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Mike gives lightning hot takes to Dave and Darren on the myriad of film he managed to watch since the previous week. Just look at that list.
“Glass Onion: A Knives Out Mystery,” “Devotion,” “Bones & All,” “Good Night Oppy,” “Strange World,” “The Menu,” “She Said,” “The Wonder,” and “Spirited”
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Mike discusses with Dave, and Darren how real-world events (read: Chadwick Boseman’s death) have made “Black Panther: Wakanda Forever” “a bit of a bummer,” especially when paired with “dumb jokes” that don’t land — are you sick of Marvel movies yet? Well, then, “Aftersun,” set in the present, reflects upon a character’s “beautiful, sad” family history, and it does grief considerably better than “Black Panther”’s director Ryan Coogler; and “The Good Nurse,” a drama concerning Jessica Chastain’s efforts to neutralize Eddie Redmayne, a suspected serial killer. While Chastain shines, Redmayne’s general dislikeability prevents audience-interaction with his character beyond sheer irritation. And who wants to go to the movies to be irritated?
“Black Panther: Wakanda Forever,” “Aftersun,” and “The Good Nurse”
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Mike discusses with Dave, and Darren how The Banshees of Inisherin could have been darker, considering the subject is loneliness in late middle-age and digit-removal in early-1920s Ireland, but is fine with its likability; how Armageddon Time is a little bit “afterschool-special-ly” for a film with a title like Armageddon Time, but, since it’s set in mid-Eighties Manhattan grade school, he “quite liked it” anyway; and how Decision to Leave, “a Korean take on Vertigo,” is playful, scary, and funny, with an “innocent-ish” ingénue — like a Hitchcock film (whether Korean or not left unspoken).
“The Banshees of Inisherin,” “Armageddon Time,” and “Decision to Leave”
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Dave and Darren discuss with Mike Schulz re Cate Blanchett getting #MeToo’d in TÁR; the power of Danielle Deadwyler’s performance of Emmett Till’s mother in Till; how unfortunate Call Jane is for being well-meaning, despite the worthiness of its subject matter (the late-Sixties/early-Seventies Jane Collective, the group of Chicago women who, with considerable personal risk, arranged for other women to have safe, illegal abortions until the 1973 Roe v Wade decision); and a “cruddy PG-rated Exorcist rip-off” that is Prey for the Devil.
Code of Conductor: “TÁR,” “Till,” “Call Jane,” and “Prey for the Devil”
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Mike, Dave, and Darren discuss “one of the most remedial” hits of late (Black Adam); Ticket to Paradise, which is somehow worse than Black Adam (might be the lack of capes); and Triangle of Sadness, the Palm D’Or film where the cast is as loathsome as Ticket to Paradise, but the laughs at their loathsomeness actually land.
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Mike, Darren, and Dave discuss the dubious merits of “Halloween Ends,” “Terrifier,” and the forthcoming “Black Adam” and “Ticket to Paradise,” and the unalloyed joy promised by a “Twister” sequel, at long last.
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Mike discusses with Dave and Darren how Amsterdam delivered “weird diversions” (“Quirky, but not in a funny way”), as if it was a dozen different films playing out at once — which didn’t please Mike’s fellow-watchers — but probably deserves a second viewing; and the adaptation of Lyle, Lyle, Crocodile, “obnoxious in the way of most Hollywood children’s movies,” though Javier Bardem performs a “comically alert” performance, a million miles away from Anton Chigurh. Also, hopes that Halloween Ends is true to its advertizing. . .
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Mike, Darren, and Dave discuss Smile‘s effectiveness as well as its profitability (contrasted with the reboot “Jeepers Creepers: Reborn”) and Bros‘s effectiveness despite its box office.
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Mike, Dave, and Darren discuss how “Don’t Worry Darling” is kind of a “Stepford Wives”-type of film, neither offensively bad nor grippingly good; how the David Bowie doc “Moonage Daydream” was “really repetitive, which kind of bothered [Mike],” despite awesome performance footage; and how “Luck” is a generic kiddie film with a really solid premise and troublesome voice-casting decisions. And Mike’s blanket love of movies is OVER! YES!
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Mike, Dave, and Darren discuss why Mike has been liking practically everything he’s seen lately (exaggeration); how “The Woman King” has rightfully received critical and commercial acclaim; how “God’s Country” is tight and intense, and you should catch it when it streams because it’s left the cinemas; how “See How They Run” is a fun real-world mirror of the plot points to Agatha Christie’s “The Mousetrap”; how “Pearl,” a prequel to the movie “X,” looks like a Fifties Technicolor melodrama set during the Spanish flu epidemic (description, not judgment); and “Confess, Fletch” (also gone), with Jon Hamm’s comedic range on full display.
“The Woman King,” “God’s Country,” “See How They Run,” “Pearl,” and “Confess, Fletch”