twin brother Andre (played by Nyasha Hatendi) died in a motorcycle accident. Poppy went into a deep depression, where she could barely leave the house “for a better part of a year,” as Cameron tells Kate.
Poppy is in therapy over her grief. By contrast, Cameron has never been in therapy. Cameron doesn’t want to add to Poppy’s grief by telling her that he’s dying. Cameron also doesn’t want their unborn child and Cory to grow up without a father. Cameron’s own family history is barely mentioned, except when he tells Dr. Scott that his parents divorced when he was 5 years old, and he was raised by his mother. It might explain any extra motivation that Cameron has to make sure that his children have a father in their lives.
Before Cameron found out that he was terminally ill, he and Poppy hit somewhat of a rough patch in their marriage, where they seemed to be drifting apart. In a private conversation between Poppy and Cameron, she tells him that’s she convinced that her unexpected pregnancy with their second child is a sign that the child will be good for their marriage. Cameron seems to agree, but his terminal illness diagnosis has permanently altered those plans, because it’s very likely that Cameron won’t live to see the birth of this child.
Flashbacks show how Cameron and Poppy met: They were both commuter train passengers sharing the same table. They both ordered the same chocolate bar, but when Poppy started eating the chocolate, Cameron mistakenly thought that she was eating his chocolate bar, but they ended up sharing it anyway. It became an endearing joke between them.
Other flashbacks show their courtship, marriage, parenthood, and how Andre was a close member of their family. (Ace LeVere portrays Cory at age 2. Aiden Adejuwon plays Cory at age 5.) One of these flashbacks is of a conversation between Cameron, Poppy and Andre, where Andre talks about the news that human cloning experiments were happening. Cameron seems turned-off by the idea and says that he wouldn’t want a human clone of himself. He obviously changed his mind after getting diagnosed with a terminal illness.
Ali and Harris, who co-starred in the Oscar-winning 2016 film “Moonlight,” have good chemistry together and make a believable couple. Some viewers might feel that not enough of Cameron and Poppy’s relationship is shown, since the vast majority of the relationship is presented in flashback snippets. Harris’ role as Poppy does feel a little underwritten, since she’s mostly depicted as a cheerful and upbeat wife. The depression she had over Andre’s death is not really shown, even though this depression no doubt caused some of strain in her marriage to Cameron.
“Swan Song” is also a little uneven in explaining Arra’s cloning procedures. There are some questionable decisions in the process that no self-respecting psychologist/psychiatrist would recommend. For example, terminally ill humans are allowed to see how their clones interact with loved ones as the humans’ replacements. The clones are equipped with contact lenses that are linked to live video monitors that can be watched at Arra headquarters by the scientists and the human who’s being replaced. If there are no problems in the trial run, the clone’s memory is then erased about being a clone, and the clone will then move on to living life as the human’s replacement.
“Swan Song” doesn’t do a very adequate job of explaining why these scientists would want terminally ill people to see clones completely replacing these humans without the humans’ loved ones knowing, when the psychological effects would be too risky. Some terminally ill people might feel comforted at seeing their replacement clones take over their lives. However, most terminally ill people would probably feel disturbed by seeing a clone living the life that the humans want to have.
After Jack the clone (before he officially becomes Cameron) is sent to live with Poppy and Cory for this trial run, Cameron sees how Jack is interacting with his family. Cameron reacts exactly how you would expect him to react. It leads to a certain confrontation that affects Cameron’s decisions for the rest of the story.
“Swan Song” (whose futuristic cinematography is awash in a lot of gray and blue) doesn’t hit its best stride until the last 20 minutes of the movie, when Cameron makes a pivotal decision that affects his journey. Ali has his most impactful “Swan Song” scenes in this last part of the movie. Cameron is not a naturally expressive person, so he keeps a lot of his emotions bottled inside until he can no longer ignore his feelings. “Swan Song” might be set in the future, but it effectively shows how issues about humanity and the fragility of life are timeless.
Apple TV+ released “Swan Song” in select U.S. cinemas and on Apple TV+ on December 17, 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.
Culture Representation: Taking place in a post-apocalyptic United States, the sci-fi drama film “Finch” features an all-white cast of characters representing survivors of an apocalypse.
Culture Clash: A robotics engineer named Finch Weinberg, who has been living by himself during the post-apocalypse, builds a human-like robot to help him and his dog survive, but the robot sometimes has trouble learning how to do things the way that Finch wants.
Culture Audience: “Finch” will appeal primarily to people who are fans of star Tom Hanks and people who are interested in well-acted road trip movies that take place after an apocalypse.
Tom Hanks with the character of Dewey in “Finch” (Photo courtesy of Apple TV+)
How many movies have there been about a person who’s surviving alone after an apocalypse or other disaster? There are too many of these movies for most people to recite from memory. “Finch” aims and usually succeeds at being a drama that stands out from most other films with the same concept. The acting in “Finch” is well above-average for most post-apocalyptic movies. However, the acting is the best asset for “Finch,” whose screenplay and direction can at times can be plodding and trite.
For “Finch” star Tom Hanks, it’s not the first time that he’s done a movie where he has depicted an isolated disaster survivor. He got an Oscar nomination for the 2000 drama “Cast Away,” in which he portrayed a plane crash survivor stranded by himself on a remote island in the South Pacific. There won’t be any major award nominations for “Finch,” not because it’s a bad film—in fact, it’s a fairly good film, with Hanks turning in yet another believable and heartfelt performance.
However, “Finch” (directed by Miguel Sapochnik and written by Craig Luck and Ivor Powell) breaks no new ground in filmmaking and is entirely predictable. It hits all the expected beats and story arcs that have been in other similar post-apocalyptic movies. There are absolutely no subtle moments or surprises in “Finch,” but the movie is still very entertaining, mostly due to Hanks’ engaging performance.
“Finch” has only one human character speaking in the entire film. His name is Finch Weinberg (played by Hanks), who has been living an isolated existence in his hometown of St. Louis, Missouri, for an untold number of years after an apocalypse destroyed the world’s environment. As Finch explains at one point in the movie, a massive solar flare hit Earth, and “completely fried the ozone.” This disaster also knocked out all of Earth’s electricity. Batteries, gas, fire or solar energy are now the main ways to operate anything mechanical that needs a source to operate that is not automatically built into the mechanism.
The daytime temperature in this post-apocalyptic world is now too hot (an average of 150 degrees Fahrenheit per day) for a human being to survive outdoors during the day without protective gear, because of the “holes” in the ozone layer. In addition, the apocalypse has left Earth covered in dust and looking mostly like a desolate desert. Giant dust clouds are a very real threat. Even though there are extremely hot temperatures during the day, it’s safer for humans to move about during the day, because the nighttime brings out people who can and will commit deadly crimes in order to steal food, water and resources from other people.
Early on in the movie, Finch reads a book titled “The Effects of Exposure to Ionizing Radiation.” And when he gets a nosebleed and later starts coughing up blood, you know exactly where this movie is going to go. About halfway through the movie, Finch even says out loud what he knows is happening to him, in case it wasn’t obvious enough. No subtlety at all.
Finch spends his days traveling in a sanitation truck. While wearing an astronaut-styled hazmat suit, he goes from building to building to look for food and for other survivors. When he finds a building that’s completely abandoned, he uses red spray paint and sprays a general prohibition sign/symbol (a circle with a slanted slash through it) on the front of the building, to indicate that the building was inspected and no one was found inside. During these excursions. Finch brings with him a four-wheeled robot that he created named Dewey, which is meant to act like a dog that looks like a moving cart.
Dewey does not speak, but Finch has designed a human-like robot that does speak. Back in his bunker, where Finch lives with a male terrier mix dog named Goodyear, Finch uploads computer data to the human-like robot and tests this robot. He is elated to find out that the robot works. The robot, which has the skeleton body of a man who’s about 6 feet tall, has superhuman strength and has the ability to process information like a computer. Finch exclaims triumphantly about his robot invention: “One small step for man! One giant leap for Finch Weinberg!”
Most importantly to Finch, the robot can have conversations and can mostly understand the commands that Finch gives to the robot. Caleb Landry Jones is the voice of the robot, which has an accent that sounds like a combination of Russian and American. There are some cardinal rules that the robot has been programmed to always follow: A robot cannot harm a human. A robot, through inaction, cannot allow a human to be killed. And the most important command that Finch has taught this robot is to always take care of Finch’s dog Goodyear, no matter what happens. The robot quickly learns to move like a human.
Later in the movie, the robot chooses its own name: Jeff. Because “Finch” is a essentially a road trip movie, the reason why Finch and his companions have to be on the move is shown early on in the story. One night, Finch sees from a distance that a collection of storm clouds seem to be headed in the direction of his shelter. Jeff calculates that the storms will intersect over the shelter within 24 hours and will last about 40 days. In other words, it’s unlikely that any living being caught in the storm will survive.
Finch hastily evacuates with Goodyear, Jeff and Dewey in his RV camper. He has a collection of postcards of famous bridges, such as London Bridge, the Sydney Harbor Bridge, the Brooklyn Bridge in New York City, and the Golden Gate Bridge in San Francisco. The Golden Gate Bridge postcard has the most sentimentality to Finch. He tells Jeff that his uncle sent him this postcard, and that their road trip will be to San Francisco, with a vague hope that maybe Finch might be able to find some relatives there.
The movie implies that Finch is a never-married bachelor with no children. He mentions later in the movie that he was brought up by a single mother, who is now deceased. Because Finch does not mention having any siblings, it’s also implied that Finch is an only child.
During conversations that Finch has with Jeff during this road trip, it’s revealed that before the apocalypse, Finch was a loner at work and in his personal life. Finch used to work at a company called Tri-Alpha Engineering, which is where he was when the apocalypse happened. Finch tells Jeff an anecdote about what life was like for him on the job.
In this anecdote, Finch says that he was able to solve a work problem on his own, even though his co-workers said it was impossible. When a head honcho at the company stopped by for a visit, he singled out Finch for praise in finding this solution. However, Finch knew that because of office politics, he had to do the polite thing and say that he couldn’t have done this accomplishment without the rest of the team.
The supervisor seemed to know that Finch was lying, but appreciated Finch being aware that things go smoother on a team when people don’t feel undervalued by a co-worker who outshines them and where co-workers trust one another. This story demonstrates that Finch was a co-worker who liked to think and work independently, but he was also aware that working on a team meant that he needed social skills. Finch tells Jeff that his work experience taught him this lesson: “I just work better by myself.”
And it’s why Finch often loses patience with Jeff when the robot makes mistakes that the robot wasn’t necessarily programmed to understand in the first place. Expect to see several scenes where Finch and Jeff develop a father/son type of relationship, as Jeff learns more about life and how to survive this apocalypse. When Finch scolds Jeff for doing something wrong, it sounds exactly like how a parent would scold a child.
After a while, Finch’s impatience becomes repetitive and actually makes Finch look like the one who’s being immature and illogical. After all, if Jeff makes any mistakes, it’s really because Finch failed to give proper instructions or didn’t program the robot well enough to prevent these mistakes. No one said Finch had to be perfect, because no one is.
However, the movie tends to veer a little bit on the shallow side when it makes it look like Finch’s biggest flaw is that he gets impatient with Jeff. If the movie had more of a backstory for Finch, it would’ve made this character more well-rounded. There are only a few hints of what Finch’s life was like before the apocalypse, based on what he mentions. However, enough information is given about Finch to assume that he’s been coping with having an isolated life better than most people would cope because he was already a loner before the apocalypse happened.
