Culture Representation: Taking place from December 2021 to December 2022, in the fictional city of Las Palomas, Texas, the action film “Silent Night” features a racially diverse cast of characters (white, Latino and a few African Americans) portraying the working-class, middle-class and criminal underground.
Culture Clash: A man goes on a mission to hunt down and kill all the gang members who were responsible for the Christmas Eve shootout that accidentally killed his 7-year-old son.
Culture Audience: “Silent Night” will appeal primarily to people who are fans of filmmaker John Woo and mindless action movies.
Harold Torres and Valeria Santaella in “Silent Night” (Photo by Carlos Latapi/Lionsgate)
The gimmick of having no dialogue in a movie quickly becomes boring in the idiotic action flick “Silent Night,” which has too many repetitive scenes of the vigilante protagonist preparing for his revenge mission. By the time he gets around to carrying out his violent vendetta, it becomes a mind-numbing jumble of moronic “one-man killing spree” clichés with shootouts and other bloody fights. Even if this 104-minute movie had been a short film, the movie’s weak and badly conceived plot isn’t enough for a solidly entertaining story.
Directed by John Woo and written by Robert Archer Lynn, “Silent Night” has some scenes that are pretentiously meant to make the movie look artsier than it really is, such as when things are shown in slow motion or scenes that are filmed from difficult camera angles. Some viewers might also think that because Woo has directed many classic action films, then “Silent Night” must belong in the same category. But don’t be fooled. “Silent Night” is a junk movie dressed up to look “daring” and “artsy,” simply because there’s no dialogue in it.
The beginning of “Silent Night” takes place on December 24, 2021, in the fictional city of Las Palomas, Texas. An electrician named Brian Goldlock (played by Joel Kinnaman), wearing a Christmas reindeer sweater, runs frantically through graffiti-covered alleys. Brian, who has visible cuts and other injuries on his face, takes a crowbar and smashes the front window of a sports utility vehicle that has been chasing him.
The driver gets out of the car, which has a few gang members in it. The driver is a menacing-looking thug in his 30s with a bald head and tattoos on his face. Without hesitation, the driver shoots Brian in the throat. Viewers later find out that this killer is named Playa (played by Harold Torres), who is the leader of the gang.
Brian is rushed to a hospital and undergoes emergency surgery. His wife Saya (played by Catalina Sandino Moreno) shows up at the hospital to be by Brian’s side. When he wakes up after being in a coma, he is devastated to find out that he has lost his ability to speak and he can barely make any sounds with his vocal cords.
While Brian is in recovery at the hospital, a police detective named Dennis Vassel (played by Scott Mescudi, also known as rapper Kid Cudi), from the Las Palomas Police Department’s gang enforcement unit, stops by to visit Brian while Brian is unconscious. Saya is in the room, but since this is movie has no dialogue, she and Detective Vassel are not seen speaking to each other. Instead, Detective Vassel leaves behind his business card. Brian is released from the hospital about a month after his surgery.
A series of flashback scenes show what happened on this fateful Christmas Eve. Brian, Saya and their 7-year-old son Taylor (played by Alex Briseño) were spending some happy family time together on the front lawn of their small house. Brian was guiding Taylor on a bicycle. Suddenly, a few cars raced by the house with gang members shooting at each other.
A stray bullet hit Taylor, who died instantly. The movie’s opening scene shows what happened when Brian tried to hunt down the gang members on his own, but then they decided to chase him. And when they had him cornered, Playa shot Brian.
The movie shows that Brian, who is consumed with grief and bitterness, has decided to get revenge. He writes these words on a calendar for the date December 24, 2022, the one-year anniversary of Taylor’s tragic death: “Kill Them All.” It’s at this point in the movie that viewers know that Brian has made it his life’s mission to find and kill all the gang members responsible for Taylor’s death on this anniversary.
How does Brian know which gang members are responsible for Taylor’s death? He just walks right into the Las Palomas Police Department, goes to the gang enforcement unit section, sees gang member photos on the wall, and then uses his phone to take pictures of the photos. No one in the police department notices or stops and questions Brian on what he’s doing there. Yes, the movie really is this stupid.
Brian buys a beat-up looking car that he plans to use for his crime spree. “Silent Night” wastes a lot of time showing unimaginative and tedious scenes of Brian shooting guns at a target practice range and doing skidding wheelies in his getaway car, as if he’s trying to be some kind of vigilante stunt driver. And just to prove that he’s serious about killing people, “Silent Night” shows Brian using a life-sized dummy to practice stabbing a person.
And where is Saya during all of this scheming? All she knows is that Brian has become emotionally distant and has been disappearing for periods of time without telling her where he is. Because there’s no dialogue in the movie, Saya is shown communicating with Brian by text, but he usually ignores her messages. It’s a thankless “worried wife at home” role.
Brian ends up stalking the gang members whom he has identified as those he wants to kill. Don’t expect to learn anything about these gang members except that Playa has a sexual relationship with a young woman named Venus (played by Valeria Santaella) under his submission. Venus is a needle-using drug addict, and Playa keeps her under his control by injecting her with unnamed drugs. In other words, it’s questionable if this is a truly consensual relationship.
“Silent Night” had the potential to be a much better movie if it actually cared about making the characters interesting and the story more suspenseful. Every character in the movie is either a hollow stereotype or too vague to make a difference. The way that the revenge plot plays out lacks any intrigue or innovation. It’s all just a lackluster series of scenes to the inevitable showdown where one person who is outnumbered and outgunned is expected to massacre a gang of criminals.
Lionsgate released “Silent Night” in U.S. cinemas on December 1, 2023. The movie was released on digital and VOD on December 19, 2023.
Culture Representation: Taking place in Los Angeles, the comedy film “House Party” features a predominantly African American cast of characters (with a few white people and Latinos) representing the working-class, middle-class and wealthy.
Culture Clash: In this reboot of the 1990 comedy film “House Party,” two best friends—one who’s an aspiring musician, the other who’s an aspiring party promoter—throw an illegal party at the mansion of basketball superstar LeBron James while James is away on vacation.
Culture Audience: Aside from the obvious target audience of fans of the “House Party” comedy franchise, “House Party” will appeal mainly to people who don’t mind watching silly movie remakes that make African Americans look stupid and ridiculous.
