Memory, from director Martin Campbell, is the latest in the seemingly never-ending slew of Liam Neeson action films. Its plot is as bare bones as they come as it spins its yarn of a dual narrative between Alex Lewis (Neeson’s hitman with a conscious) and an FBI agent (Guy Pearce) who crosses his path. The straightforward plot finds Alex (who’s battling the early stages of alzheimer’s) turning his gun on those who hired him after he’s contracted to murder a child. Meanwhile, Pearce’s Vincent forms a connection with the young undocumented victim of human trafficking that Neeson has spared.
In this episode, Mike and I review the new film Everything Everywhere All At Once and discuss the upcoming summer movie season and premiere our brand new theme song, A Little Mad Sometimes (Theme from The Obsessive Viewer Podcast) by Mike’s band, As Good As It Gets!
For the briefest moment in Deep Water’s increasingly ridiculous tonal massacre of a climax, there’s a slight glimmer that something sort of unique may happen. However, the feeling is fleeting as the film’s ending simply confirms what we’ve already assumed through the previous hour and a half; not only does Deep Water not have any idea what it wants to be, but director Adrian Lyne doesn’t seem up to figuring it out himself. Instead, Lyne poses the question, “What if an erotic thriller was devoid of sexuality while also lacking any suspense whatsoever?” The jumbled and maddeningly awkward Deep Water is the answer and it’s not something that’s worth seeking out.
Turning Red’s core concept of a girl trying to control her newfound ability (or curse) and channel it for her and her friends’ benefit simply lacks the impactful emotional catharsis that is a signature of so much of Pixar’s previous work.
Matt Reeves’s dark and angsty noir take on Batman finally hits theaters this week following production hiccups and multiple release date changes due to the COVID-19 pandemic. The Batman finds a young Bruce Wayne (Robert Pattinson) struggling to make a difference in Gotham two years into his nocturnal crime fighting. Following the biggest drug bust in Gotham City PD history, a cryptic serial killer begins murdering Gotham officials and leaving notes at each crime scene.
Uncharted is successful enough as an action-adventure movie with decent chemistry between the leads. It’s biggest shortcoming is how often the film is forced to struggle to rise above its, at best, mediocre script.
In this episode, Tiny, Ben, and I continue our journey through Roger Ebert’s Great Movies List. In this installment, we discuss Hitchcock’s Psycho, Connery’s 3rd outing as Bond, Goldfinger, and Ridley Scott’s Alien. We also discuss the 2022 Academy Award nominations and debate the merits of music biopics and toxic fandom.
Sometimes a formulaic romcom can be fun and other times it can be excruciating in its obviousness. Marry Me, the new romantic comedy starring Jennifer Lopez and Owen Wilson, falls somewhere in the middle. The charm of Owen Wilson’s Charlie carries a little bit of cache when offset by the fame and spotlight of Lopez’s Kat. However, the film’s insistence on doing nothing unique with its concept and instead steering into the tropes of the genre is its ultimate downfall. Marry Me offers nothing to the romantic comedy canon that hasn’t already been explored to death in the late 90s and early aughts. It’s as formulaic as they come without much entertainment value.
Kenneth Branagh’s follow-up to 2017’s Murder on the Orient Express finds Agatha Christie’s iconic detective Hercule Poirot entangled in a murder plot aboard a cruise ship on the Nile. Adapted from Christie’s 1937 novel, Death on the Nile is an exercise in laborious plotting, weak characterization, and astonishingly poor visual effects. As a murder mystery, it suffers from an overabundance of motives and red herrings that are too easily introduced and dismissed. While Branagh does bring some slight pathos and intrigue to his portrayal of Poirot in the film, it’s not enough to leave a worthwhile impression.
In this episode, I welcome my friend Sam Watermeier (Midwest Film Journal) back to the show to review The Matrix Resurrections! I also share the podcast’s and my writing stats for 2021 and countdown my Honorable Mentions.