Knives Out

This is a really enjoyable night at the movies. It starts slow, but gradually picks up steam, and delights in the process. It reminds me of Poirot, or Murder by Death. Promos of the movie promise a lot of zaniness and unexpected twists. The truth is, while it’s expertly crafted, it’s not THAT twisty. It’s a pretty straight line if you pay attention. Most of these parlor murder mysteries rely on a genius detective (Scooby Doo?) to narrate how the crime went down. Inevitably, the criminal will just buckle and admit it, forfeiting their day in court. Embracing these tropes is the only way to have fun – to see where they lead. They didn’t reinvent the wheel here. It’s just a really well-made wheel.

The Irishman

This is a great production. You have to admire the thought and care that went into it. But it’s also an important landmark signaling the huge change in movie distribution and exhibition. Why did the studios pass on it? Why is a movie this big and star-studded on Netflix? Why isn’t there an intermission? Or why didn’t they divide it into two parts? The Oscars are still relevant, apparently, since Scorsese required the movie to be in theaters before streaming to qualify. When are the streamers and the theaters going to play nice and figure things out so as many eyeballs see the movie as possible?

Of the many notable features of the saga is the way the story truly spans a lifetime for these gangsters. Sure, plenty of movies (i.e. The Godfathers) depict gangsters as kids, growing up, getting sucked in or forced into a life of crime because that’s their best option. But there’s something about the way the filmmakers keep a constant thread here, finding a rhythm, repeating refrains, and showing the ice slowly melt away. It also functions as a history, teaching us about how powerful the gangsters were/are and how much US policy and American norms are dictated by gangsters who are only interested in power and lining their own pockets.

Accolades will be abundant and conversations will be had about theaters vs streaming. But it’s also a great drama critical of a certain kind of American experience in which shooting people in the face is the only way to get ahead.

Ford v Ferrari

Imagine if Michael Bay made a good movie. This is that movie. While it won’t really resonate, this is really loud, fun, and entertaining. The biopic parts of the story, while earnest and true, present a melancholy conclusion to what would otherwise be an action movie. Filmmakers handle the weird and sad bits with style, leaving the audience wondering how and why some races unfolded the way they did. There’s a lot of information about auto racing here, too. But it’s never boring thanks to the skillful exposition of the A-list cast. It’s a throwback to an era of big theaters and popcorn fun.

Doctor Sleep

To quiet the ghosts, Danny Torrence takes up drinking. You can see why he would do that, what with the traumatic childhood. But he continues to hear things and see the ghosts, and hear the thoughts of some of the souls near him. When one young, telekinetic woman reaches out through the cosmic ether to say hi, this starts to become… Scary. Legit scary. I haven’t seen scenes this scary in a while. Filmmakers do their best to honor Stephen King and Stanley Kubrick. Despite some unevenness and harried plot points, this is good. Much of the success is thanks to Rebecca Ferguson and her evil band of immortal, soul-sucking carnies. Filmmakers don’t hold back with the villain’s agendas or their ruination, and it’s uncharacteristically barbaric for a mainstream movie. I’m sure King is thrilled. As usual with movies adapted from big novels, some scenes feel rushed and some seem missing all together. But it’s fun to have a look at the inside of the Overlook Hotel again. That place doesn’t age!

Parasite

I’m supposed to love this. People I trust tell me I should love this. The critics say I should love this. But I didn’t really love this. I LIKED it. It was sharp and surprising. There were excellent themes about the haves and the have-nots. But I’m not sure what to take away from it. Who’s the protagonist? What do they want besides decent wifi? What have I learned? It’s well-acted, beautifully shot, and expertly designed. But it’s not love. We’ll have to just be friends.

Terminator: Dark Fate

So many of the Terminator sequels try their best to bend time and change the timeline so Schwarzenegger can come back, or to explain what happened to Eddie Furlong or whatever. Terminator movies cheat, and I’ve learned to accept that. Scene by scene, this is not bad. Action sequences are stylized and innovative. The acting of the primarily female cast is good. But it’s suffering from sequel-itis. There are no stakes. The past and the future are always changing. The bad terminators are always newer, better, and more destructive, but that never matters when someone can just pop back and change the timeline and suddenly the hero is Claire Danes or Emilia Clarke. Skynet doesn’t even seem to be a threat anymore. It’s getting to be like Quantum Leap. So, while Tim Miller’s direction is fresh and fast, the saga is aging ungracefully.