Author Archives: davidcraigstl

The Phoenician Scheme

Director Wes Anderson dazzles with his zany new movie The Phoenician Scheme. A gaggle of wacky characters zigzag through episodes that are not always laugh-out-loud funny but are consistently bizarre, surprising, compelling and reassuring.

Reassuring, that is, that Anderson can still make a fun film. After his recent lackluster efforts, concern that he may have lost his touch can be put aside for at least one hour and forty-five minutes as Anderson pulls out some of his trademark tricks—overhead shots, tracking shots, maps, oddly titled books etc.—and introduces a few new ones. 

As is his habit, the director employs a large cast of his favorites including Tom Hanks, Bryan Cranston, Jeffrey Wright, Scarlett Johansson, Benedict Cumberbatch, Willem Dafoe and, in a brief appearance in a dream sequence as God, Bill Murray.

This time Anderson puts most of his eggs into one cinematic basket by making Benicio Del Toro the main star who does much of the film’s heavy lifting. He plays Zsa-Zsa Korda, a businessman who has many enemies, some of whom, he claims, are trying to assassinate him. Del Toro’s voice sounds, to my ear, almost exactly like Clark Gable’s.

Korda keeps his business matters in shoeboxes. (Hey, the film is set in the middle of the last century when people DID keep important papers and stuff in shoeboxes. And cigar boxes. Etc.) 

Also receiving an abundance of screen time is Mia Threapleton. Who? She’s the daughter of Kate Winslet and filmmaker Jim Threapleton. She plays Korda’s daughter, Liesl, who is a nun but who also wears red lipstick and heavy eye shadow.  

Korda also has nine sons who mostly stay out of sight and occasionally launch arrows down at Korda from the balcony above his table. What? Silly stuff, that’s what.

Bjorn (Michael Cera) is Korda’s assistant, who is charged with keeping control of a red satchel containing all of Korda’s liquid funds, but who frequently misplaces it.

The plot involves Korda’s lining up an assortment of individuals to get them to buy into his scheme, um, plan to fund a large infrastructure project in Phoenicia. The script is by Anderson from a story he concocted with frequent collaborator Roman Coppola.

Any recommendation of The Phoenician Scheme must be prefaced with the words “if you like Wes Anderson movies.” He has made some good and clever ones such as The Royal Tenenbaums and The Grand Budapest Hotel. If you have enjoyed either or both of those, you may find The Phoenician Scheme to your liking. 

This is a film I would’ve enthusiastically embraced when I was in high school and college. Because I still maintain a certain level of immaturity, The Phoenician Scheme is goofy enough and silly enough to tap into that part of me that goes for the nonsensical. 

I also appreciate the fact that the film’s credits include the names of the housekeeping staff at the hotel where the cast and crew stayed during its production last year in Germany.

The Phoenician Scheme runs an hour and forty-five minutes. Rated PG-13.

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Karate Kid Legends

Everybody was Kung Fu fighting, as the song goes. But Li Fong (Ben Wang) needs to learn Karate. And that calls for, yes, THE Karate Kid (Ralph Macchio) who points out that Karate and Kung Fu are “two branches, one tree.”

Karate Kid Legends has plenty of karate and kung fu (plus a bit of boxing) but also has family drama, budding romance and the classic face off between good and evil. And there’s the old “fish out of water” element of teenager Li moving with his doctor mom (Ming-Na Wen) from Beijing to New York City. 

Shortly after his arrival in NYC, Li meets a girl, Mia (Sadie Stanley) whose Dad Victor (Joshua Jackson) runs a pizza parlor. Mia’s ex-boyfriend is local karate expert Conor (Aramis Knight) who keeps encountering Li. Conor is the bad guy in this story, the evil to Li’s good. Although Li has promised his mom that he will avoid fighting in his new country, the inevitable occurs.