“Finch” skimps on other details. The movie ignores issues of indoor plumbing, how to get fresh water, and how it all relates to sanitation and grooming. There’s plenty of emphasis on Finch getting food for himself and Goodyear, but there’s no depiction of getting water, even though water is more important than food for a human being’s survival, especially in an extremely hot environment. The movie never mentions or shows if Finch bathes or showers, although viewers can probably speculate that he keeps bottled water somewhere for any sanitation and grooming.
Of course, “Finch” has some moments that are meant to be suspenseful, which usually has to do with the danger of being seen by other people who are up to no good, or if there’s another hazard that could be life-threatening. One of the most emotionally poignant moments is when Finch tells Jeff a harrowing story of a horrible crime that he witnessed. And there are a few other tearjerking moments that happen right when you expect them to happen.
Because the landscape is covered in dust and because this movie is about a road trip in this depressing-looking world, “Finch” doesn’t have dazzling cinematography, but the camera work gets the job done in the right places. The movie’s visual effects, particularly with Jeff and any disastrous weather, are believable but not particularly outstanding. Jones’ voice as the robot Jeff might be annoying to some viewers. It’s a voice that people will either like/tolerate or absolutely loathe.
Goodyear is the expected adorable and loyal movie dog, filmed with the type of human-like facial expressions and canine noises to indicate that he mostly understands what’s going on. Predictably, Goodyear is suspicious of Jeff at first. Jeff is a new member of this “family,” and the movie makes a point of showing how this new family dynamic affects Goodyear.
Some scientific-minded people might roll their eyes in disbelief at how robot Jeff seems to develop emotions during the course of the story, just like human beings can develop emotional maturity from childhood to adulthood. This movie takes place in an unnamed year in the future, so viewers have to be open to the possibility that artificial intelligence could advance in the future where computer-generated robots can mimic emotional maturity over time. Ultimately, “Finch” is a science-fiction drama that is meant to be more about emotions than the nitty-gritty details of scientific technology. In other words, there’s really no point in nitpicking a fictional movie’s science that’s supposed to exist in an unknown future.
One of the movie’s best scenes is when Finch admits to Jeff that his biggest fear is the fear of the unknown. There’s another scene in the movie where Finch tells Jeff that what made the apocalypse worse wasn’t the natural disaster but how human beings turned on each other when food and other resources became scarce. “Hunger turned men into murderers,” says Finch. “But me, it made me a coward.”
Actually, Finch shows a lot of courage in this story by retaining his humanity and overall compassion. “Finch” effectively tells through one man’s story how disasters can bring out the worst in people, but can also bring out the best in people, especially when people are forced to confront the fragility of life. Finch’s journey might be easy to predict, but it will have some impact on viewers who believe that hope does not have to be sacrificed when surviving a disaster.
Apple TV+ will premiere “Finch” on November 5, 2021.
Kumail Nanjiani, Lauren Ridloff, Don Lee (also known as Ma Dong-Seok), Angelina Jolie, Richard Madden, Salma Hayek, Gemma Chan, Lia McHugh, Brian Tyree Henry and Barry Keoghan in “Eternals” (Photo courtesy of Marvel Studios)
Culture Representation: Taking place in various parts of the universe, the superhero action film “Eternals” features a racially diverse cast of characters (white, Asian, Latino and African American) portraying superheroes from outer space and human beings.
Culture Clash: The superheroes, who are known as Celestials, find out that their arch-enemy demon creatures, which are called Deviants, have not all been killed off and are back with a vengeance.
Culture Audience: “Eternals” will appeal primarily to people who are fans of the Marvel Cinematic Universe (MCU), but viewers should know in advance that “Eternals” is much slower-paced and has a less straightforward narrative than a typical MCU movie.
Kumail Nanjiani and a Deviant in “Eternals” (Photo courtesy of Marvel Studios)
“Eternals” has the expected thrilling action scenes, but the non-action scenes might be too quiet and introspective for some fans of the Marvel Cinematic Universe. The movie suffers from too much timeline jumping. And there are some other problems with the film’s tone and pacing. However, the showdowns in the last third of the movie make up for the meandering story in the rest of “Eternals.” It’s a movie that tries to take a minimalist approach to a story that’s got maximalist content because it’s packed with characters and agendas.
If “Eternals” does not have the same consistently high-adrenaline pace that people have come to expect from MCU movies, that’s because “Eternals” is the first major studio movie (and fourth feature film) from Oscar-winning filmmaker Chloé Zhao, who made a name for herself as a writer/director of quiet and introspective independent films (such 2020’s “Nomadland” and 2018’s “The Rider”) about wandering and/or restless “ordinary” people. These “slice of life” low-budget movies are quite different from the blockbuster superhero spectacle that has become the defining characteristic of MCU movies. Zhao co-wrote the “Eternals” screenplay with Patrick Burleigh, Ryan Firpo and Kaz Firpo.
Sure, “Eternals” has big-budget visual effects, gorgeous cinematography and impressive production design, but the movie’s heart (under Zhao’s direction) remains in the artsy indie film culture of requiring viewers to think more about the psychology of the characters than about what’s shown on screen. There are many times in “Eternals” when what the characters do not say (and what they keep to themselves) can be as important as what they do say. “Eternals” is not a movie that spells things out easily for the audience.
However, with a large ensemble cast of characters that are based on Marvel Comics characters created by Jack Kirby, “Eternals” is disappointing in how these characters are introduced in such a jumbled way to movie audiences who might not be familiar with these characters. The movie’s title characters are Celestials: universe-wandering beings who look like humans but who actually have superhero powers, including the ability to fly, shoot lasers from their hands or eyes, and quickly heal from wounds.
Celestials, who can also live for centuries, are not immortal, but it’s rare for a Celestial to die. Celestials all share an energy source that can help them strengthen their superpowers. Celestials (just like humans) can feel emotions, have individual personalities, and make their own decisions. As such, Celestials can have varying degrees of personal connections to each other and to human beings.
Before the opening title sequence of “Eternals,” it’s explained that Celestials come from the planet Olympia and were created to combat gigantic demon-like creatures named Deviants on planet Earth. (There are many influences from Greek mythology in the “Eternals” story.) The Deviants can be as small as the size of an elephant or as large as the size of a dinosaur. The Celestials have been instructed by Arishem, their supreme being/prime Celestial, to only find and kill Deviants and not to interfere with any of Earth’s wars and crimes between any humans and other beings.
Over several centuries, the Celestials battled Deviants until it was believed that all of the Deviants were killed. With their goals seemingly accomplished, the Celestials went their separate ways. Most Celestials continued to live on Earth under the guise of being “normal” human beings. However, there would be no “Eternals” movie if things were that simple. To make a long story short: The Celestials find out that there are still more Deviants on Earth, and that Deviants might not be the only threat to the Celestials.
“Eternals” introduces for the first time in a live-action movie these 10 superhero Celestial/Eternal characters:
Sersi (played by Gemma Chan), who genuinely loves human beings overall and who works as a scientist at the Natural History Museum in London.
Ikaris (played by Richard Madden), who is serious-minded, ambitious and Sersi’s former love interest.
Ajak (played by Salma Hayek), who is the wise matriarchal leader of the group.
Thena (played by Angelina Jolie), who is a powerful warrior whose main weapons are supernatural swords, shields and tritons.
Druig (played by Barry Keoghan), who is an opinionated young rebel with the power to control minds.
Kingo (played by Kumail Nanjiani), who is a wisecracking jokester with an attraction to showbiz.
Phastos (played by Brian Tyree Henry), who is a master inventor and technopath with a sarcastic sense of humor and cautious nature.
Gilgamesh (played by Don Lee, also known as Ma Dong-Seok), who has extraordinary strength and a playful personality.
Makkari (played by Lauren Ridloff), who is described as “the fastest woman in the universe,” and she happens to be deaf.
Sprite (played by Lia McHugh), who is a shapeshifter but is frustrated that her real physical appearance of being a 12-year-old girl has not changed, even though she is centuries old.
If only these characters were introduced in “Eternals” in a way that would be easier to keep track of them and who they are. Some of the characters’ names aren’t even spoken right away, so viewers will be left wondering, “What is this character’s name? What is this character’s story?” Unless you’re a Marvel aficionado or someone who bothered to look up these characters before watching the movie, there will be some scenes in “Eternals” where you’ll be watching a bunch of people talking with no meaningful context of what their histories are with each other.
Because there are so many Celestial characters crammed into the movie, some of them inevitably get sidelined, or their personalities not given enough time to shine. For example, Thena barely says anything of substance, which seems like a waste of the talent of Oscar-winning Jolie. Thena has some standout fight scenes, but that’s about it. For reasons that are shown in the movie (but won’t be mentioned in this review because it’s spoiler information), Ajak is not in the movie as much as the “Eternals” trailers give the impression that she is. Gilgamesh gets the least amount of screen time out of the 10 Celestial superheroes in “Eternals.”
One of the biggest flaws of “Eternals” is that all the timeline jumping makes the movie look a bit unfocused. The movie goes back and forth from the present day to different past eras and locations. There’s one time jump scene that only lasts for a couple of minutes before it’s on to the next. At the same time, many of the conversations are slow-paced. It’s an odd mix.
The purpose of the zig-zagging between eras is to show what the Celestials looked like when they worked as a team in the past, compared to the present when they’ve become scattered in different places and leading different lives. Scenes take place in present-day London, Chicago or South Dakota, while the flashback scenes are in vastly different eras and places, such as Mesopotamia in 500 B.C.; Tenochtitlan in the year 1521; or Nagasaki, Japan, in 1945. (History buffs will immediately know the significance of the years and locations of these flashbacks.) For the present-day scenes, “Eternals” also has a not-so-subtle environmentalist message about climate change that factors into a pivotal part of the story.
And there’s a lot of deconstructing of macho superhero personas in “Eternals.” Without giving away too much information, it’s enough to say that Ikaris has several scenes where he cries. He sheds tears more than any other character in the movie. Madden gives a heartfelt performance in “Eternals,” but it’s easy to predict that all this superhero crying in “Eternals” will get some mixed reactions from audiences.
And speaking of melodrama, “Eternals” has a soap-opera-like subplot of Ikaris and Sersi’s love saga. After centuries of being together (and even having a wedding ceremony in India’s Gupta Empire in 400 B.C., as seen in the movie), Ikaris broke Sersi’s heart when he abruptly left after the Celestials disbanded. In present-day London, Sersi has moved on to a new love: a human named Dane Whitman (played by Kit Harington), who is a teacher/co-worker at the Natural History Museum.
In an early scene in the movie, Dane asks Sersi why she won’t move in with him. She plays coy. Dane also tries to guess what’s so different about Sersi, based on clues and hints that he’s been getting from Sprite, the Celestial who hangs out the most with Sersi. Sersi and Sprite have almost like a older sister/younger sister relationship. Dane incorrectly guesses that Sersi is some kind of wizard. The movie shows whether or not Sersi will tell Dane about her true identity.
Meanwhile, Ikaris comes back into Sersi’s life. Can you say “love triangle”? Except, not really, because Dane is not in most of this movie. Dane’s biggest scenes are at the beginning and at the end of “Eternals.” Instead, the big romance angle in the story is all about making viewers wonder if Sersi and Ikaris will get back together as a couple. Expect to see Ikaris and Sersi give each other predictable longing glances, or their hands deliberately touch in certain scenes. The problem is that Madden and Chan don’t have much believable chemistry as former lovers who are supposed to still be hot for each other.
