"KEEP BUSTIN'."

Archive for the ‘Thriller’ Category

The Voyeurs

Tuesday, April 16th, 2024

THE VOYEURS (2021) is a type of movie I really don’t think I’ve seen before: an erotic thriller that feels very now. It has the familiar ingredients of a ‘90s Skinemax joint: voyeurism (of course), extremely beautiful people with enviable living situations, obsession that brings out sides of people they didn’t know were there and slowly erodes a previously strong relationship, deception, forbidden desire, kinkiness, long sexual tension building to super hot but dangerous sex, death, a ridiculous twist. And yet it doesn’t feel remotely Shannon Tweedy. You almost question whether it’s the same genre, but clearly it is.

There are obvious surface reasons for it to seem different. It’s beautifully shot in a modern digital style (director of photography Elisha Christian, COLUMBUS, THE NIGHT HOUSE), so even all the scenes happening in the dark don’t have that faux-noir feel. And there’s absolutely no sexy saxophone (score by Will Bates, LOLA VERSUS, IMPERIUM) – in fact, it uses lots of upbeat electro dance music, and the main characters have what I consider good taste so they’re often listening to Mulatu Astatke and Galt MacDermot and shit.

Also, though there’s more nudity and sex than most movies these days and they’re trying to make it look amazing, it’s not that type where there’s, like, frilly lingerie and a thousand candles lit. So even the horniness is kinda different. The intimacy coordinator is prominently credited – good job Amanda Blumenthal (Euphoria, The White Lotus, BEING THE RICARDOS). (read the rest of this shit…)

Catch the Fair One

Wednesday, March 27th, 2024

I guess I would classify CATCH THE FAIR ONE (2021) as a thriller more than an action movie, but it’s a certified badass thriller. It’s the first acting role for Kali Reis, the former world champion boxer who recently starred with Jodie Foster in True Detective: Night Country (her reward for this, I believe). Reis also co-wrote the movie with director Josef Kubota Wladyka.

Reis plays Kaylee “K.O.” Uppashaw, a former pro boxer whose younger sister Weeta (Mainaku Borrero) went missing two years ago. Kaylee doesn’t fight anymore, she’s living at a women’s shelter trying to stay off drugs and working as a waitress. But she’s also in her BATMAN BEGINS stage of building up to find her sister. Her friend Brick (fellow pro boxer Shelly Vincent), who reminds me of Joe Pesci (in a good way), not only helps her train to wrestle and fight men much larger then her, but finds a recruiter (Isabelle Chester, THE FALLING WORLD) willing to take a bribe to bring her in with a “new batch” of workers for the traffickers she believes have Weeta. (read the rest of this shit…)

Tony Manero

Thursday, March 21st, 2024

After watching EL CONDE, I was reminded that Pablo Larraín was also the director of TONY MANERO, a movie I’d always wondered about where a guy is obsessed with John Travolta’s character from SATURDAY NIGHT FEVER. I think I even considered watching it back when I reviewed SATURDAY NIGHT FEVER and STAYING ALIVE last summer, but it didn’t pan out until now.

It’s from 2008, and it’s Larraín’s second film, following FUGA (2006). And watching it plays as kind of a distant cousin to EL CONDE in that it’s a distinct mix of the creepy and the absurd, plays off of movie iconography in strange ways, is not a fan of Chile’s tyrannical past, and is not easily classifiable. It’s basically a character study about a guy named Raúl who dreams of being the best Tony Manero impersonator in Santiago, and also sometimes kills people. Mostly the former, though, honestly. I’ve seen plot summaries that describe him as a serial killer, which is technically true, but this doesn’t play like a serial killer movie. Killing is not where he puts most of his energy.
(read the rest of this shit…)

Saint Maud

Tuesday, March 19th, 2024

When I first saw the trailer for LOVE LIES BLEEDING I thought “I need to see SAINT MAUD, don’t I?” It’s the first movie from writer/director Rose Glass, which was heavily hyped after playing TIFF and Fantastic Fest, and was picked up by A24, who of course gave it an intriguing trailer that was playing on all the horror movies. But that was in 2020, so the pandemic happened, it got delayed for a while, and ultimately only received a limited release in January of 2021, which was a no-go for me because it was well before vaccines were available.