Of course it’s great to see Daniel LaRusso (Macchio) looking good and agile at age 63. And the all-time great Asian actor Jackie Chan also moving pretty good at age 71. Chan is Mr. Han, a Beijing kung fu coach who suddenly appears in New York to encourage Li to enter the 5 Boroughs karate tournament. 

And, surprise, the final match of that event features Li Fong versus his nemesis Conor. By this time, his mom is fully supportive.

Karate Kid Legends has Gen-X appeal for those who saw the first movie back in the 80s and maybe can even remember some of its lines. And Joshua Jackson was part of the Dawson’s Creek cast back in the 90s. With its robust action, teen angst and energetic music track—though no Carl Douglas—Karate Kid Legends is a fun, fast-paced movie. A tasty treat! Rated PG-13. 

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Mission Impossible: The Final Reckoning

Reviewing Mission Impossible: The Final Reckoning (MI:TFR) via some Q & A…

Does Tom Cruise do his own stunts? 

Yes. So we are told. The new film’s money shot is an aerial chase involving century old technology… biplanes, like the one Lindy flew to Paris 98 years ago. My concern while watching the scene was not the welfare of Ethan Hunt (Tom Cruise) but instead… how did they do it? How much time was spent digitally erasing the tethers? Where were the cameras placed on the planes and copters and drones? Did Tom realize he looked like Moe Howard when the wind pushed his hair down over his face?

Is it necessary to have seen 2023’s Mission Impossible: Dead Reckoning (Part One) (MI:DR) to enjoy the new movie? 

No. There’s a voice over at the beginning of MI:TFR that goes over much of the activity and set up from the earlier film. And MI:DR is available for streaming on Prime Video if you’re interested. Watching it can help provide context for the new film. (My review of MI:DR from July 2023: https://davidcraigmovies.com/2023/07/11/mission-impossible-dead-reckoning-part-one/)

Are there other amazing stunts beside the biplane chase? 

Oh, yes! The submarine dive which comes in the middle of the movie offers big thrills and tension as Ethan goes into the sunken Russian sub to retrieve a vital element of “the entity.” His ingenuity as he escapes via a torpedo tube and the clever way the scene is resolved are true highlights of MI:TFR.

What is “the entity?” 

It’s a rogue software program that threatens to destroy everything that is online throughout the world. Or selectively, if a person or a nation has control of the entity. MI:DR’s plot was pursuing the two pieces of a key that can unlock the entity. MI:TFR’s plot is gaining access to the other elements that can enable or disable the entity.

Is there actually a server farm that contains all of humanity’s knowledge hidden deep underground somewhere? 

Who knows? But the image of the one seen is MI:TFR may provide a clue to digital storage capabilities that Amazon and Microsoft (and others in foreign lands) have now and are constantly expanding to accommodate AI.

Could a woman be our president? A Black woman? 

Well, maybe. (One such real life person did get 75 million votes last November.) Angela Bassett brings an even-tempered level of gravitas to her role as POTUS in MI:TFR. 

Can Nick Offerman play a heavy? 

Yes. He’s a general, one of the president’s key advisers. The question of destroying a U.S. city in a weird defensive strategy is debated among the POTUS and her inner circle. 

Do the other members of the Impossible Mission Force play important roles in aiding Ethan in his mission? 

You betcha! Benji (Simon Pegg) and Luther (Ving Rames) provide the hacking and other assistance needed at key junctures. The newest member of the IMF, Grace (Hayley Atwell), demonstrates physical abilities beyond picking pockets in a violent fight scene early in the film.

Is Gabriel (Esai Morales) a capable villain? 

Yes, if you like your villains handsome and swarthy with a bit of charm. 

Anybody else of note in the cast? 

Yes. Henry Czerny is back as CIA chief Kittridge. Also supporting are Hannah Waddington, Janet McTier and, as the curious character Paris, Pom Klementieff.

Is MI:TFR too long? 

No. Not at all. Except for a few sections of exposition, the film moves quickly from locale to locale, from task to task, from peril to peril. Just under two hours and fifty minutes.