The only other Celestial who’s shown having a love life in “Eternals” is Phastos, who is openly gay and is married to a loving and supporting human husband named Ben (played by Haaz Sleiman), whose occupation is never mentioned in the film. Phastos (or “Phil” as he calls himself in his domesticated Earthly life) and Ben have a precocious and energetic 10-year-old son named Jack (played by Esai Daniel Cross), who is the reason why protective dad Phastos is very reluctant to go back to any Celestial duties. Ben knows about Phastos’ true identity as a Celestial. As for the much-hyped “first MCU superhero gay kiss,” it’s very tame. It’s in a scene where Ben and Phastos kiss each other goodbye, as Phastos temporarily leaves home to go with the Celestials to save the world again, as you do if you’re a superhero.
Speaking of being a superhero, “Eternals” has some confusing scenes about Celestial superpower strength. For example, in more than one scene, Celestials can be seen healing themselves and each other when they sustain serious bloody injuries in a fight. However, there’s a scene in the movie where one of the Celestials is able to knock out another Celestial unconscious with one blow from a rock to a head. You’d think that the Celestial who was hit could recover and regain consciousness quickly, based on the Celestial superpowers, but that’s not what happens.
“Eternals” has a serious tone overall, but the movie does attempt to have some comic relief, mainly through the characters of Kingo and Phastos. Sprite can be a bit of a moody brat, so her cynical attitude toward life is occasionally mined for laughs. Druig and Makkari are romantically attracted to each other and have some cute flirtatious banter. However, some of the movie’s comedy seems forced and something out of a TV sitcom.
There’s a somewhat annoying subplot about Kingo being a Bollywood star and insisting on making a “documentary” (which is actually just Kingo’s one-camera vanity project) about the Celestials’ exploits when this superhero group gets back together. Tagging along for the ride is Kingo’s valet named Karun (played by Harish Patel), who is nothing more than a buffoon character posing as a Bollywood director. “Eternals” also has lots of references to social media and pop culture that will not age well over the years.
With all that being said, “Eternals” does deliver some exciting action sequences and meaningful character development, especially in the last 50 minutes of this 157-minute movie. There are some visually stunning outdoor scenes, which have become part of Zhao’s signature style in her films. Just expect to sit through a lot of dialogue that can be dull and somewhat trite before getting to the best parts of “Eternals.” The movie’s mid-credits scene (which has the MCU debut of two buddy characters, of which one is portrayed by a former teen idol) and end-credits scene (which has Dane by himself and showing why he told Sersi earlier that his family history is “complicated”) should have viewers anticipating the next movie in the “Eternals” saga.
Marvel Studios will release “Eternals” in U.S. cinemas on November 5, 2021.
Culture Representation: Taking place in the year 10,191, on the fictional planets of Caladan, Giedi Prime and Arrakis, the sci-fi action film “Dune” features a predominantly white cast of characters (with some black people, Asians and Latinos) representing heroes, villains and people who are in between.
Culture Clash: A territorial war is brewing between two factions—House Atreides from the planet of Caladan and House Harkonnen from the planet of Giedi Prime—who will rule over the planet of Arrakis, which is the only place to find melange, also known as spice, a priceless substance that can enhance and extend human life.
Culture Audience: “Dune” will appeal primarily to people who are fans of the “Dune” novel and to people who like epic sci-fi adventures with stunning visuals and good acting.
Josh Brolin, Oscar Isaac and Stephen McKinley Henderson in “Dune” (Photo courtesy of Warner Bros. Pictures/Legendary Pictures)
By now, you might have heard that filmmaker Denis Villeneuve wants his version of “Dune” to be split into three parts, in order to better serve the movie adaptation of Paul Herbert’s densely packed 1965 novel “Dune.” People who see Villeneuve’s version of “Dune” are also probably familiar with the 1984 movie flop “Dune,” directed by David Lynch. The 1984 version of “Dune” (starring Kyle MacLachlan, Sean Young and Sting) was such a disaster with fans and critics, Lynch wanted to have his name removed from the film credits. That won’t be the case with Villeneuve’s version of “Dune,” which is a sci-fi epic worthy of the novel.
Villeneuve co-wrote his “Dune” screenplay with Eric Roth and Jon Spaihts. Part One of Villeneuve’s “Dune” is of much higher quality than the 1984 “Dune” movie, but any “Dune” movie’s cinematic interpretations tend to be a bit clinical in how the characters are written. “Dune” is a gloomy story, with characters who are, for the most part, very solemn and rarely smile. There are no wisecracking rogues, quirky robot sidekicks or cute alien creatures. In other words, “Dune” is no “Star Wars” saga.
As is the case with most epic sci-fi movies, the biggest attraction to “Dune” is to see the spectacle of immersive production designs and outstanding visual effects. When people say that “Dune” should be seen on the biggest screen possible, believe it. However, it’s a 156-minute movie whose pace might be a little too slow in some areas. If you’re not the type of person who’s inclined to watch a two-and-a-half-hour sci-fi movie that’s not based on a comic book or a cartoon, then “Dune” might not be the movie for you.
And this is a fair warning to anyone who likes their sci-fi movies to have light-hearted, fun banter between characters: “Dune” is not that type of story, because everything and everyone in this story is deadly serious. People might have laughed when watching Lynch’s “Dune,” but it was for all the wrong reasons.
And yes, “Dune” is yet another sci-fi /fantasy story about a young hero who leads a war against an evil villain who wants to take over the universe. In the case of “Dune,” the hero is Paul Atreides (played by Timothée Chalamet), the House Atreides heir who is the son of a duke. House Antreides exists on the oceanic planet of Caladan. And like any war story, the war usually starts with feuding over power.
House Antreides has had a rivalry with House Harkonnen from the planet of Giedi Prime. In the beginning of the movie, Padishah Emperor Shaddam IV has ordered Paul’s father Duke Leto Atreides (played by Oscar Isaac) to serve as fief ruler of Arrakis, a desert planet with harsh terrain. Arrakis is the only place to find a priceless treasure: melange, also known as spice, a dusty substance that can enhance and extend human life.
Prolonged exposure to spice can turn humans’ eyes blue in the iris. Gigantic sandworms ferociously guard the spice. And therefore, harvesting spice can be a deadly activity. However, because spice is the most sought-after substance in the universe and can make people wealthy, people will go to extremes to get it and to be in charge of Arrakis. The native people of Arrakis are called Fremen. The movie presents this colonialism of the Fremen people in a matter-of-fact way, with some (but not a lot of) initial insight into how the Fremen people feel about being ruled over by another group of people from a foreign land.
House Harkonnen had previously overseen Arrakis until that responsibility was given to House Antreides. Leto and his troops are under orders to visit Arrakis, but it’s a set-up so that House Harkonnen enemies can ambush the people from House Antreides. Leto suspects that this trap has been set, but he has no choice but to follow orders and see about the territory that has now come under his stewardship.
The chief villain of House Harkonnen is its leader, Baron Vladimir Harkonnen (played by Stellan Skarsgård), an obese and ruthless tyrant who has a penchant for spending time in saunas filled with a tar-like substance. In the 1984 “Dune” movie, Baron Vladimir was a cartoonish character who floated through the air like a demented balloon that escaped from Willy Wonka’s Chocolate Factory. In the 2021 “Dune” movie, Baron Vladimir is a menacing presence that is undoubtedly pure evil. (This “Dune” movie has shades of “Apocalypse Now” because Baron Vladimir is presented in a way that might remind people of “Apocalypse Now” villain Colonel Walter E. Kurtz, played by Marlon Brando.)
Baron Vladimir’s closest henchmen are his sadistic nephew Glossu Rabban (played by Dave Bautista) and coldly analytical Piter De Vries (played by David Dastmalchian), who is a Mentat: a person that can mimic a computer’s artificial intelligence. At House Antreides, the Mentat is Thufir Hawat (played by Stephen McKinley Henderson), while the loyal mentors who are training Paul for battle are no-nonsense Gurney Halleck (played by Josh Brolin) and adventurous Duncan Idaho (played by Jason Momoa), who is the closest that “Dune” has to having a character with a sense of humor.
Paul confides in certain people that he’s been having premonition-like dreams. In several of these visions, he keeps seeing a young Fremen woman who’s close to his age. Paul won’t meet her until much later in the movie. He will find out that her name is Chani (played by Zendaya), and she becomes a huge part of his life in a subsequent Villeneuve “Dune” movie. Don’t expect there to be any romance in Part One of the movie. When Chani meets Paul for the first time, it’s not exactly love at first sight for Chani. She has this dismissive reaction and says to Paul: “You look like a little boy.”
Paul also keeps envisioning Duncan as living with the Fremen people and being their ally in battle. Paul is also disturbed by a vision of seeing Duncan “lying dead among soldiers after battle.” And speaking of allegiances, Paul’s intuition tells him that there is someone in House Antreides who is a traitor. That person will eventually be revealed. Until then, it’s pretty obvious from Paul’s visions that he has psychic powers. The question then becomes: “How is he going to use those powers?”
Among the other Fremen people who are depicted in the movie is Stilgar (played by Javier Bardem), the leader of the Fremen tribe called Sietch Tabr, whose members include a fighter named Jamis (played by Babs Olusanmokun). Arrakis also has an Imperial judge/ecologist named Dr. Liet-Kynes (played by Sharon Duncan-Brewster), who acts as a go-between/negotiator between the Fremen people and those who come from foreign lands.
There are some poignant father-son moments between Paul and Leto. Their best scene together is after a devastating battle loss when Paul, who is reluctant to be the next ruler of House Antreides, gets reassurance from Leto. The duke says to his son that he didn’t want to be the leader of House Antreides either, because Leto wanted to be a pilot instead. Leto tells Paul that it will ultimately up to Paul to decide whether to be the leader of House Antreides “But if the answer is no,” Leto says, “You’re all I’ll ever needed you to be: my son.”
However, Paul ends up spending more time bonding (and sometimes disagreeing) with his mother Lady Jessica (played by Rebecca Ferguson), a brave warrior who is a member of Bene Gesserit, an all-female group with extraordinary physical and mental abilities. Jessica defied Bene Gesserit’s orders to bear a female child and had Paul instead. Villeneuve’s “Dune” spends a great deal of time showing Paul and Jessica’s quest on Arrakis than Lynch’s “Dune” did. Paul seems to know that he was born as a special child, but at times, it brings him more insecurities than confidence. At one point, Paul yells at his mother Jessica: “You did this to me! You made me a freak!”
One of the influential supporting characters who’s depicted in Villeneuve’s version of “Dune” is Gaius Helen Mohiam (played by Charlotte Rampling), a Bene Gesserit reverend mother and the emperor’s truthsayer. She has one of the most memorable scenes in “Dune” when she gives Paul a pain endurance test that further proves that Paul is no ordinary human being. Dr. Wellington Yueh (played by Chang Chen) is a Suk doctor for House Antreides, and he plays a pivotal role in the story.
Chalamet’s portrayal of Paul is someone who can be introspective yet impulsive. He skillfully portrays a young adult who’s at the stage in his life where he wants to prove his independent identity yet still seeks his parents’ approval. Momoa is also a standout in the film for giving more humanity to a role that could’ve been just a stereotypical warrior type. Ferguson also does well in her performance as the strong-willed Jessica.
But make no mistake: “Dune” is not going to win any major awards for the movie’s acting. Before being released in theaters and on HBO Max, “Dune” made the rounds with premieres at several prestigious film festivals, including the Venice International Film Festival, the Toronto International Film Festival and the New York Film Festival. This festival run is in indication that the filmmakers want this version of “Dune” to be a cut above a typical blockbuster sci-fi movie. “Dune” excels more in its technical aspects rather than in the movie’s acting performances or screenplay.
