Parallel Mothers

        The new film from writer/director Pedro Almodovar is an emotionally engaging story of two single pregnant women. Penelope Cruz stars as Janis, a photographer, who gets pregnant after a brief affair.  She becomes friendly with Ana (played by Milena Smit) when they become hospital roommates after going into labor and giving birth at the same time.

        Ana lives with her mother, an actress who was never really close to her daughter, since Ana had grown up with her father, until she became pregnant. Janis becomes pregnant after an affair with Arturo, a renowned forensic archaeologist, who has agreed to help her find and excavate the mass grave in her home village, where her great-grandfather and others were killed and buried during the Spanish Civil War.

        What starts out as a simple story of two different women who bond over a shared experience, becomes more complex as only Mr. Almodovar can tell it. Ms. Cruz rides an emotional rollercoaster and is simply wonderful as Janis. Ms. Smit shares that ride and the two women have great chemistry between them. Mr. Almodovar has a gift for writing complex women's roles and directing the women who play them.

         As a subplot, the story of the mass grave gives Mr. Almodovar a chance to make a subtle political statement and bring light to his audience, a dark chapter in Spain's history.  

Nightmare Alley

    Based on the 1946 novel of the same name, this is actually a remake of the original 1947 film starring Tyrone Power. The new version is directed by Guillermo del Toro with a screenplay by Mr. del Toro and Kim Morgan.

    In this new version Bradley Cooper stars as Stanton Carlisle, a drifter who finds new purpose working in a dustbowl Carnival in the late 1930's. The film co-stars Cate Blanchett as a femme fatale physiologist, Toni Collette as Zeena, a "mind reader" with the carny, who along with her alcoholic husband Pete (Played by David Strathairn) teach Carlisle to be a mentalist, Rooney Mara as Molly, Richard Jenkins, Mary Steenburgen, Willem Dafoe, Ron Perlman, and Holt McCallany.

    Mr. del Toro and his team faithfully recreate the era with terrific sets, costumes, and overall production design. The art deco sets in the latter half of the film are amazing. The atmosphere of the film is creepy and moody throughout, especially early on in the carny scenes. While Mr. del Toro is known for monsters and horror, the only monsters here are human but there is certainly a sense of dread that runs through the entire story.

    The pace is methodically slow but Mr. Cooper is magnetic and keeps the viewer engaged throughout. As Stanton's skills improve, his ambition grows as does his hubris. This is a great exercise in retro film noir that patience will reward.

The Tender Bar

       Based on the memoir by J.R. Moehringer, this coming-of-age drama is about his life growing up on Long Island and is directed with sentimental efficiency by George Clooney.

      It stars Ben Affleck as Uncle Charlie, Ty Sheridan as the adult J.R., Daniel Ranieri as the young J.R, Lily Rabe as his mother, and Christopher Lloyd as his grandfather.  Co-stars include Briana Middleton, Max Martini, and Sondra James.

      Mr. Affleck is excellent, easy and loose as the self-taught bartender worshipped by his nephew. The entire ensemble work well together and young Mr. Ranieri is adorable in his first major film. Mr. Clooney faithfully recreates the look and feel of Manhasset, Long Island in the '70's and '80's. It's a sweet story, small in scale filled with the joys and sorrows that exist within every family.

     After a short theatrical run, the film is available now on Amazon Prime.

My Top Ten Films of 2021 (In no particular order)-

The Unknown Saint- quietly amusing fable about a thief determined to retrieve his hidden loot from an unlikely place.

Cruella- a surprising entertainment starring Emma Stone in the origin of Cruella De Ville.

The summer of Soul- fascinating documentary on the Harlem Cultural Festival of 1969 that most people never even knew happened.

Pig- Nicolas Cage’s best work since “Leaving Las Vegas”. He stars as a man searching for his truffle pig. Doesn’t sound like much but it’s terrific.

Dune: Part One- Despites some flaws, this is a sweeping epic science fiction adventure.

Belfast- wonderful coming of age story set against the turbulent times of the “Troubles” in Northern Ireland.

Last Night in Soho- terrific mash-up of swinging ‘60’s London, a ghost story, a murder mystery and horror film rolled into one really fun film.

Licorice Pizza- odd coming of age love story with terrific performances by Cooper Hoffman and Alana Haim.

The Power of the Dog- Brilliantly written and directed by Jane Campion, the film sneaks up on you until an explosive revelation at the end makes you rethink everything.

The Tragedy of Macbeth- Denzel Washington is a towering presence in this Joel Coen black and white, ethereal adaptation of Shakespeare’s Macbeth.