Should I get the large popcorn? 

Absolutely, yes. The mondo bucket size.

When will Mission Impossible: The Final Reckoning be available on streaming platforms?

In a few months. But do yourself a favor and see this one in a theater. IMAX if you can swing it.

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Warfare

IF YOU LIKE WAR MOVIES… you might enjoy Warfare.

IF YOU WERE OKAY WITH THE REALISTIC GORE OF SAVING PRIVATE RYAN… you might enjoy Warfare.

IF YOU APPROVE OF AMERICA’S INVOLVEMENT IN IRAQ IN THIS CENTURY… you might enjoy Warfare.

The true events depicted in Warfare occurred on November 19, 2006. American Navy seals were sent into a neighborhood of Ramadi, Iraq to quell an assemblage of jihadists. They took over a residence. They engaged the enemy. 

A missle hit resulted in injuries to troops who were outside the residence. Efforts were made to address those grisly wounds. A pair of tanks were dispatched to ferry the troops out of the danger zone.

Did this action have a significant effect on the U.S, war effort in Iraq? Hard to say. As one of the Iraqi family members whose home was taken over by the Americans pleads near the movie’s end, “Why?” 

The moviemaking craft employed here is laudable. Despite being filmed primarily in Britain, the moviemakers (co-directors/writers Alex Garland and Ray Mendoza) do a superb job of recreating the Iraqi home and its environs. Aerial surveillance images add to the storytelling of the mission.

Warfare shows the teamwork and commitment these men—real life individuals—put into the U.S. military efforts in Iraq. Only a few of these men have their real names and photos shown in the film’s end credits—most are given aliases and their faces are blurred.

Warfare is intense. Not an easy film to watch. Once was enough for me. Rated R.

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Drop

A suspense thriller has to be intense. Enough to make a filmgoer a tad uncomfortable but not so much as to be off-putting. Drop is just intense enough without going over the line. It’s rated PG-13, not R.

Violet (Meghann Fahy) is a widow with a 5-year-old son. She’s finally ready to date again. She agrees to meet Henry (Brandon Sklenar) for dinner. When she arrives at the restaurant she has quick encounters with a few staff members and patrons.

After Henry arrives, she begins getting threatening messages on her phone and wonders what’s going on. As the tension builds, it also occasionally ebbs throughout the ordeal via Henry’s gentle demeanor and a comic-relief goofy server.

As relatable as a constantly pinging cellphone can be, and as annoying as text messages from unknown sources can be, coupled with the awareness that we are often being surveilled, Drop takes our modern tech and the constant attachment we have to our cellphones to a different level. 

As Meghann monitors camera shots from her home and considers the potential peril her son Toby and her babysitting sister Jen (Violett Beane) may face, she wonders who is behind all this troubling harassment. Another restaurant customer? The piano player? The goofy server?

During their conversation, Meghann reveals to Henry that she is a survivor of domestic abuse. Interestingly, Brandon Sklenar played a key character in last year’s It Ends With Us, another film involving an abuse survivor. 

Director Christopher Landon and writers Jillian Jacobs and Chris Roach have crafted a film that feels very “of today” with its focus on phone messages delivered via Air Drop. Still, Drop seems like a rather generic title. 

Drop clocks in just under an hour-and-a-half, so the suspense which some filmmakers stretch to ridiculous limits, is kept to a reasonable extent. Like the film’s intensity level, it’s not too much. Just enough.

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Black Bag

Black Bag is compact. Tight. Succinct. Slick. Director Steven Soderbergh does not waste a frame in this 90-minute spy thriller. 

Plus it has a cool percussion heavy soundtrack from David Holmes who did those wonderful soundtracks for Soderbergh’s Ocean’s movies (11, 12 & 13.) Black Bag’s music has more of a 60s-70s feel to my ear.