Scott Mescudi (with his back to the camera), Tosin Cole, Karen Obilom and Jacob Latimore in “House Party” (Photo courtesy of Warner Bros. Pictures)
The 2023 reboot of “House Party” is nothing but a shallow cesspool of bad jokes, mindless characters and a relentlessly dull story. The house party doesn’t get started until almost halfway through this vapid movie. The original 1990 “House Party” (written and directed by Reginald Hudlin) was by no means a masterpiece, but it was a low-budget movie that had moments of charm and genuinely hilarious comedy. This 2023 version of “House Party” is just one of many examples of a very misguided and unnecessary movie reboot that is a complete waste of time and money.
Calmatic (whose real name is Charles Kidd II) makes his feature-film directorial debut with the 2023 version of “House Party,” which uses the same concept as the original 1990 “House Party”: Two best friends experience various hijinks during a raucous house party. Jamal Olori and Stephen Glover wrote the terrible screenplay for 2023’s “House Party.”
In 1990’s “House Party” movie, which takes place in an unnamed U.S. city, best friends Christopher “Kid” Robinson Jr. (played by Christopher “Kid” Reid) and Peter “Play” Martin (played by Christopher “Play” Martin) are teenagers in high school. The basic plot is about aspiring rapper Kid sneaking out of his house to go to a house party thrown by aspiring party promoter Play, while Play’s parents are away on vacation. The two pals also have a loudmouth DJ friend, possible love interests, and a trio of bullying thugs who also factor into the story.
The 2023 version of “House Party,” which takes place in Los Angeles, uses the same template of the original “House Party” movie, except the two best friends are in their mid-20s, not underage teens. But because 2023’s “House Party” is polluted with negative stereotypes of African American men, these two clowns are supposed to be financially broke and still living with family members. The two best friends, whose names are Kevin and Damon, both have low-paying day jobs as housecleaners for a company called Windsor Prestige House Cleaning, which has a lot of wealthy people as clients.
In 2023’s “House Party,” Kevin (played by Jacob Latimore) is an aspiring R&B singer/songwriter who shares custody of his toddler daughter Destiny with an ex-girlfriend named Cher (Destiny’s mother), who is never seen in the movie. Kevin lives with his father Pops (played by Bill Bellamy) and Pops’ wife Lisa (played by Nakia Burrise), who will soon be selling the house after Pops’ planned retirement. Kevin has a good relationship with his father and stepmother, but they’ve told Kevin that he will have to find another place to live after the house is sold. Kevin needs money to find a new home and because he wants to send Destiny to an elite private school.
Kevin’s best friend Damon (played by Tosin Cole), whose name is pronounced “Duh-mawn,” is an aspiring party promoter living with his aunt Jean (played by Renata Walsh), who is a cringeworthy stereotype of an “angry black woman” in the brief time that she’s on screen. She bursts into Damon’s bedroom during the day while he’s sleeping and yells at him to wake up. And because it isn’t enough for this horrible movie to portray Damon as lazy, “House Party” depicts him as someone with bad hygiene. Jean complains about the foul body odor in Damon’s bedroom with some insults that include: “It smells like someone fucked an onion in here!”
Just like in 1990’s “House Party,” the lighter-skinned friend is portrayed as the “responsible, smarter” one who is more likely to be worried about getting in trouble, while the darker-skinned friend is the “irresponsible, dumber” one who is more likely to do reckless things that will get the two pals in trouble. It might or might not be colorism from the “House Party” filmmakers, but it sure looks like colorism to a lot of people. Even if this apparent colorism wasn’t intentional, 2023’s “House Party” has so many other problems that can’t save this movie from being a complete flop.
Kevin is confronted on the street by three thugs who are looking for Damon. The leader of this dimwitted, scowling trio is Kyle (played by Allen Maldonado), who is almost always accompanied by sidekicks Larry (played by Melvin Gregg) and Guile (played by Rotimi), who are all cartoonish because of the stupid things that they say and do in the movie. The three bullies want to rough up Damon because they think that Damon has stolen a gold chain necklace from a woman named Daisy, who is Guile’s cousin.
Kevin manages to convince Kyle, Larry and Guile that he doesn’t know anything about this alleged theft. But don’t think this will be the last time that this trio of hoodlums will appear in the movie. Viewers will later find out if Damon really did steal that gold chain necklace. It’s such an uninteresting subplot that it might as well have not been in this “House Party” remake.
Damon and Kevin were hired by Windsor Prestige Housecleaners because Kevin’s ex-girlfriend Venus Bailey (played by Karen Obilom) has some type of managerial position at the company, and she was able to use her clout to get jobs for these two slackers. When it comes to Kevin’s love life, Kevin thinks of Venus as “the one that got away,” so you know what that means: Venus is Kevin’s obvious love interest.
One day, Damon and Kevin are doing a housecleaning job at a mansion, whose owner is away on vacation. It isn’t long before they discover from snooping around the house that the mansion belongs to basketball superstar LeBron James. Damon and Kevin find a private calendar showing that the family members who live in the house are all in India for a two-week spiritual retreat.
While Kevin and Damon are snooping around the mansion, they go into a trophy/memorabilia room, where they see LeBron’s awards and possessions related to basketball, including a championship NBA ring locked in a glass case. (And it’s easy to predict what will happen to the ring and the “race against time” that ensues.) The two pals also see that LeBron has a life-sized hologram of himself in this room, with the hologram giving self-esteem-boosting pep talks.
Why is there all this LeBron James promotion in 2023’s “House Party”? James is a producer of the movie through his SpringHill Company. He also makes a cameo as himself in the movie. Considering that James was a producer and had a starring role in the awful 2021 reboot/sequel “Space Jam: A New Legacy,” maybe it’s time for him to stop making inferior remakes of movies that weren’t very good in the first place.
Not long after Kevin and Damon find out that they’re in LeBron’s mansion, Venus calls them to let them know that Kevin and Damon have been fired. Why? During a previous housecleaning job for the company, Damon and Kevin were caught smoking marijuana on the house’s surveillance video, which was sent to the company.
Kevin is desperate for money, so he comes up with the idea of charging people money to party for one night at LeBron’s mansion, with the intention to mislead the invited people into thinking that LeBron will be at the party too. At first Damon doesn’t want to do it, but he changes his mind and ends up causing more problems during the party. Before they leave LeBron’s house for the day, Kevin and Damon smoke some marijuana on the property. (“House Party” over-relies on marijuana smoking as the gag in jokes that fall very flat.)
