Tag: Emily Blunt

A Quiet Place

John Krasinski’s horror thriller goes beyond being a gimmicky movie for enhanced jump scares

A-Quiet-Place-PosterDirector John Krasinski does an excellent job in the opening moments of A Quiet Place establishing the unfortunate predicament of these doomed protagonists. It’s your typical end of the world scenario, the camera scours some deserted pharmacy, but no one is making a noise. The scavenging family speaks only through sign language, and when the mother picks up a bottle of pills from a shelf, she does so with the utmost care. But if that wasn’t enough, there’s a helpful New York Post with a headline that blares, “IT’S SOUND!”

The hard part for Krasinski is going beyond those opening minutes and making A Quiet Place something more than a horror movie without sound. And it doesn’t take long before even that trick starts to feel gimmicky. But even without much dialogue, A Quiet Place is a heartfelt and consistently tense movie about a family coping with the loss of a member and learning to appreciate one another.

In A Quiet Place, monsters that look like a cross between Alien’s Xenomorph and Stranger Things’ Demogorgon hunt down anything they can hear. And in the movie’s prologue, the youngest son of the family is eaten alive. Now a year later, they’ve cultivated a whole life without sound, stepping gingerly on worn parts of a creaky wood floor, playing board games with felt pieces and sound proofing a nursery for the arrival of their newborn. Continue reading “A Quiet Place”

Sicario

Denis Villeneuve’s slow-burn thriller about Mexican drug cartels stars Emily Blunt, Josh Brolin and Benicio Del Toro

sicarioposterFBI Agent Kate Macer (Emily Blunt) is recruited by the CIA’s Matt Graver (Josh Brolin) to help infiltrate a Mexican drug cartel. She feels lost and out of bounds, outside of her comfort zone and jurisdiction, and she asks the DoD “consultant” Alejandro (Benicio Del Toro) what exactly is their objective. “You’re asking me how a watch works,” Alejandro implies, intricate and detailed yes, but more importantly difficult and near impossible to understand.

“Sicario” is a film about frustration. Like “Zero Dark Thirty” before it, Kate Macer is a woman trying to see in the dark and coming up empty. Denis Villeneuve’s tightly wound thriller binds its main character in confusion, ambiguity and a lack of information. The audience finds only a little more clarity but can feel the slow-burn tension sink in as Kate continues to go deeper, unsure of what she’ll find.

Kate’s most recent raid uncovered a house filled with bodies lining the inside of the drywall, each bound and wrapped in a plastic bag around their head. Despite the gruesome failure of the operation, she’s whisked away by the CIA’s Matt Graver, his flip flops and casual demeanor in stark contrast to her worn and by-the-book dedication to her job.

Matt’s details are scant, and instead of taking her to El Paso, she’s brought along on a job in Mexico. She’s part of a massive convoy that rolls into the country to pick up a cartel prisoner, then crosses back over the border to interrogate him. Villeneuve makes us helpless passengers and reluctant spectators, with the convoy calling complete attention to itself and with sinister looking gang bangers itching their trigger fingers in between rows of civilian traffic at the Mexican-American border. The musical score in this scene has a wonderful low droning of horns and the dragging of chains or stones as a chopper flies by.

The intention of this and several of the film’s operations are never completely clear, but in Benicio Del Toro we get a brilliant character who stands apart from the other agents and strikes fear into everyone on screen. Villeneuve and screenwriter Taylor Sheridan carefully tap into the idea that Kate and everyone else involved are really playing toward his agenda. His ruthless, yet incredibly subdued performance is one of the finer supporting jobs of the year.

This fear of uncertainty of an agenda and of a direction manifests itself brilliantly in a night-vision sequence that recalls and perhaps surpasses “Zero Dark Thirty”. Villeneuve has a different approach to tension and suspense than Kathryn Bigelow. As in “Prisoners” the tension is heavy but it’s a constant, slow burn simmer rather than a gradual build-up and eruption. When Kate and the team put down cartel gunmen at the border, they do so not in a chaotic firefight but in a terse and emotionless takedown.

“Sicario” never finds as compelling of a feminist role for Kate as one might hope, and yet the film is not trying to be a “Silence of the Lambs” story of a woman in a man’s world. Sheridan also tries to build sympathy for a Mexican cop and his family who get caught up in the action, but Villeneuve never earns the real pathos Sheridan is looking for.

Still, “Sicario” is a knockout, a riveting, art house action thriller that’s complex and ambiguous. It’s a film about seeing in the dark, and it’s no wonder the results come out just a little murky.