From the opening shot of George Woodhouse (Michael Fassbender) walking through a boisterous nightclub for a meeting to the quieter setting of the dinner he serves his guests in his home, the story keeps you guessing as to what’s next and who’s the transgressor. Which is the point, right?

Woodhouse is charged with figuring out which of a list of intelligence operatives is sharing secrets with the other side. His methods include an uncomfortable game played with his dinner guests which takes a surprisingly violent turn.

Those guests from the spy agency include his wife Kathryn (Cate Blanchett), Freddie Smalls (Tom Burke), Clarissa Dubose (Marisa Abela), Col. James Stokes (Regé-Jean Page) and Dr. Zoe Vaughn (Naomie Harris). All of them, as well an agency guy played by Pierce Brosnan, are flawed and some of their missteps are known (or become known) to Woodhouse and to the film’s audience.

Revelations occur in sessions with therapist Dr. Vaughn, in interactions at agency HQ, via lie detector tests, via long distance observation of Kathryn’s visit to Geneva and even on a quiet lake in a fishing boat. And, of course, in private conversations between George and Kathryn.

Though marketing for Black Bag has stressed the issue of the married couple having to keep secrets from one another AND the issue of their not being able to completely trust the other partner, there’s more to the movie than that simple element.

Fassbender and Blanchett are both excellent in their roles and the other players make up a compelling ensemble. Soderbergh and writer David Koepp toss in Black Bag’s various narrative points at an occasionally rapid pace so don’t take a long potty break once the show starts.

Black Bag is rated R.

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Novocaine

Jack Quaid has a problem. Or is it I who has the problem?

His highly entertaining new action/adventure film Novocaine is well-crafted and Quaid’s character is developed a bit more than is typical in movies like this one.

But throughout the screening of Novocaine almost every time Quaid appeared onscreen I saw… Bill Hader. They have similar builds, similar hairlines and even some similar facial expressions. Does anybody else have the Hader issue with Quaid or is it just me?

The movie is a treat for fans of violence, chases, gunplay, hand-to-hand combat and all that sort of stuff. It’s a real adrenaline rush. And there are laughs along the way, too.

Nathan Caine (Quaid) is a guy with weird genetic disorder: he cannot feel pain. This has led to some behavioral quirks. He won’t even eat solid food for fear of chewing off his tongue and not feeling it. His only friend is a fellow gamer Roscoe (Jacob Batalon), a guy he’s never actually met except online. 

Nate hooks up with a coworker Sherry (Amber Midthunder) who also has issues from a dysfunctional upbringing. They work at a bank in San Diego where Nate is assistant manager. Novocaine starts out as a sweet romcom.

Then a robbery occurs. The bank manager is killed. Several cops are gunned down. Sherry is taken as a hostage. Nate heads off in pursuit to rescue her—in a police car.

His effort takes him to a commercial kitchen with hot grease and a hot frying pan, a house filled with booby traps and a tattoo parlor where Nate takes on a tattoo artist who is a mountain of a man.

Co-directors Dan Berk and Robert Olsen and writer Lars Jacobson keep the momentum going from the robbery to the final face off on the San Diego docks. The work done by the film’s stunt coordinators is impressive.

Hader—um, sorry, Quaid—is good at comedy AND violence and at mixing the two in the same scene. Batalon’s first onscreen appearance late in the movie is a key element in the plot. And Midthunder is revealed to have abilities beyond being just a sweet, demure young babe.

Among the supporting players are familiar faces Matt Walsh and Betty Gabriel as San Diego cops. 

Novocaine is rated R.

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Love Hurts

There’s a lot more HURT than LOVE in the new movie Love Hurts. The barrage of comic violence has folks in pain from fists, feet, guns, knives and various other means of human punishment.

The story? It’s the old “hit man tries to go straight” bit. Marvin Gable (Ke Huy Quan) is a successful realtor, having put behind him his history of violence. But when what appears to be a Valentine’s Day card arrives with an ominous message within, he realizes that he has to elude various parties who want to settle scores.