“House Party” is so ill-conceived, viewers are supposed to believe that two complete strangers can throw this type of illegal party in a celebrity mansion and that there would be no employees of the celebrity who would find out. In fact, there are no staffers of LeBron James during the party that attracts a few hundred people, including celebrities portraying themselves. The movie never bothers to explain why this mansion doesn’t have any of the James family’s security people or other employees hired to look after it while the family is on vacation. It’s all so mind-numbingly idiotic.
The movie also expects viewers to be morons and think that this party that was marketed as being hosted by LeBron is supposed to be a “secret,” as if word of mouth doesn’t exist. In addition, people at the party are shown filming themselves or taking photos to put on their social media. And yet, there’s a scene during the party when Kevin angrily yells at Damon for revealing the “secret” party because Damon put photos of the party on social media.
One of the worst things about the 2023 version of “House Party” is that all of the characters are boring or very obnoxious. (And so are the performances by the cast members.) Damon and Kevin hire a DJ friend named Vic (played by D.C. Young Fly), who is nothing but an irritating buffoon. He’s nowhere near as funny as Martin Lawrence’s DJ character Bilal in 1990’s “House Party.”
The female characters with prominent roles in the movie are presented as dull love interests or “video vixen” types. Venus has a cousin named Mika (played by Shakira Ja’nai Paye), who’s a very superficial and materialistic party girl. Grammy-winning singer Mya portrays herself in a bland role as LeBron’s neighbor who attracts the lustful attention of Damon.
A subplot from 1990’s “House Party” that isn’t in 2023’s “House Party” is showing how white police officers constantly harass the protagonists when the protagonists aren’t doing anything wrong. It’s a social issue that could have been in a “House Party” movie of the Black Lives Matter era, but apparently this subject matter was too challenging for the filmmakers of 2023’s “House Party.” It’s probably better that 2023’s “House Party” did not have racist police harassment/abuse of African Americans as part of the movie’s story, because it’s a real-life racial problem that’s too important to be in this garbage movie.
The closest that 2023’s “House Party” comes to addressing racial issues is by having a “token” white character named Peter (played by Andrew Santino), who is a nerdy and nosy neighbor of LeBron. Peter becomes the butt of a lot of the movie’s so-called jokes because he’s supposed to be the “clueless white guy” who fails miserably at trying to appear “cool” to black people. Peter inevitably goes over to the house when he sees some of the activity going on and because his female koala named Marley has wandered over to LeBron’s property.
When Kevin and Damon answer the door, Peter is surprised to see these two strangers, who can’t get their stories straight about why they’re at LeBron’s mansion. Before Peter leaves, he tells Damon and Kevin, “By the way, Black Lives Matter.” At various times during “House Party,” the movie uses the koala (which is an obvious fake replica, not a real koala) as a weak gimmick for more unfunny jokes that get run into the ground early, such as the koala getting a contact high from marijuana smoke at the party. The visual effects in this movie are very tacky and unrealistic.
The 2023 version of “House Party” overloads on useless celebrity cameos, as if seeing these celebrities is supposed to make this junkpile movie better. Among the stars who demeaned themselves to portray themselves in this dreadful dud are Snoop Dogg, Lil Wayne, Juvenile, Tinashe, Lena Waithe, Mark Cuban, Odell Beckham Jr., Tristan Thompson and Carl Anthony Payne II. Waithe, who is an Emmy-winning screenwriter in real life, embarrasses herself by portraying a marijuana-smoking party guest who is shown brainstorming ideas for a TV series, including a show that she wants to be like “Roots,” but “in reverse,” with black people enslaving white people.
Scott Mescudi (also known as rapper Kid Cudi) has a poorly written supporting role as himself; his character is another stoned party guest. He has some of the worst lines in the movie, which makes him look like a drug-addled dolt. The 2023 version of “House Party” takes a bizarre turn with a bloody and violent subplot that looks like it’s trying to be a horror-movie parody of 1999’s “Eyes Wide Shut,” but this subplot is neither scary nor funny. Original “House Party” stars Reid and Martin (also known as rap duo Kid ‘n Play) have a very quick cameo in this gruesome part of the movie.
The release of the 2023 version of “House Party” was delayed several times—an obvious indication that Warner Bros. Pictures knew that the movie was an irredeemable bomb. At one point, the movie wasn’t going to have a theatrical release and was supposed to be released directly to HBO Max. Even if people see this version of “House Party” without paying for a movie ticket, it’s still a painfully unfunny waste of time and so horrendously stupid, even the fake koala should be ashamed to be associated with this dreck.
Warner Bros. Pictures released “House Party” in U.S. cinemas on January 13, 2023.
Culture Representation: Taking place in Texas in 1979, the horror film “X” features a cast of predominantly white characters (with one Latina and two African Americans) representing the working-class and middle-class.
Culture Clash: Six people go to a rented farm to make a porn movie, but the elderly spouses who own the farm show their violent disapproval.
Culture Audience: “X” will appeal primarily to people who are fans of writer/director Ti West and horror flicks that skillfully blend horror with satirical comedy.
Pictured clockwise, from left: Owen Campbell, Brittany Snow, Mia Goth, Scott Mescudi and Jenna Ortega in “X” (Photo by Christopher Moss/A24)
“X” is a horror film that doesn’t break any new ground, but this “slow burn” movie delivers some gruesome terror with touches of social satire that can bring some laughs. Written and directed by horror master Ti West, “X” is sure to count as one of his best movies. Will “X” be considered an iconic movie that influences countless other horror films? No. However, “X” takes a simple concept that other slasher movies mishandle and makes it something that horror fans can thoroughly enjoy, as long as people can tolerate watching some bloody violence that can be nauseating to some viewers.
“X” had its world premiere at the 2022 SXSW Film Festival in Austin, Texas. It’s fitting that the movie premiered in Texas, since the story takes place mostly in a rural and unnamed part of Texas. (“X” was actually filmed in New Zealand.) In “X,” the year is 1979, when porn movies made in the U.S. got an “X” rating for adults-only content. Six people in the adult film industry are going on a road trip to an isolated farm that the producer has rented, in order to make a porn film called “The Farmer’s Daughter.” This porn movie is a very low-budget film with only one camera.