“Dune” has the type of fight scenes and musical score (by Hans Zimmer) that one can expect of an action film of this high caliber. But even with a movie that’s rich with characters who are heroes, villains and everything in between, it’s enough to say that the sandworms really steal scenes and are what people will remember most about this version of “Dune.” The overall visual effects and a reverence for the “Dune” novel as the source material are truly what make this version of “Dune” an iconic sci-fi movie.
Warner Bros. Pictures released “Dune” in U.S. cinemas and on HBO Max on October 21, 2021, a day earlier than the announced U.S. release date of October 22, 2021. The movie was released in various other countries, beginning in September 2021.
Culture Representation: Taking place in Berlin, the romantic comedy/drama “I’m Your Man” features an almost all-white cast of characters (with one mixed-race person and one person of Indian heritage) representing the working-class and middle-class.
Culture Clash: A museum scientist/researcher reluctantly agrees to do a three-week experiment to live with a humanoid robot that is designed to be her perfect man.
Culture Audience: “I’m Your Man” will appeal primarily to viewers who are interested in well-acted movies that combine romance with depictions of how technology affects humanity.
Dan Stevens and Sandra Hüller in “I’m Your Man” (Photo courtesy of Bleecker Street)
“I’m Your Man” asks the question “Can a robot be programmed to be a perfect love partner?” It’s a question faced by Dr. Alma Felser (played by Maren Eggers), an analytical scientist who works as a researcher at the Pergamon Museum in Berlin. She’s been chosen to participate in an experiment to test if a robot can be programmed to be her perfect man.
Because humans created these robots, it’s an experiment that assumes that humans are the ones in control and have superior knowledge over the robots. However, the appeal of this charming, well-acted movie is when “know it all” Alma finds out that she might learn some things about herself from this robot. The question then becomes, “How emotionally attached should Alma become to this robot, when he can cater to her needs, but he still has no soul?”
Directed by Maria Schrader (who won an Emmy Award for directing the 2020 Netflix limited series “Unorthodox”), “I’m Your Man” is based on Emma Braslavsky’s short story “Ich bin dein Mensch.” Schrader and Jan Schomburg adapted the story into the “I’m Your Man” screenplay. “I’m Your Man” is Germany’s official entry to be considered for a Best International Feature nomination for the 2022 Academy Awards ceremony.
Alma is a never-married bachelorette in her mid-to-late 40s. Her life revolves around her work. In the movie’s opening scene, Alma arrives at a work-related party, where she soon meets Tom (played by Dan Stevens), a good-looking man in his late 30s. Tom immediately kisses her hand, flirts with her, and tries to impress her with his knowledge. He mentions that he likes Austrian poet Rainer Maria Rilke’s “Autumn Day” poem, which is a favorite poem of Alma’s too. Tom shows Alma that he can do large mathematical calculations in his head.
But then, his speech starts to repeat, like a broken record or a glitch in playback. An unnamed Pergamon Museum employee (played by Sandra Hüller), who is supervising this robot experiment, has Tom taken away from the party. And that’s when she tells Alma that Tom is really a robot and that Alma has been chosen to be the ideal person to test if this robot can be the perfect man for whomever is paired with the robot.
Alma’s female colleague says matter-of-factly about the temporary glitch in Tom: “You have no idea how hard it is to program flirting … Holograms can be done cheaper and longer.” The robot that is being tested isn’t just programmed with ways to talk to people. The robot can also anticipate the needs of the companion human, though a series of algorithms. And through detection of brain waves, facial expressions and body language, the robot can deduce a person’s true inner feelings.
Later, when she’s at her job, Alma hears more details about this “perfect man” robot. She finds out that she was chosen for this experiment because she currently doesn’t have a love partner. The experiment would require Alma to live with Tom for three weeks. Alma is completely against the idea that robots can become legitimate companions for human beings, so she refuses to be a part of the experiment.
However, after getting much pleading and coaxing from her colleagues, Alma agrees to participate in the experiment. Alma’s female colleague tells Alma this selling point as a way to convince Alma: “When happiness knocks on the door, you should open it.”
At first, Alma is very uncomfortable with Tom living with her. He is very doting (he cooks and cleans for her without her having to ask) and tries to be affectionate with her. But she is cold and dismissive, treating him more like a pesky housemate, rather than a potentially intimate companion.
Alma considers herself to be an independent woman, so part of her resentment (which she doesn’t say out loud) is that she doesn’t like that her colleagues chose her to live with this robot because they think she’s a lonely, aging spinster. She also hates that Tom has been programmed to say sappy lines to her such as, “Your eyes are like two mountain lakes that I can sink into.”
Stevens, who is British in real life, portrays Tom’s as speaking German with a British accent. It’s explained in the movie that because Alma has shown a pattern of being attracted to non-German men, Tom was programmed to sound like he’s not from Germany. This deep mining of personal information might be troubling to people who value their privacy. But in this day and age, with millions of people posting so much of their personal lives on the Internet, it’s not that far-fetched for people’s preferences in romantic partners to be easily found and used as data.
Alma has also been chosen to recommend to an ethics committee that is overseeing this experiment if having a robot like Tom is psychologically and emotionally healthy for human beings. She is required to submit her recommendation (acceptance or rejection of the project) to Dean Roger (played by Falilou Seck), who is in charge of the ethics committee. Although he’s not supposed to show his bias, he essentially tells Alma that she hopes her decision is an acceptance recommendation.
“I’m Your Man” takes place in a world where robots and holograms are already accepted in the culture as chosen companions for humans. For example, there’s a scene where Alma goes back to a bar where she sees humans on dates with holograms, and it’s considered normal. The question she has to answer for herself and the ethics committee is if it’s ethical for robots to be sold and marketed to humans as live-in partners or spouses.
One of the ways that “I’m Your Man” isn’t a typical “robot fantasy” movie is that Tom isn’t always cheerful and willing to let Alma constantly disrespect him. He talks back to her and calls her out on some of her rude and selfish actions. Because he is supposed to be attuned to her emotions, he tells Alma what he observes about her.
Alma has other things going on in her life that complicate her experiment with Tom. She’s under a lot of stress because her father (played by Wolfgang Hübsch), who doesn’t have a first name in the movie, is showing signs of early dementia. Alma has a sister named Cora (played by Annika Meier), and they both are in various forms of distress and denial over what to do with their father if or when his condition worsens.
As for her love life, Alma has an ex-boyfriend named Julian (played by Hans Löw), who also happens to be one of her co-workers. They remained friends after the breakup, but viewers will get the impression that things aren’t completely resolved between Julian and Alma. He might have lingering feelings toward her.
For example, there’s a scene where Julian asks Alma out to lunch, but she declines, and he seems disappointed. Later, Julian tells Alma that he’s moving in with his girlfriend Steffi (played by Henriette Richter-Röhl) for “mostly financial reasons.” Julian’s heart might not be completely in his relationship with Steffi, but Steffi seems completely in love with Julian. One of the funnier scenes in the movie is when Anna brings Tom as her date to Julia and Steffi’s housewarming party. It’s enough to say that things get awkward.
Stevens’ earnest portrayal of a robot doesn’t fall into a parody, but there is a slight wink and a nod to his performance. He gives enough robotic eye movements and too-perfect smiles to remind viewers that there is no soul underneath this human-looking being, even though Tom knows how to look and act human. It’s a tricky performance that Stevens handles in a very talented way.
Eggert also does an admirable performance as Alma, who is obviously the more complicated one in this would-be couple. Alma doesn’t express her thoughts as easily as Tom does. And it unnerves Alma that Tom can do an accurate psychoanalysis of her, which he does on a regular basis. She’s also conflicted because her scientific brain tells her that robots are incapable of feeling and giving love, but her lonely heart is telling her that maybe she should take unconditional emotional support and companionship wherever she can get it.
Rather than it being a one-sided relationship where Alma bosses Tom around, Tom ends up challenging Alma to look at herself and figure out what she wants out of love and what she’s willing to do to seek out or shut out certain relationships. There are several comedic moments along the way, as well as some emotionally touching dramatic moments. The overall message of “I’m Your Man” is that wishing for an ideal love mate can come at a “be careful what you wish for” price, but it might be worth it if you know who you really are in the first place.
Bleecker Street released “I’m Your Man” in select U.S. cinemas on September 24, 2021. The movie’s digital/VOD release date is October 12, 2021.
Culture Representation: Taking place in San Francisco, the superhero action film “Venom: Let There Be Carnage” features a predominantly white cast of characters (with a few black people and Asians) representing the working-class and middle-class.
Culture Clash: Venom, the demonic alien anti-hero that inhabits the body of journalist Eddie Brock, does battle against a similar creature called Carnage, which inhabits the body of convicted serial killer Cletus Kasady.
Culture Audience: Besides appealing to the obvious target audience of comic book movie fans, “Venom: Let There Be Carnage” will appeal primarily to fans of star Tom Hardy and people who like silly, over-the-top and predictable action movies.
Carnage (pictured at left) in “Venom: Let There Be Carnage” (Photo courtesy of Columbia Pictures)
The good news is that “Venom: Let There Be Carnage” isn’t as wildly uneven as its predecessor, 2018’s “Venom.” The bad news is that it’s consistently stupid in its campiness and appalling lack of originality. It’s very obvious that the filmmakers of “Venom: Let There Be Carnage” have a “go for broke” attitude about leaning into the unintentional comedy that “Venom” got a lot of criticism for by fans and critics
The prevailing attitude in “Venom: Let There Be Carnage” (directed by Andy Serkis and written by Kelly Marcel) seems to be: “You laughed at ‘Venom.’ Now, we’re going to be in on the joke and tell the joke so you can laugh with us, not at us.” And there’s nothing wrong with turning this Marvel Comics movie franchise into a quasi-superhero satire or parody. The problem is that “Venom: Let There Be Carnage” doesn’t have an interesting or imaginative story.
Marcel and “Venom” movie franchise star Tom Hardy are credited with coming up with the “Venom: Let There Be Carnage” story that serves as the basis for the movie’s screenplay. Marcel was a co-writer of the 2018 “Venom” movie, which was directed by Ruben Fleischer, who failed to have a consistent tone for the film. In “Venom: Let There Be Carnage,” Marcel is the only credited screenwriter. She also wrote the 2015 movie “Fifty Shades of Grey,” which means that she has a track record for churning out terrible movies that are ripe for parody.
Every single thing that happens in “Venom” is tiresome and predictable. And the “jokes” are very stale and unimaginative. The visual effects are bombastic and sometimes cheap-looking. And the movie is so enamored with its own bad taste that it keeps going back to the same gags over and over. There’s a recurring joke about chickens that gets tiresome very quickly. Another joke involving a clerk at a convenience store is over-used to the point of boredom.
“Venom: Let There Be Carnage” is also a uselessly blaring action movie that wants to pretend that being unnecessarily noisy in certain scenes means that it’s somehow proving its worth as an action movie. Loud action scenes are expected in a movie like this one, but there’s too much shouting by people in the non-action scenes. And there’s a character who literally causes tornado-like damage when she shrieks like a banshee.
In “Venom: Let There Be Carnage,” which takes place in San Francisco, investigative journalist Eddie Brock (played by Hardy) is still struggling with the knowledge that he has a human-eating demonic alien living inside of him called Venom. Eddie can usually control Venom by deciding when Venom can appear outside Eddie body. However, when Venom gets too hungry or too angry (which happens a lot), Venom can act of his own free will, which usually involves the destruction of things or people.
