THE MENU (2022) is part of the 2020s wave of “rich assholes go to an island and something fucked up happens there” movies (see also: GLASS ONION, BLINK TWICE, TRIANGLE OF SADNESS [though they end up on the island by accident there]). Juror #2 Nicholas “Nux” Hoult plays Tyler Ledford, a food-nerd who proudly paid $1250 a plate to bring his less-interested date Margot, played by Furiosa #2 Anya Taylor-Joy, to a private island where celebrity chef Julian Slowik (Ralph Fiennes, THE AVENGERS) presents extravagant themed meals for exclusive clientele. Right away you know Tyler sucks because he calls Margot “babe” and lectures her about her palate, and that Margot is the final girl because she’s the only one looking back to see the boat leaving and the doors closing behind them. We side with her anyway because when Tyler raves about the lemon caviar and raw oyster with mignonette and mansplains that alginate is made of algae she says, “Yeah. Pond scum.” (read the rest of this shit…)
Posts Tagged ‘Isabella Rosellini’
This is Fiennes: THE MENU vs. CONCLAVE double feature
Thursday, February 20th, 2025Death Becomes Her
Thursday, September 8th, 2022
“She’s dead, sir. They took her to the morgue.”
“The morgue? She’ll be furious!”
On July 31, 1992 we come to another one of those odd happenings that caused me to label this as Weird Summer. This is the time when an A-list director became enamored of a cynical black comedy and turned it into a big summer movie starring Meryl Streep, Goldie Hawn and Bruce Willis. Writers Martin Donovan (the Argentinian filmmaker who directed APARTMENT ZERO, not the guy from the Hal Hartley movies) and David Koepp (co-writer of APARTMENT ZERO – this was his movie after TOY SOLDIERS) saw it as a low budget indie, and then it got made with a budget bigger than ALIEN 3, and groundbreaking digital effects by Industrial Light and Magic. The effects ended up winning an Oscar and Koepp’s next gig was writing JURASSIC PARK.
Director Robert Zemeckis had put his name on the blockbuster map with ROMANCING THE STONE in 1984, and then triple circled, highlighted and put stars next to his name when BACK TO THE FUTURE was a surprise smash hit the following year. Since then he’d made my favorite of his movies, WHO FRAMED ROGER RABBIT (1988), followed by the BACK TO THE FUTURE sequels (1989 and 1990). Those were all rated PG, and most of them were produced by Steven Spielberg, so Zemeckis was generally thought of as that kind of family friendly whiz bang popcorn movie guy. And now here he comes with this mean-spirited PG-13 movie aimed at adults, its wider appeal coming from the genuinely envelope-pushing ways it depicts gruesome bodily mutilations. (read the rest of this shit…)
Wild at Heart
Thursday, February 12th, 2015
Sailor Ripley is the character who was born for Nicolas Cage to play. He’s the ultimate bad boy who you wouldn’t bring home to your parents, an old timey hoodlum ex-con, self-conscious about his rebellious image, and obsessed with Elvis, who he calls “E” for short. He talks like him, combs his hair kind of like him, sings his love songs only at important romantic milestones. He and his young girlfriend Lula (Laura Dern) love to dance together, and at one point they pull their Thunderbird convertible to the side of the highway, play heavy metal and dance, which to him mostly means jumping around doing karate kicks and punches. They don’t have to discuss that they’re going to do this, so you gotta assume it’s one of their regular activities.
Sailor wears a snakeskin jacket, which he proudly says on more than one occasion “represents a symbol of my individuality and my belief in personal freedom.” He’s a self-professed “robber and a manslaughterer” and hasn’t “had any parental guidance.” He started smoking when he was “about four,” and cigarette brand loyalty seem to be one tradition he and Lula inherit from their parents. He knows many unsavory characters from his time as an underworld driver, including Lula’s mother Marietta Fortune (Dern’s real life mother Diane Ladd), who is so serious about keeping Sailor away from her daughter that she takes a hit out on him. She’s also so wicked that she frequently goes on cackling jags and is several times depicted as the WIZARD OF OZ witch, flying on a broom or watching them in a crystal ball. (read the rest of this shit…)
Enemy
Wednesday, August 6th, 2014
ENEMY is a weird, spooky thriller that director Denis Villeneuve and star Jake Gyllenhaal did right before PRISONERS. The arthouse freakout before the expensive studio drama that Lee Daniels got fired from. PRISONERS made me pay attention to the former and gain new respect for the latter, so here I am watching ENEMY.
Gyllenhaal plays a depressed college history professor who rents a movie one day and notices that the part of Bellhop #3 is played by a guy who looks exactly like him. Creepy. He does some detective work and tracks down the actor, who also has his same voice and an identical scar. He’s not sure what the fuck is going on, and he’s fascinated, but he’s weird about it. He calls and confuses the guy’s poor wife. (read the rest of this shit…)
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