The six people on this fateful trip are:
Wayne Gilroy (played by Martin Henderson), a brash, fast-talking middle-aged producer whose immediate goal in life is for “The Farmer’s Daughter” to be a blockbuster porn movie—or at least make a fraction of what “Debbie Does Dallas” made, so that Wayne can get out of debt.
Maxine Minx (played by Mia Goth), an up-and-coming actress who wants to be as famous as “Wonder Woman” TV star Lynda Carter. Off camera, Maxine (who’s in her 20s) is Wayne’s lover (he left his wife for her), and Wayne has promised to make Maxine a star. Maxine also has a cocaine habit, since she’s seen snorting coke several times in the movie.
Bobby-Lynne Parker (played by Brittany Snow), an experienced porn actress in her 30s, who styles her physical appearance like Marilyn Monroe, and who likes to think of herself as the reigning Southern belle of porn.
Jackson Hole (played by Scott Mescudi), the porn name of a well-endowed actor in his 30s who is the only male cast member doing the porn scenes in “The Farmer’s Daughter.” Bobby-Lynne and Jackson are also sex partners off-camera, in a “friends with benefits” relationship.
RJ Nichols (played by Owen Campbell), the director of “The Farmer’s Daughter.” RJ, who’s in his late 20s, likes to think that the porn movies he directs are cinematic art.
Lorraine Day (played by Jenna Ortega), RJ’s girlfriend, a “jack of all trades” crew member who is essentially RJ’s assistant. Lorraine is in her late teens or early 20s and is relatively new to the adult film industry. She’s eager to learn all that she can about filmmaking.
The movie’s opening scene shows viewers that this porn movie shoot will result in a massacre, since police officers arrive at the farm and see several bloody and mutilated dead bodies. The movie circles back to this crime scene at the end of the film. The rest of “X” shows what happened 24 hours earlier, leading up to the massacre.
It takes a while for “X” to get going, since the first half of the movie is about the road trip, arriving at the farm, and filming the sex scenes. The farm is owned by an elderly couple named Howard (played by Stephen Ure), nicknamed Howie, and his wife Pearl (also played by Goth), who have been married to each other for decades. Ure and Goth wear balding hair pieces and prosthetic makeup that give creepy and decrepit physical appearances to Howard and Pearl. Goth gives an absolutely maniacal performance as Pearl, who is much more disturbed and volatile than Howard.
Howard is a cantankerous veteran of World War I and World War II. The first thing that Howard does when he sees Wayne is pull a gun on him, until Wayne reminds Howard that he’s the movie producer who’s renting the farm for a film shoot. Wayne doesn’t tell this farm couple that this film shoot is for a porn movie, but Howard and Pearl inevitably find out because they’re on the property during this film shoot.
Pearl is starved for affection from her husband. When she tries to make amorous advances on Howard, he pushes her away and mentions his heart condition when he says, “You know I can’t. My heart.” Pearl is a former dancer who sees a lot of younger herself in Maxine and instantly fixates on Maxine. Pearl is also a voyeur, so it should come as no surprise that Pearl ends up watching one of the sex scenes that’s being filmed in the barn. And when she finds out that a porn movie is being made on her property, all hell breaks loose.
Before the murder and mayhem begin, “X” makes some sly commentary on how gender affects perceptions and judgments of people’s involvement in porn. This small cast and crew of “The Farmer’s Daughter” are a microcosm of larger issues in the adult film industry: Men are usually in charge and usually make the business decisions. The women are usually expected to follow orders.
Women in adult entertainment also get more of society’s stigma and degradation, compared to men in adult entertainment. A woman is much more likely than a man to be called a “whore” for doing porn. This derogatory name-calling happens in a scene in “X,” even though for “The Farmer’s Daughter” porn movie, a man is just as much of a participant in the sex scenes as the women. There’s a moment in the movie where one of the women flips the proverbial script and makes a decision that greatly upsets one of the men.
And because there are three couples on this trip, their dynamics also represent the types of relationships that can occur in the adult film industry. Wayne and Maxine represent a stereotypical older filmmaker who hooks up with a young actress and tells her a lot of big talk about making her a star. Bobby-Lynne and Jackson are swingers who don’t have any commitment in their relationship and don’t want to be bound by traditional sexual expectations. RJ and Lorraine represent people who are in the porn industry only to get filmmaking experience so that they can move on to mainstream movies.
“X” has the expected sex scenes, but there are also scenes that show the type of camaraderie that can happen during a film production. On their first night after filming scenes from “The Farmer’s Daughter,” the cast and crew hang out and have some drinks together. Bobby-Lynne leads a toast where she says, “Here’s to the perverts who’ve been paying our bills for years!”
After this toast, Bobby-Lynne sings Fleetwood Mac’s “Landslide,” while Jackson plays acoustic guitar. Snow’s performance of “Landslide” is very good and one of the unexpected highlights in this horror film. This laid-back party scene is effective in showing how the people in this group have no idea what’s in store for them.
“X” has a few nods to 1970s horror classics, such as 1974’s “The Texas Chain Saw Massacre” and 1978’s “Halloween.” The comparisons to “The Texas Chain Saw Massacre” are obvious. In “X,” Blue Oyster Cult’s 1976 song “(Don’t Fear) The Reaper” song is played during a pivotal scene. Horror aficionados know that “Don’t Fear the Reaper” was also prominently featured in 1978’s “Halloween.”
Even though the first half of “X” doesn’t have any real terror, “X” still manages to keep viewers on edge over what might happen. There’s no real mystery of who the villains are, because this is a slasher flick that clearly forecasts who will be the perpetrators of the violence. Although the ideas in “X” aren’t very original, they’re still filmed in very suspenseful ways. And there’s an interesting twist/reveal toward the end of the film. Ultimately, “X” doesn’t pretend to be anything other than what it is: a worthy tribute to retro slasher films that makes “X” memorable in its own right.
A24 will release “X” in U.S. cinemas on March 18, 2022. The movie is set for release on digital and VOD is April 14, 2022.
Culture Representation: Taking place in the United States (mostly in Michigan, Illinois and Washington, D.C.) during the six months before an apocalypse, the dark comedy film “Don’t Look Up” features a predominantly white cast of characters (with some African Americans and Asians) representing the working-class, middle-class and wealthy.