Just like in the first “Venom” movie, expect to see Eddie having numerous arguments with Venom. Because people can’t see Venom when Venom is inside Eddie’s body, it often looks like Eddie is talking to himself when he’s really talking to Venom. In the real world, this unhinged persona would have serious consequences on his career as a journalist, since people would question Eddie’s mental health and the ability to do his job well. But since this is a comic book movie, viewers are expected to go along with this unrealistic aspect of the story.
Venom constantly craves human flesh, and Eddie will only allow Venom to eat criminals. Eddie hasn’t encountered any criminals lately, so he’s been feeding a steady diet of live chickens to Venom. In the movie, Venom constantly complains about being tired of eating chickens. “Venom: Let There Be Carnage” keeps going back to this questionable well of jokes until it runs dry and becomes cracked to the point of irritation.
Every superhero movie has a villain. In “Venom: Let There Be Carnage,” the chief villain is Cletus Kasady (played by Woody Harrelson), a convicted serial killer who is awaiting his sentencing while he’s in prison. Law enforcement officials think that Cletus has killed more people than has been proven in court, and they want Cletus to tell them where the bodies are before he gets sentenced. In the media and in the public, people have been speculating if Cletus will get the death penalty or not.
Eddie is doing a story on Cletus, so he goes to the prison to interview him multiple times. Cletus doesn’t give Eddie any useful information, but he does get angry during one of the interviews and bites Eddie hard enough to draw blood. Cletus immediately notices that Eddie’s blood doesn’t taste completely human.
And you know what that means: Cletus has been infected with the same DNA that Venom has. And so, red-haired Cletus finds out that he has a red demonic alien inside of him. That creature is called Carnage. You can do a countdown to the inevitable battle scene between Venom and Carnage toward the end of the film.
In the meantime, “Venom: Let There Be Carnage” has some filler scenes involving Eddie’s love life. In “Venom” (mild spoiler alert if you haven’t seen the movie), Eddie was engaged to district attorney Anne Weying (played by Michelle Williams), but she broke up with him at the end of the movie. Anne became so disillusioned with law enforcement after her experiences with Eddie/Venom, she left the district attorney’s office and began working in the non-profit sector.
In “Venom: Let There Be Carnage,” Eddie is still nursing a broken heart about Anne, who wants to be on friendly terms with Eddie. They meet for dinner, where she tells him that she’s now engaged to be married to another man. His name is Dr. Dan Lewis (played by Reid Scott), who’s somewhat wimpy and gets nervous easily. He’s exactly the type of person you know is going to get stuck in some battle scenes later in the movie.
Cletus has his own lovelorn woes. In the 1996 flashback scene in the beginning of the movie, it’s shown that teenage Cletus (played by Jack Bandeira), who was a problem child from an abusive home, was sent to live at the co-ed St. Estes Reform School. At the reform school, Cletus met and fell in love with another student named Frances Barrison (played by Olumide Olorunfemi), who is nicknamed Shriek because whenever she gets upset, she shrieks loud enough to cause unnatural destruction. During their romance, Cletus gives Frances a ring and calls her “my angel.”
However, the destruction that Frances has caused is enough to get her sent away to a psychiatric institution for criminals. Cletus is distraught over this separation. Before Frances leaves, he tells her, “They can’t take you away from me! You’re my one bright light!”
In the police van that is transporting Frances to the psychiatric institution, she is being guarded by a young cop with the name tag P. Mulligan (played by Sean Delaney), who foolishly doesn’t have a partner with him as backup. It wouldn’t matter much anyway, because Frances does her shrieking with such force that it causes the the van to crash, and she escapes.
This movie is so sloppily written that it’s mentioned later in the story that most people who knew Frances believe that she is dead, even though her body was never found. It would make more sense to have her described as a missing person. But then again, if Cletus thought she was missing and not dead, he wouldn’t be so heartbroken.
Frances is really alive, of course. As an adult (played by Naomie Harris), she’s being secretly held captive by the government for experiments. Frances is deliberately mute while in captivity, but there comes a point in the movie where she finally does talk. Not that it makes much of a difference, because the dialogue she’s given is absolutely idiotic and forgettable.
Eddie lives near a convenience store. And for some weird reason, “Venom: Let There Be Carnage” wants to make the convenience store’s owner/sales clerk Mrs. Chen (played by Peggy Lu), who had a cameo in the first “Venom” movie, into some kind of wisecracking foil to Eddie/Venom, similar to Ken Jeong’s Mr. Chow character in “The Hangover” movies. However, the “jokes” that Mrs. Chen utters just aren’t very good. Everything about the “comedy” in this movie is extremely simple-minded, like something you might see in a children’s cartoon, not a live-action superhero movie where adults are the majority of the audience.
The rest of “Venom: Let There Be Carnage” plays out exactly like you’d expect it to play out, because it does exactly what many other mediocre-to-bad supermovies have already done in the story arc and battle scenes. “Venom: Let There Be Carnage” is like the 2018 “Venom” movie on meth: It’s filled with the loud scatter-brained nonsense, gibberish dialogue and repetitive hyperactivity—resulting in one giant, annoying headache. The pace of the “Venom: There Will be Carnage” doesn’t drag like “Venom” did, but there’s no real suspense either.
Except for Harrelson, none of the actors seems to have any enthusiasm or genuine emotional connection to their roles. Maybe because it’s too hard to get excited when you have to say such moronic lines of dialogue. British actor Hardy (who’s a producer of the movie) looks like he’s going through the motions to collect his financial payout.
And even though Eddie is supposed to be American, Hardy’s natural British accent can occasionally be heard in the dialogue. Hardy has mastered American accents in several of his other movies where he portrayed an American. The fact that he has flaws in his American accent in this movie is an indication that he’s not artistically committed to the Eddie Brock/Venom role, and this “Venom” franchise is probably more about the money for him. Hardy and Williams still have no believable on-screen chemistry together, either as a couple, a former couple, or as friends.
The cop who was with Frances when she made her 1996 escape has now been promoted to detective. (His first name is not mentioned in the film.) Detective Mulligan (played by Stephen Graham) is as generic as generic can be. Detective Mulligan plays a fairly prominent role in the movie, which is so badly written that Detective Mulligan puts himself in many dangerous situations without having a cop partner as a backup. Keep in mind, this isn’t a small-town police force. This is supposed to be the San Francisco Police Department.
“Venom: Let There Be Carnage” does not have an end-credits scene, but there’s a mid-credits scene that suggests there will be a movie where Venom will eventually interact with Spider-Man, who is Venom’s nemesis in the Marvel comic books. It would be the first time that Venom and Spider-Man will be seen on screen together in a live-action movie. However, the tone of the “Spider-Man” movies (high-quality action) and the tone of “Venom” movies (low-quality schlock) are so vastly different from each other, it will be a challenge to bring Venom and Spider-Man together in live-action movies without sacrificing some credibility in trying to merge these two very different worlds.
It’s why the “Venom” movie franchise does a disservice to other Marvel Comics-based movies where there’s potential for Venom to cross over into these other Marvel movie franchises. The way that the filmmakers and film studios treat any Venom crossovers into other Marvel movies will be have to be treated just like chefs who have to prepare a meal with incompatible ingredients. Using that meal analogy, for people who want superhero movies that deliver an interesting and creative story, “Venom: Let There Be Carnage” just leaves a bad taste in your mouth.
Columbia Pictures will release “Venom: Let There Be Carnage” in U.S. cinemas on October 1, 2021.
Culture Representation: Taking place in Miami and New Orleans, the sci-fi dramatic film “Reminiscence” features a predominantly white cast of characters (with some black people, Asians and Latinos and one Māori person) representing the working-class, middle-class, wealthy and criminal underground.
Culture Clash: A private investigator, who is in the business of helping people recover memories, becomes obsessed with finding out what happened to a former client/lover who suddenly disappeared.
Culture Audience: “Reminiscence” will appeal primarily to people who are fans of star Hugh Jackman, but even he can’t save this boring sci-fi drivel.
Cliff Curtis and Daniel Wu in “Reminiscence” (Photo by Ben Rothstein/Warner Bros. Pictures)
The sci-fi drama “Reminiscence” features several people submerged in a water tank as they recover or relive their memories. Ironically, this ill-conceived movie is utterly forgettable, as it submerges viewers in a story that’s both convoluted and predictable. Hugh Jackman’s charisma as a leading man is stifled as he plays a grim private detective who is obsessed with finding an ex-lover who suddenly vanished from his life.
Adding to this film’s muddled tone, “Reminiscence” (written and directed by Lisa Joy, in her feature-film directorial debut) can’t decide if it wants to be a futuristic adventure or a tribute to classic noir. The movie looks like it wants to be an action thriller, but there’s more mopey drama than action. The fight scenes are extremely formulaic and almost mind-numbing.
Mostly, the pace drags in this jumbled story where bitter people sulk and get angry because they think their lives have gone downhill in some way. Almost every character in this film dosn’t have a memorable personality. Good luck to anyone who tries to stay awake during this 116-minute snoozefest.
“Reminiscence” takes place in Miami, in an unidentified future year when climate change has caused unbearable heat outside during the day, and Miami is close to being swallowed up by the Atlantic Ocean. Miami and the surrounding areas in Florida have become more nocturnal than ever before, because of the extreme daytime heat from the sun.
But apparently, in this futuristic version of Miami, no one wants good lighting, because it’s constantly dark indoors. The darkly lit cinematography is “Reminiscence” is supposed to evoke a society that’s on the brink of an environmental disaster. The only disaster going in is how this awful movie wastes the talents of the cast members.
It’s in this darkly lit and depressing Miami where private investigator Nick Bannister (played by Jackman) lives and works. Nick is a never-married bachelor with no children. He owns a detective agency that’s small (only two employees, including Nick) and struggling to stay in business. Nick’s specialty at the detective agency is helping people recover their memories. The agency’s work space (which looks more like an abandoned warehouse than an office) is predictably dark, cluttered and dingy in this dark, cluttered and dingy movie.
For this memory recovery process, Nick has a massive water tank that’s not widely available, and he doesn’t want too many people to know that he has this tank. Therefore, he doesn’t advertise and gets most of his business through word of mouth. The tank was originally designed to interrogate people who were detained by the U.S. military. Nick is a veteran of the U.S. Navy, where he worked in border patrol. It’s implied that he got access to this tank through his military service.
During his time in the military, Nick injured one of his legs, so he walks with a limp. This limp magically seems to disappear during some of the action scenes. A better director would’ve noticed this discrepancy and corrected it. Nick’s only employee is a cynical alcoholic named Emily “Watts” Sanders (played by Thandie Newton), who is also a military veteran. Even though Watts is an alcoholic, she’s more responsible and more business-minded than Nick is.
In order to a use the dectective agency’s memory tank, a person must first be injected with a sedative, then submerged in the tank, where a special helmet must be worn that can connect to brain electrodes. When someone is reliving a memory, it’s depicted as being a participant in a virtual reality experience. Memories while in the tank can also take the form of looking like holograms.
It’s possible for someone to stay in the tank for long periods of time and have a state of being that’s very similar to someone in a coma. Nick has found that his regular clients have become addicted to accessing happy memories. Watts is more concerned than Nick is about people getting addicted to using the memory tank. Nick thinks Watts has no place being judgmental about addiction, considering her alcohol addiction that she doesn’t seem too concerned about stopping.