3 ½ stars

Into the Woods

Rob Marshall adapted Stephen Sondheim’s 1987 musical in this mash-up of classic fairy tales.

Into the Woods PosterDo we really need another movie or show that reimagines old fairy tales? How many different ways can we tell the story of Cinderella? Stephen Sondheim’s musical “Into the Woods” first premiered in 1987, but since then the spirit of taking beloved childhood properties and twisting their meanings to play up the dark imagery and fables at their core has exploded into pop culture. It hardly seems new to suggest that the Little Red Riding Hood story has gross undertones of, perhaps, pedophilia or otherwise. Ooh, how sinister.

And yet here we have Rob Marshall’s live action film adaptation of “Into the Woods”, which reimagines the fairy tales yet again but has defanged them even further. Marshall’s film is hardly as subversive or as slyly perverse as its subject matter, either by Sondheim or Brother Grimm, suggests. And like all the worst film adaptations of Broadway stage musicals, it pays more lip service to the theater than it does to cinema. “Into the Woods” often looks cheap and visually uninteresting, stimulated only by some above average singing.

Sondheim’s story is a mash-up of several popular childhood fables, Cinderella, Jack and the Beanstalk, Little Red Riding Hood and Rapunzel, all brought together by a baker and his wife (James Corden and Emily Blunt) who cannot conceive a child. They’ve been cursed by a witch (Meryl Streep) and can only break the spell by collecting four items, one belonging to each of the fairy tale characters. Their paths intersect in one of those frustrating cast numbers that look great when everyone is participating and moving on stage, but meander and jump around as a result of incessant film editing.

Streep is really the star of the show, going big and broad and bold in the way only she can and owning her songs. Constantly she’s stalking and hunching over with a grimace and dominating the screen. She’s only matched in hammy overacting by Chris Pine as Prince Charming, who may be both the best and worst part of the film. He has a so-dumb-it’s-amazing number called “Agony” in which Sondheim’s composition itself is dripping in self-aware swells, only enhanced by Pine nonchalantly brandishing his chest and tossing around his golden locks as though he were blissfully unaware of his masculinity.

Marshall however plays it mostly (ahem) close to the chest, allowing the actors to do all the heavy lifting. Say what you will about 2013’s ugly looking “Les Miserables,” but the film at the very least had a style. Some of the sets look flat out cheap, and by the film’s climax involving giants descending from the beanstalk, Marshall tries to pay homage to the original production by hiding them within the scenery, but it looks more like the budget simply ran short.

Only by “Into the Woods’s” end do the characters start to get a sense of depth as flawed figures. One song points the finger at every character and their intersecting mishaps, and it reveals themes of parenting, family, abandonment and more.

Surely Sondheim’s original production has its ardent supporters for this very reason, but Marshall just wants to put the musical on the big screen again. Hollywood has lamented the loss of popularity for the movie musical, but part of that decline might stem from only making films that can have a slavish devotion to a beloved source material. Put an original property in Marshall’s hands, and he’s talented enough to do more with what he’s done to Sondheim.

2 ½ stars

Edge of Tomorrow

“Edge of Tomorrow” is a hugely clever summer blockbuster and a reminder of why Tom Cruise is today’s biggest action star.

“Edge of Tomorrow” starts with scattered flashes of cable news quickly informing us that aliens have invaded the Earth, Europe has been ravished and the rest of humanity is next. Tom Cruise shows up as a talking head on panel after panel and assures the anchors that this latest human assault will be a success.

Why should a sci-fi action movie start this way? Because Director Doug Liman knows that we go through this song and dance over and over again, and every time, nothing seems to get better.

“Edge of Tomorrow” is a smarter and more deeply profound thriller than anyone will give it credit for. Despite the on the face similarities to “Groundhog Day,” (or better yet “Source Code”, which everyone seems to have forgotten) the film has a clever sci-fi conceit that introduces daring wit, drama and romance into a genre in desperate need of more. Continue reading “Edge of Tomorrow”

Looper

“Looper” is a polished action sci-fi about time travel with enough stylish coolness, emotional depth and narrative elegance to be an instant classic.

Most time travel films fall flat because the rules of the sci-fi are so dense that they collapse under the weight of their own paradoxes. Rian Johnson’s (“Brick”) film makes the characters, their story and their psychology the most important parts, allowing the film’s rules to become an integral part of a well-oiled machine.