Culture Clash: After a Ph.D. student in astronomy discovers that a catastrophic comet is headed to Earth to destroy the planet in six months, people have varying reactions, including a stubborn refusal to believe that the apocalypse is coming.
Culture Audience: “Don’t Look Up” will appeal primarily to fans of the movie’s star-studded cast and apocalyptic comedies that repeat the same types of gags for an overly long runtime of nearly two-and-a-half hours.
Pictured in front row, from left to right: Jonah Hill (seated) Paul Guilfoyle (seated), Mark Rylance (standing) and Meryl Streep (seated) in “Don’t Look Up” (Photo by Niko Tavernise/Netflix)
The dark comedy “Don’t Look Up” is the equivalent of watching an annoyingly smug hack comedian tell the same clumsily executed joke for more than two hours. This movie crams in a lot of big-name stars to try to make it look better than it really is. In trying to make a point about complacency and denial about how climate change is a global crisis, writer/director/producer Adam McKay instead mishandles that point in “Don’t Look Up,” by not only overselling it with stunt casting but also selling it short with a bloated and messy story.
In a statement in the production notes for “Don’t Look Up,” McKay says that he was inspired to do the movie after reading David Wallace-Wells’ 2019 non-fiction book “The Uninhabitable Earth.” In the statement, McKay comments on the book: “I couldn’t get it out of my head. It depicts the ways in which global warming will wreak havoc on the planet if nothing is done to combat the climate crisis.”
McKay continues, “And, it all boiled down to this idea I just couldn’t shake: We all know how to react when there is a killer with an ax, or when your house is on fire, but what the author David Wallace-Wells was writing about was a million times worse. How do we get people to realize this is a clear and present danger? How close does that danger have to be for us to have the proper response? I felt like I needed to write this script.”
Based on the disappointing end results of “Don’t Look Up,” McKay should’ve spent more time honing the script, which lazily repeats the same gimmick about climate-change deniers being blithering idiots, and hammers this stereotype all over the movie like a robotic jackhammer on full-blast. Almost all of the people in the movie are caricatures who aren’t very funny at all. In a movie about an impending apocalypse, most of the main characters are not seen with any family members or even shown talking about family members. That’s how phony “Don’t Look Up” is and how it makes these caricatures just hollow vessels for the movie’s dumb jokes.
McKay and the other “Don’t Look Up” filmmakers seem to have spent more energy corralling numerous celebrity cast members (many of whom are Oscar winners and Oscar nominees) to overstuff the movie, rather than giving these cast members well-rounded characters to play. All of the characters are extremely shallow and one-note. And for a movie that has an all-star cast and is set primarily in the United States, it’s appallingly exclusionary and racist that the “Don’t Look Up” filmmakers couldn’t be bothered to cast any Hispanic/Latino people to be among the stars of the movie. When people talk about how Hispanic/Latino people are underrepresented in American-made movies, “Don’t Look Up” is part of that problem.
“Don’t Look Up” is the type of movie that takes nearly two-and-a-half hours (138 minutes, to be exact) to tell a story that could’ve been told in 90 minutes or less. And even if the movie had been about 90 minutes, it still would be stretched too thin by the flimsy plot. If you want to watch an apocalypse movie where people deny that an apocalypse is going to happen, and other people get angry at these deniers, while everyone mugs for the camera and tells really pathetic and poorly written jokes, then “Don’t Look Up” is the movie for you.
In “Don’t Look Up,” Jennifer Lawrence portrays Kate Dibiasky, a Ph.D. student in astronomy at Michigan State University. Kate works in an unrealistic-looking high-tech science lab that looks like a movie set, not a lab that’s supposed to be on a university campus. Kate is a character that looks like what an uptight person thinks is “edgy,” because Kate’s hair is dyed bright red, she wears a nose ring, and she likes to smoke marijuana. One day, a bored-looking Kate sees on her computer monitor that an unusual comet is in the universe. She perks up when she finds out that this comet is extremely rare.
She alerts her professor/supervisor Dr. Randall Mindy (played by Leonardo DiCaprio), who is so elated by this comet discovery, he throws an impromptu party with other students in the lab. But that elation soon turns to horror, when Randall calculates during the party that this comet is actually headed toward Earth. He’s so freaked out by these results that he doesn’t tell his students right away and quickly orders them to leave the building. However, he tells Kate to stay behind and confides his suspicions to her. Kate does her own calculations and finds out that the comet will destroy Earth in six months and 14 days.
Kate and Randall call high-level people at NASA, including NASA chief Dr. Jocelyn Calder (played by Hettienne Park), who is skeptical and doesn’t want to deal with investigating this claim about a comet that will destroy Earth. She passes Kate and Randall off to her underling Dr. Teddy Oglethorpe (played by Rob Morgan), who is NASA’s head of planetary defense. Dr. Oglethorpe essentially becomes an awkward sidekick to Kate and Randall for much of the movie.
The next thing you know, Kate and Randall are whisked on a military plane to the White House, where they meet President Janie Orlean (played by Meryl Streep), who is obviously supposed to be a female version of Donald Trump. (Even if people didn’t know that McKay is an outspoken liberal, his political bias is obvious in his movies.) President Orlean is currently distracted because she’s in the middle of a scandal: Her nomination choice to be a U.S Supreme Court Justice is trigger-happy, right-wing Sheriff Conlon (played by Erik Parillo), whose past as a nude model has been exposed.
The scandal gets worse, when it’s revealed in the news that Sheriff Conlon and President Orlean (who is a bachelorette) have been secret lovers, and she sent him photos of her vagina. This is not spoiler information because—much like all the other crude scenarios in “Don’t Look Up”—it has no bearing on the plot. This movie is filled with a bunch of conversations that do nothing to enhance the story but are just in the movie to try to make everything in the film look like it’s “cutting-edge,” when it’s not. “Don’t Look Up” is really just a dumpster of tawdry and witless jokes thrown together in a monotonous cesspool.
Even though Sherrif Conlon is President Orlean’s choice to be a U.S. Supreme Court Justice, he doesn’t have a law degree. Choosing unqualified people for high-ranking government jobs seems to be President Orlean’s speciality. She has appointed her unqualfied and very obnoxious son Jason Orlean (played by Jonah Hill) as the White House’s chief of staff. (Jason’s father is not seen or mentioned in the movie.)