All of this sounds like the basis for a good story. However, “Reminiscence” becomes very disjointed and often illogical. Viewers will get the impression that “Reminiscence” writer/director Joy came up with separate ideas for this movie and then tried to make them all fit into the overall narrative. The result is like looking at a jigsaw puzzle where too many of the pieces obviously don’t belong.
In the movie’s first scene with Nick and Watts together, she abruptly scolds him for being late. Nick says in response that being late is a construct of linear [time], which is a concept that he doesn’t think applies to the work of this detective agency. Watts snaps back sarcastically, “And yet, we charge by the hour.”
One day, right before they close the agency for the night, a mysterious woman suddenly arrives and says she needs their help to find her missing keys. Watts tries to tell her to come back during open business hours, but Nick is immediately attracted to the woman and tells her that they can accommodate her request.
She introduces herself as Mae (played by Rebecca Ferguson), and she says that she’s a cabaret nightclub singer. She’s wearing the type of slinky red evening gown that looks like she just left a nightclub or she raided the closet of animation seductress character Jessica Rabbit from “Who Framed Roger Rabbit?” Mae’s sensual nightclub singing scenes and how she’s styled for them look very much like they were inspired by Jessica Rabbit.
At the detective agency during Mae’s sudden appearance, Watts offers Mae a swimsuit, because it’s what people usually wear inside the water tank. But to the surprise of Nick and Watts, this woman they just met has no qualms about stripping completely naked in front of them before she gets in the tank. Mae confidently tells Nick that he’s going to see her naked anyway. And she’s right. At least this movie doesn’t try to play coy about Mae and Nick inevitably becoming romantically involved.
With the help of the memory tank, Mae finds out where she left her keys. But since she essentially told Nick that she wants to get to know him intimately, he’s not going to just let her walk out of his life. He shows up at one of her nightclub gigs to see her perform, he asks her out on a date, and they end up having a hot and heavy romance.
Meanwhile, Nick makes extra money by assisting the Miami district attorney Avery Castillo (played by Natalie Martinez) in getting information from witnesses. Avery is currently involved in a high-profile case where a wealthy land baron named Walter Sylvan (played by Brett Cullen) has been accused of masterminding arson of some of his property, in order for him to collect on hefty fire insurance payouts. Walter has pleaded not guilty. His wife Tamara Sylvan (played by Marina de Tavira) and his young adult son Sebastian Sylvan (played by Mojean Aria) loyally stand by him and are unwavering in their support.
Another member of law enforcement whom Nick is in close contact with is Miami police officer Cyrus Boothe (played by Cliff Curtis), who seems to be on a power trip where he has a lot of disdain for disenfranchised people. In a city that’s on the verge of an apocalypse, Cyrus wants to wield as much power as he can. It should come as no surprise what he’s willing to do to fulfill his ambitions.
And a movie about a private detective and law enforcement in Miami predictably has a storyline about drug dealers too. In “Reminiscence,” the world is plagued by the abuse of an illegal opioid-like drug called baca. One of the top distributors/sellers of baca is a drug lord called Saint Joe (played by Daniel Wu), who is a stereotypical drug lord in a movie. Unfortunately, Wu’s stiff acting doesn’t make him look convincing as a dangerous drug lord. It just makes him look like an actor who needs more acting lessons.
After getting involved with Mae and thinking that their romance could turn into a long-term commitment, Nick is shocked to find out that Mae has suddenly moved away without telling anyone where she went. Upon investigation, Nick discovers that Mae was not kidnapped but left on her own free will. This discovery sends him down a rabbit hole of obsession to find out where Mae is.
Nick’s investigation eventually leads him to New Orleans, where he finds clues about a mysterious and vulnerable woman named Elsa Carine (played by Angela Sarafyan), who has a pivotal connection to someone in the story. There’s also a do-gooder named Frances (played by Barbara Bonilla), who lives in a house on stilts in the Atlantic Ocean. As Nick tries to solve the mystery of Mae’s apparently deliberate disappearance, he becomes addicted to using the memory tank to bask in his happy memories of her. His addiction gets in the way of his detective agency’s business and prevents Nick from being present in the real world.
Because Nick spends so much time in the memory tank, expect to see many flashbacks to the good times that he had with Mae. It’s his way of trying to remember any possible clues or hints of Mae’s disappearance. However, because Mae’s abrupt disappearance has deeply hurt Nick, Watts knows there’s more to Nick’s fixation on remembering Mae than trying to gather clues. He’s using his addiction to being in the memory tank as a way to avoid his emotional pain, just like the clients who are also addicted to using the memory tank.
“Reminiscence” has a very superficial way of dealing with these psychological issues. Instead, the movie seems more fascinated with having dream-like visual effects (which are good, but not outstanding) and showing recurring images of people being immersed in water in some way. “Reminiscence” writer/director Joy is one of the showrunners of the HBO sci-fi series “Westworld” (Newton is an Emmy-winning “Westworld” co-star), and Joy seems to have struggled to find a way to make the story she probably had mind into a two-hour movie. It’s why “Reminiscence” tries to cram in too much in the last third of the movie, while the middle of the movie is a long and monotonous stretch of repetition.
“Reminiscence” also misses the mark in casting decisions and in the characters’ witless dialogue. Jackman and Ferguson had more chemistry together when they co-starred in the 2017 movie musical “The Greatest Showman” (where their characters weren’t lovers but had some sexual tension with each other) than they do as portraying lovers in “Reminiscence.” The lines that Jackman and Ferguson have to utter in “Reminiscence” sound like they were rejected from a bad romance novel.
Jackman is a very talented actor, but he seems miscast as someone who’s supposed to be an emotionally damaged and stoic detective. He delivers his lines flatly, as if his character has a dead personality. Only in Nick’s scenes with Mae does Nick show any hints that he could be passionate about anything. Ferguson is perfectly adequate as the enigmatic Mae, but her “seductive diva” singing scenes in “Reminiscence” seem overly contrived and pale in comparison to Ferguson’s more appealing “seductive diva” singing scenes in “The Greatest Showman.”
“Reminiscence” hints at but never really follows through with the notion that Nick has post-traumatic stress disorder (PTSD) from his military background. He’s definitely not getting therapy for it. Watts is Nick’s unofficial counselor, and she’s the one who points out to Nick that he’s using the memory tank to “self-medicate.”
The movie tells more about Watts’ own troubled history than it tells about Nick’s turbulent past, even though Nick is the story’s protagonist/central character. Newton’s Watts is the only character in “Reminiscence” that comes close to being depicted as complex, with Newton capably handling the role of an emotionally wounded person who tries to hide her pain in alcohol and a tough-talking persona. All the other characters in “Reminiscence” are quite two-dimensional.
Ultimately, “Reminiscence” could have been a much better movie if the story and dialogue were better-crafted. The writing seems like it was made for a comic book rather than a feature film. In a comic book, it’s easier to get away with chopping up the story in a boxy manner. In a movie, the story needs to flow more seamlessly, but “Reminiscence” fails to do that because it’s a film with an identity crisis of not knowing what it wants to be in the first place.
Warner Bros. Pictures released “Reminiscence” in U.S. cinemas and on HBO Max on August 20, 2021.
Agathe Rousselle in “Titane” (Photo by Carole Bethuel/Neon)
The following is a combination of press releases from Fantastic Fest:
Mechanophilia, possessed nuns, possessed children, hallucinations, ghostly hauntings, time travel, exorcism, cerebral expansion, heavy metal, friendship, yakuza, canine trauma, multiple serial killers, coprophagia, cannibalism, tender embraces, vampires, copious bodily fluids, superheroes, warm laughs, disco-dancing firemen and more, more, more! Yes, this can only mean one thing: Fantastic Fest is back. After 18 months of isolation and uncertainty, this year’s “Post-Apocalyptic” edition of Fantastic Fest is here to remind us of the joy of cinema, community, and weird and wonderful movies. The first wave of films is headlined by the truly extraordinary 2021 Palme D’Or winner “Titane” from “Parasite” distributor Neon. It might not have seemed possible to top her staggering debut “Raw” (Fantastic Fest 2016), but Julia Ducournau has somehow done just that. A poignant study on loneliness, isolation and gender identity wrapped in a constantly surprising world of body horror, muscle cars, violence, and disco-dancing firemen. Fantastic Fest is so proud to share this singular vision. Fantastic Fest 2021’s opening night party will be dedicated to the instantly iconic visuals of “Titane.” Muscle cars will be on hand, and metallic-themed or “French firefighter” costumes are highly encouraged. “Titane” opens in US cinemas on October 1.
Mondo Records is also celebrating its 10 year anniversary at Fantastic Fest this year and will be on-hand with a very special “Titane” soundtrack giveaway ahead of the official Mondo vinyl release later this year. Additionally, on opening night there will also be a Mondo Records pop-up featuring rarities from the vault. Additional studio premieres include A24’s “Lamb,” winner of the Un Certain Regard Prize of Originality at Cannes (opening in theaters on October 8); “Bingo Hell,” part of the Amazon Studios and Blumhouse Television “Welcome to the Blumhouse” series; and Netflix’s “The Trip,” starring Noomi Rapace in a delightfully twisted Norwegian mind-bender.
“We’re thrilled at how the program is coming together,” says Fantastic Fest Director of Programming Annick Mahnert. “For this Post-Apocalyptic edition, we’ve scoured the four corners of the globe to find weird, silly, terrifying, entertaining and fantastic movies directed by established and emerging filmmakers. Opening this year’s fest with a Palme d’Or winner from a Fantastic Fest alum is a real treat.
As always, we also try to find unforgettable repertoire titles, and we couldn’t be happier about hosting the US Premiere of the new restoration of Andrzej Zulawski’s “Possession.” This first wave is but the tip of the iceberg and we cannot wait to unveil the rest of the program to y’all!”
Sidebar Programming
“Master of the Flying Guillotine”
The first sidebar will launch Lars Nilsen and Kier-La Janisse’s epic tome “Warped and Faded: Weird Wednesday and the Birth of the American Genre Film Archive. To celebrate the book, Nilsen and Janisse will present 35mm screenings of some of their all-time favorite exploitation classics, including “Snakes” and “The Visitor.” The second classic film sidebar comes courtesy of authors Grady Hendrix and Chris Poggiali, who will be in attendance to debut their new book “These Fists Break Bricks: How Kung Fu Movies Swept America and Changed The World.” Hendrix and Poggiali will premiere two of their favorite kung fu classics – Kino Lorber’s and the 3-D Film Archive’s brand new 3D DCP of “Dynasty 3D” as well as the rarely seen Jackie Chan-choreographed “Dance of Death.” They’ll also host a brand new event called “BingoDome” with the crown jewel of Bruceploitation films, 1977’s “The Dragon Lives Again.” As Bruce Lee inexplicably fights against Popeye, Clint Eastwood, James Bond, the Godfather and undead zombies in purgatory, participants mark matching squares on their bingo cards to win fabulous prizes, including signed copies of the new book!
Also supporting the release, 36 Cinema is presenting “Master of the Flying Guillotine,” with live commentary by RZA, who provided the intro to “These Fists Break Bricks.” This event will be live-streamed for global audiences online to enjoy. 36 Cinema brings together film screening with live in-depth commentary with directors, actors, critics and fans. RZA will be joined by film programmer and historian Dan Halsted to dive deep into one of the greatest kung fu movies of all time. The Press Room will also be live-printing “Master of the Flying Guillotine” posters after the event. BingoDome is only the beginning of the movie-themed fun. Fantastic Fest will continue the time-honored tradition of daytime entertainment in The Highball including board game parties and podcast recordings.