So the hype train grinded to a halt, and personally I needed it to push me over the small hill of it looking like religious horror. You know, you put “Saint” in the title, you show her in some kind of robe on the poster, you show her levitating, I’m gonna assume it has something to do with possession or some shit. I can watch a movie like that if it’s a really good one, but I need some encouragement. Glass’s follow-up looking amazing gave me that. (read the rest of this shit…)

The Mountain Between Us

Thursday, March 14th, 2024

THE MOUNTAIN BETWEEN US (2017) is to date the biggest Hollywoood production from Palestinian director Hany Abu-Assad (RANA’S WEDDING, OMAR). Some reported it as his English language debut, but of course we know that was actually the Jeffrey Dean Morgan DTV action movie THE COURIER. This one is a little more respectable and was given a decent release, opening against BLADE RUNNER 2049 and doing okay-ish, despite pretty negative reviews.

Based on a 2011 novel by Charles Martin, it’s a survival movie with most of its runtime spent with just two actors. Daredevil conflict zone photojournalist Alex Martin (Kate Winslet, TRIPLE 9) and Baltimore-by-way-of-London brain surgeon Dr. Ben Bass (Idris Elba, PROM NIGHT) don’t know each other until their flight is cancelled by a storm, stranding them both at an airport in Salt Lake City. Alex is intent on getting home in time for her wedding, and she overhears Ben saying he needs to get home for a surgery, so she convinces him to go in with her to charter a small plane to another airport to catch a different flight. (read the rest of this shit…)

Ronin

Monday, February 26th, 2024

John Frankenheimer’s RONIN is a movie that kicked my ass in a multiplex in the year 1998 A.D. The thing that really stuck in my head about it was the car chases, of course – specifically the one where they end up going the wrong way in a tunnel. But I also remembered it being very tough and smart, I was pretty confident it would hold up, and man was I right. This is a ’90s classic. But timeless.

The title is a metaphor comparing former intelligence agents and soldiers to masterless samurai. It’s about a group of them, apparently serving no higher cause, just letting whoever-the-fuck hire them for their particular set of skills. Sam (Robert De Niro between GREAT EXPECTATIONS and ANALYZE THIS) is a former CIA guy who’s in Montmartre to meet IRA operative Deirdre (Natascha McElhone, THE TRUMAN SHOW), who’s putting together a team that also includes the Frenchman Vincent (Jean Reno doing penance for GODZILLA), Englishman Spence (Sean Bean, GOLDENEYE), German computer expert Gregor (Stellan Skarsgård right before DEEP BLUE SEA) and American driver Larry (Skipp Sudduth, MONEY TRAIN, 54). They will be stealing a metal case from a heavily armed convoy, so they discuss what they know and don’t know about how it will go down, how and when they’ll do it, what equipment they’ll need, where they’ll get that, how they’ll prepare. (read the rest of this shit…)

Desierto

Tuesday, February 20th, 2024

DESIERTO is a straight ahead chased-by-a-sniper thriller that I know at least one person has encouraged me to review, but I couldn’t find who. Thanks for the recommendation, whoever it was. I remembered it after watching THE COURIER last week, because The Courier himself, Jeffrey Dean Morgan, plays the sniper in this one.

It’s directed by Jonás Cuarón, son of Alfonse and co-writer of GRAVITY. This time he co-wrote with Mateo Garcia. It’s about a group of Mexican migrant workers trying to cross the US border illegally, and encountering a crazy fuckin asshole (Morgan).