Jason likes to go on egotistical rants and occasionally spews garbage lines that allude to him having incestuous feelings for his mother. Here’s an example of the not-very-funny dialogue in the movie. At one point, Jason smirks about his mother when he says, “I can’t think of another president I’d rather see in Playboy.” He makes other creepy comments to make it clear that he’s sexually attracted to his mother.
Randall estimates that the comet’s destruction of Earth will be like “a billion Hiroshima bombs.” Kate and Randall desperately try to warn anyone who will listen about this impending apocalypse. The movie wastes a lot of time with repeated scenarios of Randall and Kate seeming to be the only people in America who are really sounding the alarm about this apocalypse and sometimes having emotional meltdowns because people won’t take the warnings seriously.
The over-used “joke” in the movie is that most people whom Kate and Randall tell about the apolcalypse either don’t believe them, or if they do believe, they shame Randall and Kate for being too depressing and paranoid. Meanwhile, other people try to use the apocalypse for their own selfish reasons, which usually have to do with wanting more money and power. A military plan to destroy the comet goes awry when certain greedy people discover there are vaulable minerals inside the comet that could make certain people a massive fortune.
The movie’s title comes from a catch phrase used by “apocalypse deniers,” who say, “Don’t Look Up” as their mantra, which they chant whenever and wherever they fell like chanting it. Many of these “apocalypse deniers” gather at rallies that the “Don’t Look Up” filmmakers deliberately made to look a lot like rallies for Donald Trump supporters, including many attendees wearing red baseball caps. In the movie, the “Don’t Look Up” slogan is used by people to identify themselves as not only apocalypse deniers but also advocates of other conservative-leaning political beliefs.
As an example of how poorly written “Don’t Look Up” is, several characters in the movie are useless and just take up space to further stretch out the running time in the movie. In the beginning of “Don’t Look Up,” Kate has a journalist boyfriend named Phillip (played by Himesh Patel), who adds nothing to the overall story. Somehow, the filmmakers of “Don’t Look Up” think it’s hilarious that there’s a scene of Phillip pondering how he’s going to describe in an article that Sheriff Conlon reportedly had an erection when he was doing nude modeling for an art class. “Was he noticeably aroused or engorged?” Phillip asks aloud when trying to decide which words to use in the article.
Randall is married with two adult sons: Marshall Mindy (played by Conor Sweeney) and Evan Mindy (played by Robert Radochia), who appear to be in ther late teens or early 20s. Marshall and Evan still live at home with Randall and his unassuming wife June Mindy (played by Melanie Lynskey), who has to quickly adjust to their lives changing when Randall starts to be believed and he becomes a celebrity “sex symbol” scientist. Randall also gets the nickname of A.I.L.F. (If you know what the slang acronym MILF stands for, just substitute the word “astronomer” for the word “mother” to know the meaning of the acronym A.I.L.F.)
June gets a little bit of a story arc in “Don’t Look Up,” but Marshall and Evan are completely generic. The movie makes no effort to distinguish between Marshall and Evan, in terms of their personalities. All the movie shows is that Randall has two sons who adore and almost worship him. This seemingly blissful family life is supposed to make Randall look like even more of a jerk when he gives in to temptation to cheat on June. (This review won’t reveal who becomes Randall’s mistress, but it’s not the most obvious guess.)
Other caricatures in the movie include Mark Rylance as a billionaire tech mogul named Peter Isherwell, who physically resembles Apple Inc.’s Tim Cook but who talks more like an Elon Musk type who wants to be a spaced-out New Age guru. Peter is a major donor to President Orlean, who kowtows to his every whim. It’s an obvious satire of how corrupt elected politicians will serve their biggest donors rather than serve the people whom the politicians are supposed to represent.
And in a lazily conceived apocalypse movie involving the U.S. government, “Don’t Look Up” has the most stereotypical of apocalypse movie stereotypes: a war-mongering military officer who’s in charge of a military operation to try to stop the apocalypse. His name is Colonel Ben Drask (played by Ron Perlman), who spouts a lot of racist and xenophobic comments. It’s all so the movie can further put an emphasis on showing that President Orlean surrounds herself with a lot of unhinged, extreme right-wingers.
More useless characters include an on-again/off-again music celebrity couple named Riley Bina (played by Ariana Grande) and DJ Chello (played by Scott Mescudi, also known as real-life rapper Kid Cudi), whose relationship drama further clogs up the movie. It seems like the only reason why these shallow lovebird characters are in the movie is to show their concert scenes, where they perform songs that refer to the apocalypse. Oh, and so Grande could do an original song (“Just Look Up,” the anthem of the movie’s apocalypse believers) that the filmmakers obviously wanted to be nominated for an Oscar.
And there’s a silly running “joke” in the movie that a character named General Themes (played by Paul Guilfoyle), who hangs out at the White House, charges people money for snacks and drinks that are supposed to be free at the White House. When Kate finds out that she was conned into paying General Themes for free food and drinks, she gets very snippy and bratty about it, which seems to be her reaction to most things. Kate’s ranting about having to pay for snacks at the White House seems to be the movie’s heavy-handed way of showing that even in an impending apocalypse, when people should be worried about more important things, people will still go out of their way to get angry over petty things.
Two of the more memorable characters in “Don’t Look Up” are slick and superficial TV news co-hosts Brie Evantee (played by Cate Blanchett) and Jack Bremmer (played by Tyler Perry), who would rather talk about the status of the relationship between Riley and DJ Chello than talk about the apocalypse. Blanchett and Perry understood the assignment of being in a dark comedy, because their Brie and Jack characters are the only ones in “Don’t Look Up” who come closest to being characters that viewers can laugh at and laugh with, in these news anchors’ non-stop parade of vanity. Brie gets more screen time than Jack because the movie has a subplot about her personal life.
Brie and Jack host a program called “The Daily Rip” on a 24-hour news network. Kate and Randall are guests on the show multiple times. And each time, Brie and Jack dismiss and disrespect the warnings about the apocalypse. The first time that Kate and Randall are on “The Daily Rip,” Kate has a very angry tantrum and storms off of the show. Kate’s meltdown becomes an unflattering meme. Meanwhile, just because Brie flirts with Randall and flatters him on the show, he suddenly becomes a sex symbol.