As each day of movies comes to a close, The Highball really fires up its engines for eight days of raucous parties — live music, karaoke, 100 Best Kills, Fantastic Feud, Scripts Gone Wild, TriviaDome, Nerd Rap, feasts, games, disco-dancing firemen and more, more, more are all being crafted for your delight by the crack Fantastic Fest events team.
“The Black Phone” (Photo courtesy of Universal Pictures)
Leading the studio titles in the announce is the World Premiere of “The Black Phone,” penned by Scott Derrickson (“Doctor Strange,” “Sininister” franchise) and Austin screenwriter C.
Robert Cargill (“Doctor Strange,” “Sininister” franchise), based on the short story by Joe Hill. Universal Pictures, Blumhouse and Crooked Highway’s much-buzzed-about horror film reunites director Derrickson and four-time Oscar nominee Ethan Hawke (“Sininister”) in one of the most terrifying Blumhouse films ever.
Additional studio titles include the U.S. Premieres of IFC’s “A Banquet,” a chilling psychological horror where a mother’s love for her daughter is pushed to the limits, and “The Innocents” (Cannes – Un Certain Regard 2021), a stunning Norwegian drama about children with supernatural powers that will shake you to the core. World Premieres include Netflix’s “There’s Someone Inside Your House,” a bloody and highly entertaining slasher from director Patrick Brice (“Creep”), and SYFY’s “Slumber Party Massacre.” a contemporary and fun reimagining of the 1982 slasher cult classic directed by Fantastic Fest alumna Danishka Esterhazy (“Level 16”).
Last but not least, Fantastic Fest is thrilled and excited to close the festivities with the U.S. Premiere of Camille Griffin’s pitch-black comedy “Silent Night,” starring Keira Knightley, Matthew Goode and Roman Griffin Davis (“Jojo Rabbit”). In sync with this year’s festival theme, you’re invited to witness the strangest holiday celebration of the year, when a family gathers for a high-stakes Christmas dinner in Griffin’s directorial debut.
This final wave of Fantastic Fest films presents 37 feature film titles and 56 short film selections, showcasing world, US and regional premieres, and one pre-fest screening.
We are excited to offer a special pre-fest presentation on September 22 of Utopia’s brand new 35th anniversary restoration of RAD, with star Bill Allen in attendance. Arrive early and check out a radical pre-screening bike stunt outside the theater featuring the riders of Austin’s 512 Wheelie Crew along with some surprise guests, sponsored by Rambler Sparkling Water.
Alamo Drafthouse Cinema has partnered with GroundUp Music to present seven silent film classics reimagined by five different artists from the label. The festival will World Premiere the 1924 Soviet silent classic AELITA: QUEEN OF MARS with a new score by Snarky Puppy’s Chris Bullock. Four additional film pairings will play on Fantastic Fest @HOME: House of Waters with the three shorts MENILMONTANT (1926), LE VOYAGE DANS LA LUNE (1902), and BALLET MECANIQUE (1923); PRD Mais with WAXWORKS (1924); Sirintip with THE LOST WORLD (1925); and Bob Lanzetti with NOSFERATU (1922). All seven titles will then be available on Alamo On Demand. Select projects will be presented as live score events at the Alamo Drafthouse Cinema’s soon-to-be-opened Manhattan theater later this year.
After a successful virtual event in 2020, the decision to go hybrid in 2021 was a no-brainer. Fantastic Fest @HOME will take place 9/30-10/11 on Alamo On Demand. Rev.com will be sponsoring our new accessibility initiative.
“The first step to creating access was offering a virtual option with an affordable badge price,” says Ahbra Perry, Head of Alamo On Demand. “With help from our friends at Rev.com we’re going to be able to provide Closed Captions for the films and shorts playing virtually that can’t provide their own. That is a big step in the right direction and hopefully just the beginning.”
Over 30 films from the current festival lineup will be available virtually, including “Alone With You,” :uzifer,” “After Blue,” and “Baby Assasssins.” Badge holders will have access to films for 48-hour windows. We are also excited to include a special curation of Fantastic Fest films from years past, many of them hard to find, that will be available for the full duration of the virtual festival, and a virtual closing night party hosted by Fantastic Fest @ Home sponsor Alter.
COVID Safety Protocols Update
While we strongly prefer proof of vaccination, by state order, the festival will now also accept a negative COVID test from a state-approved test provider taken within 24 hours of each day’s screenings. Festival staff will check for either vaccine cards or test results as attendees enter the theater for all Fantastic Fest screenings. Attendees with a vaccine card will be given a wristband to make this process more efficient for attending multiple screenings. Additionally, masks must be worn at all times indoors when not eating or drinking.
Fantastic Fest favorite Mickey Reece is back with his most ambitious production yet, the story of a headstrong young nun accused of possession and her best friend who’s left to grapple with the aftermath.
As a young woman painstakingly prepares a romantic homecoming for her girlfriend, their apartment begins to feel more like a tomb when voices, shadows, and hallucinations reveal a truth she has been unwilling to face.
An alpha male social media influencer and his beta brother meet for an explosive dinner with their significant others – one where secrets are revealed, lives are ruined, and chaos reigns (fox included).
Jim Cummings is back as co-director and star in this pitch black film biz satire. Cummings revels in the full spectrum of bad behavior, leaving you laughing and gasping in equal measure.
Kato is a cafe owner in Kyoto who suddenly finds his bedroom computer screen linked to the one in his cafe, showing him exactly what’s going on downstairs – two minutes in the future. Things get really absurd when his friends find out and devise a way to go … BEYOND THE INFINITE 2 MINUTES.
The big, steel-toed boot of gentrification won’t stop one determined locally-grown advocate as a new building owner offers Bingo as a portal to financial prosperity – but the price is something far more sinister and much less liberating.
Kim Cannon Arm sets out to shatter records by playing Gyruss for 100 hours straight on a single coin and he can’t do it on his own in this funny and philosophical documentary about the importance of friends and community.
At the nexus point where Jackie Chan’s star began to rise and Angela Mao’s (ENTER THE DRAGON) was waning, they collaborated on this wild, rarely seen gem. Channeling Chan’s own acrobatic style, Mao avenges the defeat of her teachers using a powerful “dancing girl” kung fu style inspired by the gyrations of brothel attendants.
Five wealthy, fashionable friends wake up from a wild night in Taipei to find they’ve become vampires in David Verbeek’s aesthetically gorgeous thriller.
Now! DYNASTY! On the surface it looks like just another indie kung fu flick from Taiwan, but within minutes this crazy train has picked up a full head of steam and is on its way to a Never Never Land of wild weapons, mass mutilation, and major mayhem … all in 3-D!!!
When children in a small Mexican town start dying of demonic possession, the inhabitants seek the help of Father Peter Williams, a priest haunted by a past exorcism gone sinfully wrong. What follows is an epic battle between good and evil.
Whip out your phone cams and prepare to get immersive: Sarah Appleton and Phillip Escott’s THE FOUND FOOTAGE PHENOMENON is a documentary-shaped crash course on the wobbliest horror films out there.
Fantastic Fest favorite filmmaking family Toby Poser, John Adams, and Zelda Adams return with their newest creative endeavor HELLBENDER, a witchy, heavy metal coming-of-age thriller.
Two self-proclaimed geeks and a live-in Japanese foreign exchange student procure a long-lost anime classic that inadvertently turns them into superheroes … just in time for a Y2K-era Kaiju face-off!
A young man’s ability to surreally “be one” with cars sparks a revolution that could save transport in his community. When his invention inadvertently accelerates the underlying problems, our hero’s quest must grow bigger than his own personal ambitions.
Molly seems to be the only one who hears strange knocking day and night in her apartment. But she won’t be deterred by unbelievers until she’s discovered the cause of the noises tormenting her.
US Premiere, 107 minDirector – Valdimar Jóhannsson
On a remote farm in Iceland, a couple that experienced recent loss is caring for their flock of sheep. One day, one of their sheep gives birth to a very peculiar lamb that will change their lives forever.
A hard-won truce between rival yakuza gangs threatens to erupt into bloody violence when a psychopathic hoodlum is released from prison and vows to avenge the death of his boss.
Sibling rivalry takes on a whole new meaning when one brother is turned into a vampire and has to rely on his younger brother to protect him. Will brotherly love win out or is someone getting staked?
A burnt-out cop and a by-the-book young detective team up to catch a vicious serial killer lurking in the garbage-filled alleys of Hong Kong in Soi Cheang’s grimy monochrome masterpiece.
An adventurer descends into a pit reaching the bowels of the Earth, searching for a spot on a crumbling map. On his journey in an apocalyptic world, he meets and fights monsters and creatures out of your worst nightmares in this passion project from stop-motion legend Phil Tippett.
When Marco, a Romani kid without papers, is caught at the Danish border with the passport of a man who went missing, Detective Carl Mørck from Department Q unknowingly opens Pandora’s Box on what was supposedly a simple case.
A blind assassin armed with a vicious flying guillotine is out to kill the legendary one-armed boxer (martial arts superstar Jimmy Wang Yu). 36 Cinema presents MASTER OF THE FLYING GUILLOTINE with live commentary by RZA!
Discover the twisted nighttime alleys of Seoul in the tense and thrilling MIDNIGHT, the gripping tale of a Deaf woman and the serial killer who has underestimated his opponent.
Issachar and Zabulon are two not-so-bright brothers who never manage to do anything right. When they lose Jacques-Janvier, their mom’s beloved dog, she gives them a day to find him … or else. And of course nothing goes smoothly.
A serial killer is propelled into fame after he kisses a dying woman who has just thrown herself off a balcony. Viewed by the world as an act of kindness, that gesture may well be hiding something far more sinister.
Documenting the rise of Uganda’s Tarantino and his complex relationship with a middle-aged white dude from New York, ONCE UPON A TIME IN UGANDA tells the amazing story of a micro-film industry making $200 action films that have traveled the world, and how it happened almost by accident.
It took 30 years for people to catch up to POSSESSION’s bizarre, gelatinous majesty, and now it graces the Fantastic Fest screen in a breathtaking 4K restoration.
In this animated adventure, a young chimney sweep meets a sentient pile of junkyard scrap one Halloween night, raising questions about the world outside the isolated, walled-off community the boy has known his entire life.
After Pandu witnesses a murder by a local gang – the unsavory mini-mob that his father works for – Deaf criminal Sandi has to turn against his own crew and flee town to protect him. Unfortunately, his boss Guru is not about to let go so easily.
As Taiwan succumbs to a viral pandemic that transforms ordinary peaceful citizens into sadistic, bloodthirsty maniacs, a young couple must battle to be reunited before they too become infected in this gleefully gory, morally reprehensible late-night splatterfest.
After a double mastectomy, actress Veronica Ghent travels to a remote place in Scotland in order to recuperate. However, the land around the retreat radiates with a dark power that will ultimately help liberate her from a traumatic past.
An exceedingly odd rural snake revenge movie — made on a zilch budget and scored by electronic music pioneer Suzanne Ciani — that will make you question your relationship with reality, relativity, and reptiles.
GWAR is the galaxy’s greatest rock ‘n roll band, an intergalactic troupe of marauders who crash-landed in Antarctica and are committed to rocking your face off. But they’re also a bunch of amazing artists from Virginia determined to put on the wildest, bloodiest show you’ve ever seen. This is how.
A married couple travels to their isolated cabin in the woods for some peace and quiet, with the husband planning to murder his wife. Of course, nothing goes as planned, and things only get worse from there ….