His main nemesis is his brother Knuckles (Daniel Wu) who has engaged numerous henchmen to help track him down. Gable’s old romantic flame Rose (Ariana DeBose) is also back in the picture. 

The film has numerous references to that holiday of love but to call Love Hurts a Valentine’s Day movie is kinda like calling Die Hard a Christmas movie. It’s not the sort of Valentine’s Day-related movie that would be likely to engender thoughts of romance.

Also in the cast are Sean Astin who was a cast mate of Quan 40 years ago in The Goonies and former NFL great Marshawn Lynch. Plus a quick appearance by one of TV’s Property Brothers.

Quan and DeBose both have on-screen charisma. And Oscars! So there is genuine talent here.

Love Hurts is a relatively mindless bit of “John Wick lite” type violence with a few laughs along the way. It clocks in at a thrifty 82 minutes. Rated R for the comic violence and F-bombs galore. But, interestingly, no sex or nudity. 

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My Top Ten Movies of 2024

#1. Conclave—Classic movie for grown-ups. Story, script, acting, directing all top-notch! Ralph Fiennes could finally win best actor.

#2. Dune: Part Two—Stunning visuals. Booming soundtrack. Timotheé Chalamet leads a strong cast. But this is director Denis Villaneuve’s movie.

#3. Wicked—Ariana Grande is so dang cute and Cynthia Erivo is awesome and the music’s great and it’s colorful and almost totally fun.

#4. Thelma—An under-the-radar movie about an elderly gal who gets scammed out of $10K and tries to get it back. 95-year-old June Squibb is excellent in the title role.

#5. Sing Sing—Not your usual prison movie! Incarcerated men form a repertory theatre company and put on a unique production. Colman Domingo and Clarence Maclin are award-worthy in their performances.

#6. A Complete Unknown—Timotheé Chalamet looks like Dylan, talks like Dylan, sings like Dylan. Plus Joan Baez and Pete Seeger, too! The early 60s come alive!

#7. The Fall Guy—This film has everything: drama, comedy, romance, stunts. OMG, stunts! Two of our best stars Ryan Gosling and Emily Blunt are both charming in this fun movie about… making movies.

#8. Knox Goes Down—Michael Keaton is the title star and the director of this compelling tale of a guy with early stage dementia who comes to the aid of his estranged son. Another under-the-radar film seen primarily via streaming.

#9. Twisters—Tornados are horrible but this film is not. Daisy Edgar-Jones and Glenn Powell are the leads in a Hallmark-type romance. Effects are good and the vicarious rush of chasing tornados bursts through the screen.

#10. A Real Pain—Kieran Culkin is the title co-star of Jesse Eisenberg’s personal project—the story of two cousins who visit their family’s homeland of Poland. Eisenberg wrote, directed and stars.

A few more movies I liked…

Argylle—Bryce Dallas Howard has fun in a goofy fantasy.

Monkey Man—Dev Patel takes a licking (actually several) in this violent revenge film.

Piece By Piece—Colorful, musical Pharrell Williams biopic told with Legos!

The Beekeeper—Action/adventure vengeance carried out by Jason Statham.

It Ends With Us—From the Coleen Hoover novel, a well-made film about domestic violence.

Blink Twice—Island antics with Channing Tatum and friends turn weird.

A few movies I DID NOT like…

Deadpool & Wolverine—Expected fun and excitement, got a tedious slog.

The Brutalist—For film fest fans only. The 2nd half of this overlong film is interminable.

Fly Me To The Moon—ScarJo looks great but this film misfires on the launch pad.

The Nickel Boys—Watered down reworking of Colson Whitehead’s intense novel of racism in mid-century Florida.

Bob Marley: One Love—Lots of music, lots of ganja, heavy accents. Too much narrative squeezed into two hours.