Kate’s relationship with Phillip doesn’t last when she becomes the laughingstock of the world, and he writes a tell-all article about her. She ends up working as a cashier at a convenience store called DrinkMo! that sells a lot of liquor (it’s an obvious spoof of the real-life BevMo! liquor store chain), where she meets a disheveled skateboarder named Yule (Timothée Chalamet), who comes into the store with a few friends. Yule is about 10 years younger than Kate, and he immediately flirts with her. You know where this is going, of course.
One of the worst things about “Don’t Look Up” is how predictable it is. And that predictability makes everything move along at a much more tedious pace. In addition to the terrible jokes, “Don’t Look Up” falters with cheap-looking visual effects, and the film editing is often careless and amateurish. “Don’t Look Up” has a lot of talented cast members, who get no cohesive direction in the movie. For example, Lawrence’s acting in the movie is very uneven: Sometimes she plays the comedy in a deapan way, while other times she’s way too over-the-top.
Other cast members try too hard to be funny. There’s a reason why DiCaprio rarely does comedies. Maybe he should stick to the dramas that he does best. Streep obviously used Trump as a template for her performance, so there’s nothing new and surprising about how she plays President Orlean. (And she’s played many bossy characters in other movies.) Rylance lets the shiny white teeth veneers he’s wearing as Peter do a lot of the acting for him.
Most the cast members seem to have been told to act as irritating as possible while in character. Only a few characters (such as Randall’s wife June and sidekick Dr. Oglethorpe) appear to be decent people. Riley and DJ Chello are too vapid to make an impact on the story.
And this is yet another “end of the world” movie where the male actors far outnumber the female actors. It’s not what the real world looks like at all, because females in reality are 51% of the world’s population. The same 51% female statistic applies to the U.S. population.
“Don’t Look Up” makes half-hearted attempts to show sexism, when people overlook Kate and shower attention on “sex symbol” Randall, who gets most of the glory for work that Kate did. But if the filmmakers intended to have any insightful commentary on women overcoming sexism, it’s overshadowed and negated by the movie making any woman in power (namely, President Orlean, NASA chief Dr. Calder and media star Brie Evantee) use sex to get what she wants and act like groupies when they brag about powerful men they had sex with or dated. “Don’t Look Up” does not celebrate female empowerment. The movie degrades female empowerment, by making it look like women have to sleep with men to gain power, with a woman’s worth in the workplace being valued more for sex appeal rather than talent, personality and intelligence.
Dark comedies are supposed to offer acerbic wit in poking fun at society’s problems, but “Don’t Look Up” is only concerned with stringing together a bunch of scenes where people say and do tacky and annoying things. Simply put: “Don’t Look Up” is boring, sloppily made, and nowhere near as clever as it thinks it is. For a better-made and much-funnier all-star apocalyptic comedy film with adult jokes, watch 2013’s “This Is the End.”
Netflix will release “Don’t Look Up” in select U.S. cinemas on December 10, 2021, and on Netflix on December 24, 2021.
Culture Representation: Taking place primarily in Detroit and Montreal, the dramatic film “Crisis” features a predominantly white cast of characters (with a few African Americans, Latinos and Asians) representing the middle-class and criminal underground.
Culture Clash: The lives of three different Americans—a scientist, a Drug Enforcement Agency undercover officer and a recovering opioid addict—all collide when a new “non-addictive” opioid prescription drug called Klaralon is being rushed to market.
Culture Audience: “Crisis” will appeal primarily to people who like to watch formulaic dramas about the “war on drugs” that have some ridiculous plot developments.
Armie Hammer and Evangeline Lilly in “Crisis” (Philippe Bosse/Quiver Distribution)
It seems as if the dramatic thriller “Crisis” (written and directed by Nicholas Jarecki) was made to be a “cautionary tale” about how big pharmaceutical companies are just greedy, corporate drug dealers in the so-called “war on drugs.” However, the movie becomes so enamored with showing enmeshed storylines of the three main characters that it all just becomes a tangled mess that tries to tie up loose ends neatly in a very unrealistic way, in order to have a cliché movie ending. The acting performances are solid, but the movie’s writing and direction are bloated and messy.
The story goes back and forth between the perspectives of three Detroit people, who all end up being connected to each other in some way in the opioid crisis. It’s a crisis that has fueled demand for opioids, whether they’re sold as legal prescriptions or through the illegal drug trade. Much of the story revolves around a U.S. Drug Enforcement Agency (DEA) sting to take down a cartel of Armenian gangsters in Montreal who traffic drugs to and from the U.S. and Canadian border. You can tell already that this movie is more convoluted than it needs to be.
Dr. Tyrone Brower (played by Gary Oldman) is a scientist (presumably in biochemistry, because the movie never says), who teaches at an unnamed university in the Detroit area. This university has had a long-term business relationship with a corporate pharmaceutical company called Northlight, which has hired the university to do research on drugs that Northlight wants approved by the U.S. Food and Drug Administration (FDA). Tyrone is in charge of these research studies, and he prides himself on having high ethical standards.
Tyrone’s latest research study for Northlight is for a painkiller called Klaralon, which is supposed to be the world’s first “non-addictive” painkiller. Of course, there are caveats to using Klaralon. It’s only “non-addictive” if taken in the correct doses. And there’s some cockamamie explanation later in the story that Klaralon won’t become addictive if patients stop taking Klaralon after 30 days.
It’s an example of a poorly thought-out screenplay, because it doesn’t factor in the reality that most patients who are prescribed painkillers need to take the drugs for longer than a month. And no legitimately greedy pharmaceutical company would want to market a drug with such short-term usage. The goal would be to keep people on these drugs as long as possible to make the maximum amount of money from selling these drugs. And there are plenty of plot holes and other illogical missteps in this movie, which ruin any credibility that “Crisis” might have intended to look like a gritty drama that’s supposed to be taken seriously.
The second person in this trio of main characters is Jake Kelly (played by Armie Hammer), a hardened DEA officer who’s undercover in the Canadian city of Montreal. He’s invested a lot of time in a DEA sting to bust an Armenian gang that has been cornering the market with illegal OxyContin sales and is trying to do the same for Fentanyl. The leader of this drug cartel is named (try not to laugh) Mother (played by Guy Nadon), and his right-hand goon is named Guy Broussard (played by Éric Bruneau). “Crisis” writer/director Jarecki portrays Stanley “Stan” Foster, who is Jake’s closest and most-trusted DEA colleague in the sting.
