ferguson-6
Joined Jul 2000
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Greetings again from the darkness. With so many MISSION: IMPOSSIBLE movies (another one coming this year) and others of its ilk, movies labeled as 'thrillers' or 'spy thrillers' seemed to have evolved into hyper-action events requiring the leads to display near-superhuman strength, speed, or smarts. It's exactly because of this that I found a soft spot for the latest from writer-director Neil Burger (THE MARSH KING'S DAUGHTER, 2023; DIVERGENT, 2014; THE ILLUSIONIST, 2006; THE UPSIDE, 2017) and co-writer Olen Steinhauer.
This one certainly qualifies as a thriller, and it's also a bit of a father-(grown) daughter international road drama, as well as a (better-late-than-never) coming-of-age story. In what is no longer a gimmick, it was filmed entirely on an iPhone by cinematographer Jackson Hunt (known mostly for his music videos). This approach requires numerous close-ups and provides a certain limitation to the scope of some shots. You'll notice the difference and hopefully agree that it adds intimacy and urgency where needed, without sacrificing any elements required for storytelling or performance.
An early scene finds two sisters chatting about the flow for their mother's wake that is about to begin. Jess (Kersti Bryan, HUSTLERS, 2019) is the take-charge sister, while Maya (Phoebe Dynevor, FAIR PLAY, 2023, "Bridgerton") is the quiet one who has spent the past year as caregiver for mom. A surprise attendee is Sam (Rhys Ifans, with an American accent), the estranged father of Jess and Maya. They barely know "Dad" as he has spent years conducting international 'business' and almost never communicating with his daughters. It seems obvious he carries secrets, but he wants to make amends and makes Maya an offer she can't refuse (although when long-lost Dad offers you a grand per day to travel to Egypt to sell real estate, one should probably decline, or at least ask a few questions).
It's pretty clear that money is not the driving force behind Maya taking the job. No, she really wants to get to know her father and connect in the father-daughter way which has been missing most of her life. Her hope is what makes what happens so entertaining. Another tip for viewers: if your secretive dad leaves the restaurant in Egypt to take a call, and a minute later texts you to get out of there pronto, take your sister's advice and hop the next plane back to the states. But if you decide to stay so that you can fulfill kidnapped Dad's wish for you to ignore the danger and go pick up a secret package so he won't be killed ... well, apologies to all, but you kinda deserve whatever you get.
Actually, this is quite an entertaining film, and it's a welcome relief to see Maya as an ordinary young woman negotiating her way through situations she doesn't fully grasp ... and doing so without any superhero powers (although her sunglasses are pretty cool). There is one extended chase scene through the streets of Delhi that adds some excitement and action, but Maya isn't even driving the motorcycle, so again, grounded action prevails. Phoebe Dynevor has a similar acting style to Dakota Johnson, but comes across as more normal and accessible. She performs well in the role, and we continue to pull for her Maya despite some poor decisions. Oh, and have no fear, Maya gets a clear answer on her future relationship with dear old dad - all while proving she may be the smart sister after all.
In theaters on January 24, 2025.
This one certainly qualifies as a thriller, and it's also a bit of a father-(grown) daughter international road drama, as well as a (better-late-than-never) coming-of-age story. In what is no longer a gimmick, it was filmed entirely on an iPhone by cinematographer Jackson Hunt (known mostly for his music videos). This approach requires numerous close-ups and provides a certain limitation to the scope of some shots. You'll notice the difference and hopefully agree that it adds intimacy and urgency where needed, without sacrificing any elements required for storytelling or performance.
An early scene finds two sisters chatting about the flow for their mother's wake that is about to begin. Jess (Kersti Bryan, HUSTLERS, 2019) is the take-charge sister, while Maya (Phoebe Dynevor, FAIR PLAY, 2023, "Bridgerton") is the quiet one who has spent the past year as caregiver for mom. A surprise attendee is Sam (Rhys Ifans, with an American accent), the estranged father of Jess and Maya. They barely know "Dad" as he has spent years conducting international 'business' and almost never communicating with his daughters. It seems obvious he carries secrets, but he wants to make amends and makes Maya an offer she can't refuse (although when long-lost Dad offers you a grand per day to travel to Egypt to sell real estate, one should probably decline, or at least ask a few questions).
