An audacious and demented film, tailor-made for its recent Midnight Madness slot at the Toronto International Film Festival, Julia Ducournau’s Titane also has intimations of profundity - quite a claim for a film about a woman who is impregnated by a car.
The Suicide Squad, Gunn’s sequel to David Ayer’s poorly reviewed first try at the tale of a group of super-villains forced to be good guys, is a nihilistic orgy of brightly coloured gore and violence apparently envisioned while on mushrooms. If you’re sitting near the front of an IMAX theatre, it plays like being in the “splash-zone” of a GWAR concert.
Here Today is the movie Crystal directs, a genial, monotone of good-heartedness that isn’t as funny as it wants to be or needs to be, but hits some truths about the subject of age and dementia, while maintaining its mild smile.
There’s a little more room for characters to breathe. This is not to last, however. The whole thing must ignite into a final act of fights, car chases and general destruction (and Snake Eyes’ discovery of honour). The battle scenes are often darkly lit and confusing (though it is a change of pace to see so much swordplay as opposed to gunplay), and the attempt to fuse the Joes and Cobra into the plot in the last act is not exactly smooth.
If this seems like a bit of a deep dive when the subject is trendy restaurants in Portland, Pig is a serious movie with heady themes that just happens to come at you from oblique and unexpected angles.
With echoes of Starship Troopers (minus the pointed satire), The Tomorrow War, starring Chris Pratt, is the second noisy “temporal war” movie of the pandemic era, after Christopher Nolan’s Tenet. To differentiate between the two, this is the one Nolan would have written if he’d suffered a head injury.
Canadians already made the definitive young-woman-turned-werewolf movie, with 2000’s Ginger Snaps, which is a bar to clear if Bloodthirsty is to make an impression on veteran horror fans. But the pop music angle, an LGBT angle, and a studio Svengali who lives in a mansion in the woods, gives Bloodthirsty some points for fresh twists.
While stopping short of camp, and giving the movie all the visual aplomb it deserves, Godzilla vs. Kong isn’t ashamed of being light entertainment writ large. The dramatics are few, the quips just about right, and the booms are bombastic.
A reality-based hillbilly thriller that can’t decide what flavour of noir to serve up, Above Suspicion is one of those curious failures that the current appetite for home streaming often rescues from theatrical limbo.
Sorting out what’s true and what’s not becomes so convoluted that the abrupt ending seems a case of either running out of money or ideas. Still, Come True is a movie that you’ll likely remember for the images it burns in the brain, more than for its story.