This Italian-made horror/soap-opera/psychedelic light show was made to scoop up any stray dollars that THE OMEN and THE EXORCIST may have left on the table. Featuring an amazing will-work-for-food cast that includes John Huston as a kind of cosmic child pimp for the lord, Shelley Winters, Lance Henriksen, Sam Peckinpah (!!!), and of course Franco Nero as Jesus Christ.
And now for something completely different: Cannibal cultists and vengeful martial artists lead the way as found footage horror gets a cult film makeover courtesy of Hugo Sakamoto’s inventive and spirited debut.
ATTEND:
FAN Badges, 2ND HALF Badges, and MIDNIGHT Badges for Fantastic Fest 2021 are available for purchase here. The all-new FANTASTIC FEST @ HOME Badges are also available and provide access to the fest’s new virtual event which takes place from 9/30 – 10/11.
Fantastic Fest is the largest genre film festival in the U.S., specializing in horror, fantasy, sci-fi, action and just plain fantastic movies from all around the world. In years past, the festival has been home to the world and US premieres of PARASITE, JOJO RABBIT, BONE TOMAHAWK, JOHN WICK, FRANKENWEENIE, THERE WILL BE BLOOD, APOCALYPTO, ZOMBIELAND, RED, SPLIT, HALLOWEEN, BAD TIMES AT THE EL ROYALE, MID 90s, and SUSPIRIA while the guest roster has included such talent as Tim Burton, Nicolas Winding-Refn, Lilly and Lana Wachowski, Bong Joon-Ho, Taika Waititi, Robert Rodriguez, Rian Johnson, Bill Murray, Keanu Reeves, Martin Landau, Winona Ryder, Edward Norton, Ryan Reynolds, Patrick Wilson, Matthew Fox, Karl Urban, Josh Hartnett, The RZA, Dolph Lundgren, Paul Rudd, Bill Pullman, Paul Thomas Anderson, Kevin Smith, Jon Favreau, George Romero, Darren Aronofsky, Mike Judge, Karyn Kusama, M. Night Shyamalan, James McAvoy, Vince Vaughn, Jamie Lee Curtis, Jonah Hill, Barbara Crampton and Jessica Harper.
Fantastic Fest also features world, national, and regional premieres of new, up-and-coming genre films. Fantastic Fest has seen the acquisition of many titles, including BULLHEAD, KILL LIST, MONSTERS, KLOWN, THE FP, PENUMBRA, HERE COMES THE DEVIL, NO REST FOR THE WICKED, VANISHING WAVES, COMBAT GIRLS, I DECLARE WAR, THE PERFECTION, and TIGERS ARE NOT AFRAID. Fantastic Fest is held each year at the Alamo Drafthouse Cinema in Austin, Texas. Alamo Drafthouse has been named the best theater in the country by Entertainment Weekly, Wired, and TIME. Variety included Fantastic Fest in a list of “10 Film Festivals We Love” and was also named one of the “25 coolest film festivals” by Moviemaker Magazine.
Alamo Drafthouse Cinema was founded in 1997 as a single-screen mom and pop repertory theater in Austin, TX. Twenty-four years later, with 38 locations and counting, Alamo Drafthouse has been called “the best theater in America” by Entertainment Weekly and “the best theater in the world” by Wired. Alamo Drafthouse has built a reputation as a movie lover’s oasis not only by combining food and drink service with the movie-going experience, but also introducing unique programming and high-profile, star-studded special events. Alamo Drafthouse created Fantastic Fest, a world-renowned film festival dubbed “The Geek Telluride” by Variety. Fantastic Fest showcases eight days of genre cinema from independents, international filmmakers, and major Hollywood studios. Alamo Drafthouse’s collectible art gallery, Mondo, offers breathtaking, original products featuring designs from world-famous artists based on licenses for popular TV and movie properties including Star Wars, Star Trek & Universal Monsters. Alamo Drafthouse continues to expand its brand in new and exciting ways, including the American Genre Film Archive, a non-profit film archive dedicated to preserving, restoring and sharing film, and Alamo On Demand, a new VOD platform boasting a growing and carefully curated library of entertainment for rental or purchase.
Culture Representation: Taking place on Mars over an approximate 10-year period, the sci-fi drama “Settlers” features a racially diverse cast of characters (white, Latino and indigenous people) representing humans who have settled on Mars.
Culture Clash: A husband, a wife and their young daughter live in isolation on Mars when their worst fear comes true: They become victims of a home invasion.
Culture Audience: “Settlers” will appeal primarily to people who are interested in “danger in outer space” movies, but viewers should be prepared for a movie that quickly loses steam halfway through the film.
Ismael Cruz Córdova in “Settlers” (Photo courtesy of IFC Films/IFC Midnight)
The sci-fi drama “Settlers” seems like it was an idea that was originally conceived as a short film, but somehow it got stretched into increasingly dull junk that trudges to an unsurprising and lackluster end. There are moments of suspense early on in the film, but they’re not enough to compensate for a movie that wastes a lot of time showing unhappy people isolated in a house, or people running from the front yard to the house and back again. The movie repeats these scenarios too often for its own good.
“Settlers” (which takes place on Mars) is the feature-film debut of writer/director Wyatt Rockefeller, who shows some potential in being able to come up with an intriguing concept for a movie. The problem is that the follow-through in the storytelling is very weak. “Settlers,” which has a small number of people in the cast, needed better character development and more realistic human interactions.
More thought seems to have been put into the film’s first of three acts rather than the second and third acts. The result is an uneven movie where viewers will be disappointed at how much the story deflates into a nonsensical bore. “Settlers” doesn’t even explain how humans can survive in Mars’ atmosphere (which is 95% carbon dioxide) without any type of breathing devices.
“Settlers,” which was actually filmed in South Africa, doesn’t even look like it takes place on another planet. It just look like a typical desert area on Earth. The deficiencies in the movie’s production design can be somewhat excused by the movie having a low-budget, but there are low-budget sci-fi movies that take place on a planet other than Earth that still make more of an effort to simulate a planet that looks different from Earth. What’s more detrimental to “Settlers” than the unimaginative production design is how badly it bungles the “home invasion” part of the story.
The three chapters in “Settlers” are named after the three adults who have the most screen time and the most significant speaking roles in the movie. Chapter 1 is titled “Reza,” Chapter 2″ is titled “Ilsa,” and Chapter 3 is titled “Jerry.” Who are these people? By the end of the movie, you still won’t know too much about them except the basics, such as where they came from and why they’re living on Mars.
Reza (played by Johnny Lee Miller), his wife Ilsa (played by Sofia Boutella) and their curious 9-year-old daughter Remmy (played by Brooklynn Prince) are living in isolation in a house that looks more New Age than Space Age. Remmy’s only companion is a young pig named Cassie, which is kept in a small fenced-in area in the front yard. It’s eventually revealed that this family of three settled on Mars as refugees from Earth because Reza has a shady past and he wanted to start a new life on another planet. Don’t expect details on what Reza’s past misdeeds were, because the move never reveals that information.
Reza and Ilsa seem very afraid of anyone finding out where they are. They are armed with guns and knives. They always seem to be on the alert for sounds of other people who might be in the vicinity. In an early scene in the movie, when Reza is saying good night to Remmy before she goes to sleep, she asks him, “Are there people nearby?”
Reza seems nervous when he replies, “No! It’s just us.” Reza reminds Remmy that they’ve come to Mars because “we wanted more” than what Earth could offer. He also assures Remmy that someday, Mars will be just like Earth. In the meantime, the family has a greenhouse where they grow their own food. There’s no explanation for where they get water in this very desert-looking environment.
One day, the family wakes up to see that the windows at the front of their house have been vandalized with large block letters that read “LEAVE.” Funnily enough, the letters look like they were written from inside the house, which is a detail that the filmmakers didn’t think through, because it’s implied that the vandalism was supposed to took place outside the house. Unless the vandals knew how to do mirror-reverse writing, it doesn’t make sense that the words “LEAVE” would be written as if done from the inside, not outside.
Soon after discovering this vandalism, people can be heard howling like wolves in the distance outside. As a frightened Ilsa asks, “What if it’s the son?” Reza abruptly replies, “Don’t!” He grabs a gun, runs outside and yells, “Come on!,” as if it’s a dare for any strangers to come and get them. It’s a puzzling move from someone who’s trying to protect his family from a home invasion.
Remmy has a tendency to wander outside in the barren yard (usually to play with the pig) when her parents aren’t looking. Ilsa notices that Remmy has been missing while Reza was foolishly daring possible home invaders to go to the house. In a panic, Ilsa calls for Remmy, who’s in the front yard, just as some shadowy figures come out of nowhere and chase after Remmy, who’s running desperately back to the house.
An unnamed woman (played by Natalie Walsh) and an unnamed man (played by Matthew Van Leeve) have run the closest to Remmy. The woman snatches Remmy in attempt to kidnap her. Reza begins shooting, while Ilsa runs outside with a knife. And some people end up dead. It’s enough to say that Remmy is one of the survivors.
The character of Jerry (played by Ismael Cruz Córdova) is a man in his late 20s or early 30s, and he shows up unexpectedly at the house not long after this invasion. He’s armed with a gun and a knife, but he doesn’t hurt anyone in the house. However, one of the parents attacks him, but Jerry doesn’t kill that person in self-defense.
Instead, he makes a bargain: If he gets to stay in the house with the family for 30 days without being physically attacked or ambushed, he will leave his gun behind and leave them alone permanently. In the meantime, Jerry expects to be fed and taken care of in the home, and he offers to protect the house residents in return. He eventually reveals that his parents used to own the house, and he grew up there, which is why he came back.
Are Remmy’s parents squatters? And what happened to the house’s previous residents? Those questions are answered in the movie, which shows that there are reasons for Jerry and the house residents to feel anger and resentment toward each other. Jerry comes across as someone who is capable of doing very bad things and who has secrets of his own, but he seems to be sincere about keeping his end of the bargain. He has a primitive robot that Remmy has named Steve, which she treats like a pet dog.
Meanwhile, the movie has a somewhat useless subplot where Remmy sees something that makes her angry, so she runs away from home. There’s a badly filmed sequence where it looks like she gets trapped in a tunnel-like area that has a door that suddenly comes down in the entrance. But then, the next thing you know she’s back at the house, with no explanation how she got herself out of that predicament. The movie never goes beyond a limited area, nor does it explain what other people on Mars might be doing outside this house or how many other settlers from Earth might be on Mars.
The movie’s last chapter is a fast-forward of about 10 years, with Remmy in her late teens (played by Nell Tiger Free). It’s by far the most ill-conceived and uninspired chapter of this story, because the plot doesn’t really go anywhere until toward the end when Remmy does something that is very easy to predict. All of the actors are given unimaginative and stiff dialogue, so they don’t really get to show much talent in this movie, although Prince fares the best in trying to depict a believable array of emotions.
If your idea of an entertaining Mars sci-fi movie is to watch people prepare meals in a very Earth-looking kitchen, climb on rocks, hang out in a desolate-looking front yard, and have boring conversations in a very Earth-looking house where everyone looks uncomfortable, then maybe you’ll find some enjoyment from watching “Settlers.” These tedious scenarios make up more than half of the movie. But for everyone else who might expect an unpredictable story with interesting characters, you shouldn’t have to settle for “Settlers.” There are plenty of better and more memorable movies about life on Mars.
IFC Films/IFC Midnight released “Settlers” in select U.S. cinemas, on digital and VOD on July 23, 2021.