It's pretty clear that money is not the driving force behind Maya taking the job. No, she really wants to get to know her father and connect in the father-daughter way which has been missing most of her life. Her hope is what makes what happens so entertaining. Another tip for viewers: if your secretive dad leaves the restaurant in Egypt to take a call, and a minute later texts you to get out of there pronto, take your sister's advice and hop the next plane back to the states. But if you decide to stay so that you can fulfill kidnapped Dad's wish for you to ignore the danger and go pick up a secret package so he won't be killed ... well, apologies to all, but you kinda deserve whatever you get.
Actually, this is quite an entertaining film, and it's a welcome relief to see Maya as an ordinary young woman negotiating her way through situations she doesn't fully grasp ... and doing so without any superhero powers (although her sunglasses are pretty cool). There is one extended chase scene through the streets of Delhi that adds some excitement and action, but Maya isn't even driving the motorcycle, so again, grounded action prevails. Phoebe Dynevor has a similar acting style to Dakota Johnson, but comes across as more normal and accessible. She performs well in the role, and we continue to pull for her Maya despite some poor decisions. Oh, and have no fear, Maya gets a clear answer on her future relationship with dear old dad - all while proving she may be the smart sister after all.
In theaters on January 24, 2025.
Greetings again from the darkness. This was one of the films I watched in my end of year movie frenzy, and it immediately became one of my favorite foreign language films of the year (in a solid year for the category). Writer-director Ryusuke Hamaguchi is back after his excellent and Oscar nominated DRIVE MY CAR (2021). Sharing credit on the film's concept is Eiko Ishibashi, a rare breed: a combination composer-story writer. I should probably clear this up immediately - despite the genre-sounding title, this is not a horror film. It falls quite comfortably into the "drama" category, and as previously stated, it's a good one.
Mizubiki Village is a rural area located just outside of bustling Tokyo. It's where Takumi (Hitoshi Omika) lives with Hana (Riyo Nishikawa), his 8-year-old daughter. Their life is simple, though not easy. Days are spent chopping wood and retrieving water from the stream. It's a serene lifestyle fully linked to nature, and one that's been similarly lived for generations. These scenes of Takumi and his daughter are slow-moving, yet vital to ensuring viewers understand the impact of what's coming.
A Town Hall meeting is held by two representatives of the development company that is planning a 'glamping' project in the heart of the area. As the locals bring up topics that clearly haven't been considered by the company, two things become painfully obvious: the two reps are woefully unprepared for the questions and pushback, and this development would drastically alter the ecosystem that provides a way of life for these folks. Sensitive issues like septic run-off, fire safety, and personal security have only been lightly addressed in the developer's study.
Of course, we have all seen instances where corporate types see only dollars and potential profit, paying little attention to the impact on locals and nature. Rather than comprehensive analysis and communication, projects tend to get rammed through in support of the almighty dollar (or yen, etc). Hamaguchi's point seems to be that the power of nature is a draw for all types, and this knowledge should be respected. Noteworthy here is that the film serves as the feature film debut for both Hitoshi Omika and Riyo Nishikawa, and both strike just the right note. We should also note that filmmaker Hamaguchi should be admired for always including life lessons in his beautifully filmed projects ... nice to look at and worthy of consideration (even with an ending that's a bit heavy-handed).
Mizubiki Village is a rural area located just outside of bustling Tokyo. It's where Takumi (Hitoshi Omika) lives with Hana (Riyo Nishikawa), his 8-year-old daughter. Their life is simple, though not easy. Days are spent chopping wood and retrieving water from the stream. It's a serene lifestyle fully linked to nature, and one that's been similarly lived for generations. These scenes of Takumi and his daughter are slow-moving, yet vital to ensuring viewers understand the impact of what's coming.
A Town Hall meeting is held by two representatives of the development company that is planning a 'glamping' project in the heart of the area. As the locals bring up topics that clearly haven't been considered by the company, two things become painfully obvious: the two reps are woefully unprepared for the questions and pushback, and this development would drastically alter the ecosystem that provides a way of life for these folks. Sensitive issues like septic run-off, fire safety, and personal security have only been lightly addressed in the developer's study.
Of course, we have all seen instances where corporate types see only dollars and potential profit, paying little attention to the impact on locals and nature. Rather than comprehensive analysis and communication, projects tend to get rammed through in support of the almighty dollar (or yen, etc). Hamaguchi's point seems to be that the power of nature is a draw for all types, and this knowledge should be respected. Noteworthy here is that the film serves as the feature film debut for both Hitoshi Omika and Riyo Nishikawa, and both strike just the right note. We should also note that filmmaker Hamaguchi should be admired for always including life lessons in his beautifully filmed projects ... nice to look at and worthy of consideration (even with an ending that's a bit heavy-handed).
