Nimona (2023) - Movie Review

Blue Sky Studios deserved better. I had given them a lot of flak for stuff like the Ice Age series and the Rio series, but their last two features not only showed drastic improvement from that standard, but showed that they had carved out their own niche in the modern animation market. Ferdinand had its growing pains, but still had some solid messaging, and Spies In Disguise only built on them further to make something even better. At long last, they found their (in my opinion) much-needed lane for today's family films with some strong pacifist messaging.

Then Disney bought out Blue Sky’s parent company 21^st Century Fox, repeatedly delayed their next feature, and then outright cancelled it along with Blue Sky Studios as a whole. The company that thinks digging up the graves of their previous successes, and that a new coat of CGI paint will cover the smell of stale corpse that is being paraded in front of audiences for profit, is a sound business strategy, but allowing a studio to continue operation and produce media that, just maybe, people might actually want to watch isn’t.

But out of the ashes of Blue Sky, this film still managed to take flight. Picked up by Annapurna Pictures, with animation by DNEG (who proved their salt as a dedicated animation studio with Ron’s Gone Wrong and Entergalactic), and Spies In Disguise directors Nick Bruno and Troy Quane (who were originally slated for the helm before Blue Sky got shuttered) brought back in. That this whole production exists as a manifestation of hubris and spite against the conglomerate that tried to stop it from being made, quite frankly, has already earned my respect. But hoo boy, did it not stop earning it from there.

The Killer (2023) - Movie Review

A new David Fincher film coming out is always cause for celebration. A new David Fincher film coming out after he scored another career highlight with Mank, more so. A new David Fincher film coming out with reuniting with writer Andrew Kevin Walker, the scribe behind his breakthrough work Se7en (and script doctor on his other crowning work Fight Club), even more so than that. Sure, I can’t say I was expecting this to entirely reach those same heights, but as someone who holds both creatives in such high esteem, I was definitely curious to see what a new team-up between them would look like. And in a lot of ways, it’s business as usual for the both of them, and in just as many, there’s something different going on here.

El Conde (2023) - Movie Review

Time to add a new dot on this blog’s global cinematic coverage with a look at some Chilean cinema… although this isn’t necessarily all that new for this blog, or indeed for just the stuff I’ve seen outside of it. We’ve looked at director Pablo Larraín’s work on here twice before with the historical biopics Jackie and Spencer, and there’s some ‘6 Degrees To Kevin Bacon’ that can be played connecting this to the only other Chilean film I’ve seen in The Wolf House, an animated horror story set in the Colonia Dignidad, whose overlord, Paul Schäfer, has been publicly defended by conservative minister Hernán Larraín, Pablo’s father.

They Cloned Tyrone (2023) - Movie Review

After co-writing Creed II, and getting thrown into the unholy soup that is the script for Space Jam: A New Legacy, writer Juel Taylor has made his directorial debut with one of the better Blaxploitation flips I’ve seen in a minute. Where remakes of the old guard like Shaft and Superfly felt the need to modernise the genre’s aesthetics (which only brought into question why they’d even bother getting involved in that genre in the first place), this actually sticks to its identifiable qualities, albeit with some updating on the cultural references like Obama and Bitcoin. The moody, shadowy cinematography from DP Ken Seng, the Terrace Martin-esque funk soundtrack from Desmond Murray and Pierre Charles (those basslines are just *chef’s kiss*), the frankly amazing costume design across the board; this looks really damn good.

Women Talking (2023) - Movie Review

[tw: sexual assault]

In Manitoba Colony, a Mennonite settlement in Bolivia, at least 151 women and children were raped over the course of four-or-so years. An anaesthetic normally reserved for livestock was sprayed in through their windows, knocking everyone inside the houses unconscious. At first, the men of the village attributed the ‘mysterious’ incidents to demonic attacks or possibly being done by Satan himself; in common parlance, once the event broke through the isolated nature of the village and its inhabitants, one name attributed to it was the ‘ghost rapes of Bolivia’.

While this film, and the novel on which it was based, is set with the backdrop of this atrocity, they primarily serve as a dramatic addendum to it. Described on-screen as an “act of female imagination” (a phrase also used to describe the assault itself when the women came forward about a more terrestrial culprit than Christianity's favourite strawman), the story depicts an impromptu council of women from this settlement, who meet up and try to come to a consensus about what they do next. Do they do nothing? Do they stay and fight? Or do they leave?

All The Beauty And The Bloodshed (2023) - Movie Review

I fractured my arm earlier this year. It was the first broken bone I’d had since high school, and while it wasn’t as bizarrely timed as those particular incidents (first ever broken bone was on my first day of Year 7, and the second and third happened a year later almost to the day), there was still some weirdness to it since it involved a literal legs-out-from-under-me pratfall in public due to a slippery floor. Even on accident, I just can’t help but make a public spectacle of myself.

At any rate, I went to the hospital to get it checked out, they confirmed it was indeed fractured… and then I got prescribed Oxycodone (or OxyContin, as it's more widely known) to deal with the pain. I usually don’t even bother with pain meds (and this isn’t some macho ‘I feel no pain’ nonsense talking; I just don’t really notice if they’re working or not), but since that first night after the break had me in utter sleepless agony, I figured it was worth trying. The main effect I remember it having, aside from the dulling of the pain as it should’ve done, was this woozy, drowsy sensation that lasted for a good few hours. It was… nice. Pleasant.

What wasn’t so pleasant was the isolation of being stuck inside, in pain, and feeling generally useless because I wasn’t able to get household chores done. Not to get too into it, but had I not accidentally thrown out that very Oxy prescription at one point, that isolation might have led me to do something very stupid. As I got into with Talk To Me, I have something of an addictive personality, along with hedonistic tendencies, and while I haven’t tried to get any more Oxy since then (and likely never will), there’s still a part of me that wonders what might’ve happened had I not thrown out that bottle. Would I still be taking it now? How close would I get to becoming part of that terrifying statistic?

Totally Killer (2023) - Movie Review

While the previous Christopher B. Landon film didn’t really play to his strengths, it really says something about strong those strengths are when two other films came out that within the same ballpark… and yet Landon had nothing to do with them. With how close we are to the end of the year, it’s unlikely that we’ll get to It’s A Wonderful Knife, but we are going to get into this film, which takes the Back To The Future inspiration from the Happy Death Day films and pushes them even further.