I don’t remember them ever saying the main characters’ names, but Gael García Bernal (THE LIMITS OF CONTROL) plays our protagonist Moises, a sometime mechanic who is trying to return to his family in Oakland after being deported for a broken tail light. When the truck they’re being transported on breaks down in the middle of the desert, their guides Mechas (Diego Cataño, SAVAGES, THE MULE) and Lobo (Marco Pérez, AMORES PERROS) reluctantly lead them on foot through a dangerous area they don’t know very well called the Badlands.
(read the rest of this shit…)

The Courier (2012)

Thursday, February 15th, 2024

For those who came in late: Yesterday I wanted to watch a movie from Palestine, and I picked OMAR (2013), a very good Oscar nominee that deals with the Israel-Palestine conflict in the form of a dramatic thriller. Afterwards I read about director Hany Abu-Assad and learned that he’d also done the similarly themed, also Oscar-nominated PARADISE NOW (2005), and I think I’m gonna watch that soon. But I also found out that the one movie he did in between those was the 2012 DTV action movie THE COURIER starring Jeffrey Dean Morgan. So… I’m sorry. I had to get to that first. I was too excited not to.

Morgan (WATCHMEN, THE RESIDENT) stars as The Courier. Similar to the Transporter, but with less emphasis on which car he’s driving, he’s the guy who it’s known is the absolute best at delivering a case of unknown contents to some nefarious character without asking questions. I think this was too early for there to be an app to use when you need to hire someone for that, so he really just gets jobs by word of mouth. Good for him. He lives in an old print shop with the name “Ed Smith” on the sign (one of Parker’s aliases, incidentally), and his friend calls him Eddie, but I don’t know him like that, so I call him The Courier, like the credits do. (read the rest of this shit…)

Omar

Wednesday, February 14th, 2024

Right now, maybe even more than usual, there’s a horrible tragedy going on in the world. It’s painful to dwell on, but I can’t ignore it. I feel with every cell in my body that what Israeli soldiers and American weapons are doing to human beings in Gaza right now is unjustifiable in any context, with any history. But I also know that nothing I do or write can change anything about it. And I’m not trying to start a debate. That doesn’t help anybody. So I can only try to keep doing what I do in a way I feel is constructive.

What I do is write about movies, and one thing I love about movies is the way they can connect us to other people, other places, show us the world through the eyes of others, make us feel things maybe we wouldn’t have otherwise, to understand the world in a different way. So I thought I should see a movie from Palestine. I didn’t know anybody to ask about the subject, so I just looked at the small Palestine section at Scarecrow Video and OMAR (2013) was the one I found that looked most interesting. I don’t remember ever hearing of it, but I had to have when it was nominated for the Best Foreign Language Film Oscar. (Italy’s THE GREAT BEAUTY won that year. I didn’t see that either.) (read the rest of this shit…)

They Cloned Tyrone

Tuesday, February 6th, 2024

I feel a little guilty for reviewing more Netflix movies than usual lately. But I’ve been catching up on some stuff and I think THEY CLONED TYRONE (2023), if not the best of them, is still the kind of thing that sinister corporation owes us as a civilization and culture. They gotta balance out their ills a little by spending money on movies by new directors, that have interesting ideas. Give them a name cast and some production value but let them make something that’s not necessarily very commercial, at least not enough that they would’ve made it if they were in the movie business, looking for paying customers.

This one they actually promoted more than most of their stuff and they still didn’t give a fuck, they released it on the same day as BARBIE and OPPENHEIMER! It’s distinct from the typical Netflix joint both structurally and stylistically – structurally because it has the confidence to let you be confused for a while before it starts to reveal what’s going on, or even that there is something going on; stylistically because it avoids that modern digital cleanness, instead having a beautifully grainy 16mm sort of texture to it. I assume they shot it digitally and did that in post (would it really have cigarette burns on the reel changes if it was never meant for projection?) but it works just the same. (read the rest of this shit…)