Greetings again from the darkness. In the age of sequels, here's one we can actually give a warm welcome to. Pixar has followed up the brilliant INSIDE OUT (2015) with one that picks up Riley a couple years later as she hits those teenage years, which as all parents know, means puberty. The first film won the Oscar for Best Animated Feature, and director Kelsey Mann (in her first feature film) is hoping for a repeat. This follow-up is terrific, yet it faces some tough competition in a year that also delivered three other exceptional (and worthy) animated features.
I have described this film to a few people as a "must see" for any parent of an adolescent heading towards the teenage years. What we get is a pretty accurate depiction and clear description of some of the changes on the horizon. The emotions from the first film: Joy, Disgust, Fear, Anger, and Sadness evolve into and clash with emotions significantly more complex: Anxiety, Envy, Ennui, and Embarrassment.
Amy Poehler is back voicing the energetic Joy, Lewis Black returns as Anger, as does Phyllis Smith as Sadness. New voices here include Kensington Tallman as (older) Riley, Liza Lapira as Disgust, and Tony Hale as Fear. The new emotions are voiced by Maya Hawke (Anxiety), Ayo Edebiri (Envy), Adele Exarchopoulos (Ennui), and Paul Walter Hauser (Embarrassment). And don't worry, Pixar good luck charm John Ratzenberger is back as Fritz ... along with plenty of other Pixar Easter Eggs throughout.
Riley is a star hockey player hoping to make the big step to the next level as she enters high school. The coach has her eye on Riley and invites her to hockey camp ... if only those new messy emotions don't get in the way. The awkward stage of keeping old friendships (Grace and Bree) while trying to fit in with the older kids is front and center here - and it doesn't always go smoothly. It's kind of fun to watch as Joy struggles to make sense of this new world. Suppressed emotions and sarcasm catch her off guard, and she looks to be losing her spot at Riley's control panel.
As we have come to expect, Pixar visuals are spectacular and play a key role in telling Riley's story. Maturing is rarely smooth sailing, and the film, co-written by Meg LeFauve and Dave Holstein, pulls no punches. They even include "Pouchy", a take-off on Toodles from "Mickey Mouse Clubhouse", as one who can deliver special help when needed. The biggest tug-of-war for control of Riley occurs between Joy and Anxiety, and it's as painful to watch as it is to live through ... although much more entertaining in this context. Pixar has delivered more than just another superb animated film; it's a starter kit (and cautionary tale) for parents and soon-to-be teens alike.
I have described this film to a few people as a "must see" for any parent of an adolescent heading towards the teenage years. What we get is a pretty accurate depiction and clear description of some of the changes on the horizon. The emotions from the first film: Joy, Disgust, Fear, Anger, and Sadness evolve into and clash with emotions significantly more complex: Anxiety, Envy, Ennui, and Embarrassment.
Amy Poehler is back voicing the energetic Joy, Lewis Black returns as Anger, as does Phyllis Smith as Sadness. New voices here include Kensington Tallman as (older) Riley, Liza Lapira as Disgust, and Tony Hale as Fear. The new emotions are voiced by Maya Hawke (Anxiety), Ayo Edebiri (Envy), Adele Exarchopoulos (Ennui), and Paul Walter Hauser (Embarrassment). And don't worry, Pixar good luck charm John Ratzenberger is back as Fritz ... along with plenty of other Pixar Easter Eggs throughout.
Riley is a star hockey player hoping to make the big step to the next level as she enters high school. The coach has her eye on Riley and invites her to hockey camp ... if only those new messy emotions don't get in the way. The awkward stage of keeping old friendships (Grace and Bree) while trying to fit in with the older kids is front and center here - and it doesn't always go smoothly. It's kind of fun to watch as Joy struggles to make sense of this new world. Suppressed emotions and sarcasm catch her off guard, and she looks to be losing her spot at Riley's control panel.
As we have come to expect, Pixar visuals are spectacular and play a key role in telling Riley's story. Maturing is rarely smooth sailing, and the film, co-written by Meg LeFauve and Dave Holstein, pulls no punches. They even include "Pouchy", a take-off on Toodles from "Mickey Mouse Clubhouse", as one who can deliver special help when needed. The biggest tug-of-war for control of Riley occurs between Joy and Anxiety, and it's as painful to watch as it is to live through ... although much more entertaining in this context. Pixar has delivered more than just another superb animated film; it's a starter kit (and cautionary tale) for parents and soon-to-be teens alike.