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A Complete Unknown

If you said “hmmmmm, I’m not sure about that” when you heard that Timotheé Chalamet had been cast as Bob Dylan, your can rest your fears and rejoice because the young star is excellent as the legendary singer/songwriter. He nails Dylan’s nasally mumbling speech patterns and he also sings and plays guitar with style and passion in the new film A Complete Unknown. For music fans, it’s a “must see.”

Chalamet and director/co-writer James Mangold do a nice job of contrasting the raw rookie Dylan of the early 1960s with the very different Dylan of 1965. The early Dylan who rolls into New York is aware of his own talent but needs audiences. One of his first is Woody Guthrie (Scoot McNairy) who is bedridden in a New Jersey sanitarium. 

It’s there he meets folk music icon Pete Seeger who give his young friend a strong leg up. Dylan’s relationship with Pete Seeger (Edward Norton) which goes from warm to icy, as Dylan gears up to take his music to a new level, is one of the film’s key conflicts. Here was the young savior of folk music who did the traditional folk songs as well as his own compositions in the style of the folk legends of the day. Would he follow Pete’s will and stay within the strict boundaries of the Newport FOLK Festival?

Dylan had bigger dreams. As fans know, he had a prolific period in 1965 and 1966 which saw him release three new albums (one of those a double album) in just over a year. He also had his first hit single which introduced him to America via Top 40 radio and contained the lyric that gives this movie its title. Those three albums were not like the ones that had come before. One of the cool scenes in the film is Dylan and his band playing the song Highway 61 Revisited—complete with police siren whistle!—in a recording studio. 

The 1965 version of Dylan in the movie is cool, detached, arrogant. He’s made some money, rides a motorcycle and is surrounded by adoring fans. He has an attitude.

Another of the film’s conflicts is the hot and cold relationship Bob has with Joan Baez (Monica Barbaro). Their songs together are among the film’s top musical moments, not unlike the memorable duets in Mangold’s 2005 biopic Walk The Line between Johnny Cash and June Carter (Joaquin Phoenix and Reese Witherspoon). More conflict: Dylan’s girlfriend Sylvie (Elle Fanning) has enough of Bob and Joan and departs Newport just before the film’s climax. And, by the way, Cash (Boyd Holbrook) was a few moments in this film.

Looking back six decades later, it doesn’t seem that Dylan’s “going electric” was that big a deal. More like just another event in the rapidly changing pop culture scene of that tumultuous decade. But—at the time—it was a big deal. And it’s the crux of Bob Dylan’s evolution and the next step in the dawn of the folk/rock era as presented here.

A Complete Unknown is the best kind of biopic because it doesn’t try to cram decades of its subject’s life into a couple of hours. It focuses instead on just two distinct periods in the early years of this musical icon. And like the best movies that include music, the music is just as vital to the film as the story. Maybe even more vital. The songs provide the film’s most magical moments.

Not that it matters, but A Complete Unknown has already received awards nominations and more are sure to come. Chalamet, Norton, Barbaro and Mangold could be holding trophies soon. And even though the Dylan songs in the film are too old to be considered for new awards, wouldn’t it be cool to have Timotheé Chalamet perform a Dylan classic or two on the Oscars telecast?

Among my feelings after seeing A Complete Unknown is a desire to rewatch the movie Inside Llewyn Davis a 2013 Coen brothers film about a talented young folk singer in New York in 1961 who keeps making missteps and running into bad luck. That film, like this one, recreates the era beautifully even if the fictional tale is not so beautiful. 

To be sure, there are many more Dylan stories to be told and Dylan songs to be sung. Would Chalamet and Mangold want to tackle those in a future film? Is it completely insane to suggest such a thing even before this movie has been released? Maybe a romantic film focusing on Dylan and Joan Baez in their times together in California and upstate New York? Would that work?

Sorry for thinking too far ahead. Let’s just enjoy this superb movie A Complete Unknown right now and not worry too much about what may be blowing in the wind. 

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