Jake has a personal reason for wanting to bust this drug-dealing cartel: His younger sister Emmie (played by Lily-Rose Depp) is a needle-using opioid addict. During the course of the story, Emmie starts off in rehab but then ends up leaving rehab early to go back to her junkie lifestyle. You can easily predict the scene in the movie where Emmie goes missing, Jake finds her strung-out in a drug house, and he forces her to leave while she has a temper tantrum.
And speaking of drug addicts, the third person whose perspective is shown in “Crisis” is that of single mother Claire Reimann (played by Evangeline Lilly), a recovering opioid addict who’s still struggling with staying clean and sober. Claire is shown in a Narcotics Anonymous meeting, where she confesses to the attendees about her urge to use opioids and how it affects how she raises her 16-year-old son David (played by Billy Bryk).
Claire says, “I can’t even sit through a hockey game without even thinking about it. I would like to be a better person for him. And I’m working on that.” David’s father is not seen or mentioned in the movie, so it’s implied that he’s an absentee father who has no contact with Claire and David.
The university that Tyrone works for relies heavily on funding from Northlight to keep the school financially afloat. Therefore, Tyrone is under pressure to deliver lab results that will be pleasing to Northlight. However, there’s a problem with the trial studies for Klaralon. The mice that were tested in the experiments died after 10 days of being administered the drug. The trial period was extended to 30 days, and led to the same results. There’s also evidence that Klaralon is more addictive than Fentanyl.
Tyrone finds out this bad news at the worst time, because Northlight is soon going to present the university’s research on Klaralon to the FDA for approval to sell the drug. In good conscience, Tyrone refuses to lie and pretend that Klaralon is safe to sell to the general public. He meets with Northlight executives Dr. Bill Simons (played by Luke Evans) and Dr. Meg Holmes (played by Veronica Ferres), who are portrayed as soulless and money-hungry. Tyrone tells them that the drug is dangerous and not ready for FDA approval, and asks them for more time to do more lab tests.
Not surprisingly, the Northlight executives refuse and even come up with a ludicrous idea to sell Klaralon anyway. Despite all the signs that it’s a deadly drug, the Northlight executives justify this rush to market for Klaralon, by saying that the company won’t be responsible for any deaths if they include a warning that the drug cannot be taken for more than 30 days. Tyrone thinks it’s a terrible idea and isn’t afraid to say so.
After this meeting, Bill tries to entice Tyrone to sign a “modified” lab report with a “corporate donation” of $780,000. Of course, it’s really a bribe to sign a falsified report. Tyrone knows he’s being offered a bribe, but he doesn’t want to alienate Northlight, so he asks for a little more time to look over the agreement.
When Tyrone tells his boss Dean Talbot (played by Greg Kinnear) about this ethical problem, Tyrone is surprised and disappointed when the dean sides with Northlight. Dean Talbot essentially tells Tyrone that if he doesn’t sign off on the report and take the money, Northwell will cancel its contract with the university, and it will ruin the university financially.
Dean Talbot also says that just because some mice died in the lab experiments for Klaralon, that doesn’t mean that people will die from taking Klaralon too. Anyone with basic knowledge of science might be yelling at their screen at this dumb part of the movie. And the dean reminds Tyrone that the university isn’t responsible if people become addicted or die from the drugs that the university researches.
Dean Talbot also strongly hints that Tyrone will be fired if he doesn’t do what he’s told. Tyrone can’t afford to lose this job because his much-younger wife Susan (played by Mia Kirshner) is pregnant with their first child together. He’s also at an age (in his 60s) where it would be difficult to find work somewhere else. And Tyrone loves his job and doesn’t want to leave.
“Crisis” tries to do too much during its nearly two-hour running time. The story goes off the rails when tragedy strikes Claire and she turns into a vigilante. With the help of a private investigator, Claire finds out some information to try to solve a mystery. And then, she starts acting as if she’s a one-woman DEA crime-busting team. She goes back and forth between the U.S. and Canadian border. And a lot of nonsense ensues. It’s just all so ridiculously portrayed in the movie.
There are inevitable shootouts that are also badly handled in the movie. And for a powerful drug cartel led by a guy named Mother, they have a lot less people handling their business than they would in in real life. But that’s because this is a low-budget independent film, so apparently the filmmakers probably didn’t want to hire any more actors because they spent a great deal of their budget hiring an Oscar winner such as Oldman.
Oldman’s Tyrone character is supposed to be the “moral center” of the story. He’s the type of professor who tells his students: “Without us crazies, where would the world be?” As far as his big ethical dilemma about Klaralon, he might as well wear a sign that says, “Whistlebower.” Hammer and Lilly are serviceable in their roles, which don’t make much of an impression in this fairly generic movie.
Michelle Rodriguez has a small role as Jake’s DEA supervisor Mia Garrett, who doesn’t do much but scowl when she hears some of the updates that Jake gives her. Scott Mescudi, also known in real life as rapper Kid Cudi, has a much smaller role as Ben Walker, an investigator for the FDA. These two characters don’t have memorable personalities. Even the chief villain Mother is a banal stereotype of the type of elder “mob boss” that’s been seen in dozens of other crime-related dramas.
“Crisis” tries to be somewhat preachy about the far-reaching effects of the opioid crisis and the “war on drugs.” Claire is supposed to represent the “everyday person” who’s affected by this crisis. But by having her do some outlandish and very unrealistic things in this story, it actually makes her character and this movie less relatable to everyday viewers. Claire also crosses paths with Jake in some of the movie’s most preposterous scenes.
“Crisis” would have been a better movie if it focused only on Tyrone’s storyline and was a drama inspired by 1999’s “The Insider,” the Al Pacino/Russell Crowe movie about a whistleblower in the tobacco industry. “Crisis” could have been an intriguing story, because it’s rare for a dramatic movie to give an in-depth look at any corruption that goes on behind-the-scenes when drugs are being tested for FDA approval. Instead, “Crisis” overstuffs the plot with a run-of-the-mill “let’s take down a drug cartel” storyline that so many other movies have done before and done much better.
Quiver Distribution released “Crisis” in select U.S. cinemas on February 26, 2021, and on digital and VOD on March 5, 2021.