In the future, when the mob needs to dispose of a body, they use time travel to cover their tracks, sending a victim back in time to be murdered where the body can’t be traced. The hit men responsible for these killings are Loopers, people on a contract with the mob until a set time when that person is sent back in time to be killed by their past selves, thus closing the loop of responsibility.

The youngest Looper in 2046 Kansas is Joe (Joseph Gordon-Levitt), and he discovers that a new mob boss in the future is terminating all the Looper contracts. When his future self (Bruce Willis) comes back in time to be killed, he hesitates, and Future Joe escapes, launching him on a mission to kill the mob boss responsible for killing his wife by stopping him before he comes to power.

There are many ways this plot could veer and become something other than the accessible, exciting genre picture it is. Continue reading “Looper”

Your Sister’s Sister

Jack, Iris and Hannah are three lonely people spending the weekend in a remote cabin in the woods. But you wouldn’t know how lonely they are because now that they have each other, they really can’t bring themselves to shut up.

“Your Sister’s Sister” is a cozy romantic triangle drama between Jack (Mark Duplass), his best friend Iris (Emily Blunt) and her sister Hannah (Rosemarie Dewitt). Jack has been in a funk for the past year since the death of his brother, who was also once Iris’s boyfriend. She sends Jack to spend time alone in the wilderness, only for him to bump into Hannah. Hannah just broke up with her girlfriend, and with enough tequila shots, flirty compliments, and adventurous encouragements, she’s willing to forget she’s a lesbian for an evening and spend the night with Jack.

Surprise! The next morning, Iris shows up, and while Jack and Hannah try to cover up their dirty deeds, Iris confesses to her sister that she may be in love with Jack.

These are all steamy, awkward conversation topics, but they approach them with nonchalant ease. Jack makes blunt comments about Hannah’s sexy butt, Hannah rudely brings up an embarrassing story about Iris’s bush, and Iris and Jack take turns sarcastically judging each others’ choices in relationships. It’s as if they gloss over serious conversation that might get real or uncomfortable by keeping up the chatter.

It’s so bogged down under their words that the movie forgets that Jack has serious psychological problems in his life and that Hannah may actually be an unstable person. Occasionally the movie name drops Fleet Foxes or “Hotel Rwanda,” but it mostly steers clear of any conversation topic that isn’t relevant to sex.

“Your Sister’s Sister” then is an actor’s movie. It certainly isn’t a visual one, because a majority of the film is seen in extreme close ups during these back and forth conversations. It annoyingly gets us right up into their faces and problems.

But some of it works because the three are all wonderfully convincing as friends and sisters. Iris and Hannah have a mutual understanding of one another that only comes through years of sisterhood, and the quiet moment they share looking at each other under the covers in bed is the movie’s finest.

The big argument near the end gets close to psychotic, and for all the talking that came before, “Your Sister’s Sister” suddenly runs out of important things to say just when things get tense.

2 1/2 stars

The Adjustment Bureau

“The Adjustment Bureau” is silly and light but thrives on its chemistry between Matt Damon and Emily Blunt… and fedoras.

The argumentative fallacy known as insufficient cause asserts the distance between a given cause and effect in a situation. This logic can be applied in “The Adjustment Bureau,” as in, because Matt Damon did not spill coffee on his shirt one morning, he may have prevented a third golden age in civilization.

There is considerable distance between that cause and effect, but man, Matt Damon looks good in a fedora.

“The Adjustment Bureau” hinges on that balance between a plot that ranges from odd to preposterous and the unfettered silliness of it all, not to mention the charming chemistry between Damon and co-star Emily Blunt.

Damon as an actor can range from stoic action badass in the Bourne movies to suave comic foil in everything from “Ocean’s 11,” “The Informant!” and “30 Rock.” Director and screenwriter George Nolfi has written for Damon in both “The Bourne Ultimatum” and “Ocean’s 12,” and he gives Damon free range to act, sticking him in 90 percent of the scenes and encouraging him to casually roll with the screenplay’s absurd punches. Thankfully, Damon capitalizes on every minute, and throughout “The Adjustment Bureau,” his David Norris remains a likable and confident leading man.

At the beginning of the film, David is a 24-year-old senate candidate for New York, famous as a youthful, yet authentic and loose cannon of a politician. Following a scandal at his college reunion, Norris loses the election but meets Elise (Blunt) in of all places, the men’s room as he rehearses his concession speech. The pair hit it off perfectly, notably from the performers and less the script, and that connection carries us throughout the rest of the film.

Thank goodness, because it is at this point that things get weird and silly. Continue reading “The Adjustment Bureau”