West Side Story (2021)

           With a screenplay by Tony Kushner and directed by Steven Spielberg, this version of the beloved musical hits a high note in the careers of both men. While playing tribute to the original 1961 film, Mr. Kushner's script and Mr. Spielberg's direction are filled with a modern sensibility (especially when it comes to the Latino characters and history) that infuses new life into the classic.

      The film still takes place in the late fifties and the visuals, set design and costumes are wonderful. All the songs from the original are in place but the filmmakers take some liberty with time and location and while some of the original choreography is noticeable,  choreographer Justin Peck elevates the dance numbers for a modern audience and they are just as exciting as the original, if not more.

      Mr. Spielberg and his frequent collaborator, cinematographer Janusz Kaminski make brilliant use of the camera, swooping in and out and around all the actors.  They make bold choices for wide shots, close-ups and angles to maximize the look and feel of the story. 

 And speaking of bold choices, it is a cast of fairly unknown young actors in the lead roles, with the exception of Ansel Elgort (Baby Driver) as Tony. Maria is played by newcomer, Rachel Zegler, Riff is played by Mike Faist, Bernardo is played by David Alvarez (so good in American Rust), and Anita is played by Ariana DeBose. Mr. Alvarez and Ms. Debose almost steal the film out from under Ms. Zegler and Mr. Elgort. In secondary co-starring roles are Corey Stoll as Lt. Schrank, Brian D'Arcy James as Officer Krupke, Iris Memas as Anybodys, Josh Andres Rivera as Chino and in a wonderful casting choice, Rita Moreno (Anita in the 1961 film) as Valentina. 

      Nothing can replace the original as an American iconic film but this new version is a fine companion piece that contains many of its own rewards.

C'mon, C'mon

            Joaquin Phoenix stars in this new Indie drama as Johnny, a radio journalist traveling the country interviewing kids about their lives and thoughts about the future. When his sister Viv, played by Gaby Hoffman asks him to watch her nine-year-old son Jesse for a few days, Johnny agrees and that sends the plot in motion. 

            Viv has to travel to Oakland to look after her estranged husband, played by Scoot McNairy, struggling with mental illness. Jesse hasn't seen his uncle in over a year but they develop a tenuous relationship and Johnny ends up taking Jesse on the road with him as he does his interviews. Johnny learns some life lessons from Jesse and through multiple phone calls with Viv, reconnects with his sister.

             Jesse is played by newcomer Woody Norman and he is a natural. He has great chemistry with Mr. Phoenix, who after the anxiety and tension of "Joker" probably needed a small film like this, playing a fairly normal guy learning to appreciate his nephew and the sweet relationship that grows between them.

            Written and directed by Mike Mills, the film is shot in black and white (a trend in films this year) and moves from Detroit to LA, and then to New York and New Orleans. The interviews with the various kids seem genuine and unscripted. It's a charming film with a different type of role for Mr. Phoenix who gets to show off his natural skills in a new way.

The Matrix Resurrections

                You can't keep a good franchise down.  The beloved trilogy came to a pretty final conclusion at the end of "The Matrix Revolutions", killing off its two main characters but of course with science fiction stories, there is always a way to bring characters back to life, especially if there is money in it for a movie studio and the filmmakers.

          Once again Keanu Reeves stars as Neo (aka Thomas Anderson) and returning to the digital world with him are Carrie Anne-Moss as Trinity, Jada Pinkett Smith as Niobe and Lambert Wilson as The Merovingian. Joining them this time out are Jonathan Groff as Mr. Smith, Neil Patrick Harris as "The Analyst", Priyanka Chopra Jonas as Sati, Jessica Henwick as Bugs and Yahya Abdul-Mateen II as Morpheus.

               When the film begins, Neo has been repaired by the machines and his memories suppressed. He believes himself to be Thomas Anderson, a coder and creator of the video game, The Matrix. The first inside joke comes when his boss suggests that their parent company Warner Brothers wants a sequel to The Matrix Trilogy. As with the previous films, it's lines like this that make the audience start to question are we watching a movie, a video game or inside a game inside a movie? That's half the fun of The Matrix. The plots are so convoluted and disorienting that you may find yourself looking for the controls to manipulate what happens next.

                If you break it down to its basics, it's a love story. Our hero, Neo has returned to the Matrix to find and rescue his true love, Trinity. Everything else is window dressing. But it's remarkable window dressing. The fight scenes and stunts continue to amaze (even if there is nothing new about them), the visuals are stunning and the performances are all well done. Mr. Reeves slips back into Neo's skin like an old glove. Ms. Anne-Moss still plays a tough as nails Trinity and Mr. Abdul-Mateen II and Mr. Groff makes the characters of Morpheus and Smith their own. 

              Was there a need for another Matrix film? Not really but for fans, it will be fun to watch Neo take the red pill and go down the rabbit hole once again.

The Tragedy of Macbeth

         Going solo for the first time without the collaboration of his brother Ethan, Joel Coen writes and directs this new version of Shakespeare's classic play. Filmed in stark black & white, following the original text and led by a tremendous performance by Denzel Washington as Macbeth, this new version is one for the ages.

          The play has been performed since 1606 and in a massive variety of ways both on stage and on screen. Mr. Coen brings his own vision to the story and breaks it down to basic visuals and text. The sets are magnificent, cold and angular yet ethereal and foreboding. Thick fog and mist envelope the characters at times creating an otherworldly sense of dread. Carter Burwell provides the perfect musical foundation. The cinematography by Bruno Delbonnel is remarkable, framed in a deliberate and disorienting way. Shot entirely on soundstages, rather than actual landscapes brings an intimacy to the film and forces the viewer to really concentrate on the text and the actors.

          And what an ensemble of actors they are...Mr. Washington is a towering presence, even as he starts to lose his mind. His partner in heinous crime is Francis McDormand as Lady Macbeth.  She is maleficence personified. The film co-stars Brendan Gleeson as the doomed King Duncan, Harry Melling as his son Malcom, Corey Hawkins as Macduff, Moses Engram as Lady Macduff, Bertie Carvel as Banquo, Alex Hassel as Ross and the truly remarkable Kathryn Hunter as the three witches (and an old man).

           If you are a fan of "the Scottish play", or just a fan of acting excellence, it is not to be missed. It's in theaters now and on Apple TV January 16th.

Don't Look Up

 

         Written and directed by Adam McKay, this comic satire is an allegory of the state of the world today. And while it is sporadically very funny, it's underlying themes are all too depressing.

         When doctoral astronomy student, Kate Dibiasky, played by Jennifer Lawrence, discovers a comet heading towards earth, she immediately tells Dr. Randall Mindy, an astronomy professor played by Leonardo DiCaprio, of the impending danger. The two make every attempt to warn the government and the media of the disaster facing the world but no one takes them seriously.  Ms. Lawrence and Mr. DiCaprio are both terrific, alternating between hysteria and resignation at the various responses they receive everywhere they turn.

         The film is stuffed with an all-star cast. Meryl Streep plays the self-absorbed President of the United States, a not too subtle riff on a recent former president. Jonah Hill is her Chief of Staff as well as her son. Ms. Streep is clearly enjoying herself and Mr. Hill really plays idiotic, going for the big laughs. Also co-starring are Cate Blanchett and Tyler Perry as cheerful, vapid, morning television hosts. Rob Morgan as the only scientist who actually believes in the impending doom. Mark Rylance, pitch perfect, as a tech billionaire and founder of BASH,  a mash up of obvious current tech billionaires.  and in various other roles, Timothee Chalamet, Ron Perlman, Arianda Grande, Himesh Patel, Melanie Lynskey, Michael Chiklis, and Paul Guilfoyle.

         Mr. McKay's bombastic direction takes no prisoners making his points. He layers on the comedic responses to the horrific situation and we laugh to keep from crying. The film has its funny moments but also tries too hard and at times is so over the top, you can actually lose interest.  I think Mr. McKay may have had "Dr. Strangelove" in mind when conceiving "Don't Look Up" and while clever and smart, it falls short of the brilliance of that iconic film. 

The Power of the Dog

 

             Written and directed by the remarkable Jane Campion (based on the novel by Thomas Savage), this new drama takes place in 1925 on a sprawling cattle ranch in Montana.  The two brothers, the volatile Phil and the reserved George, who own the ranch, are played respectively by Benedict Cumberbatch and Jesse Plemmons.

              Phil is the "cowboy" of the two, working hands on with the horses, cattle and side by side with their ranch hands. He is always telling stories about "Bronco Henry", his late mentor who taught him all his cowboy skills. George, the more subdued of the two, wears suits with a bowtie and seems to spend much if his time engaged in the finances of running the ranch.  When Phil suddenly marries Rose, a widow with a teenage son, Phil is resentful of her inclusion in their life and taunts and teases her at every turn, especially making fun of her effeminate son Peter.

          Kirsten Dunst plays Rose and Kodi Smit-McPhee plays Peter. The film also costars Thomasin McKenzie, Genevieve Lemon and in smaller roles, Frances Conroy and Keith Carradine.

           The cast is excellent, especially Mr. Cumberbatch, Ms. Dunst and Mr. Smit- McPhee. Phil's taunts and resentments of Rose take their toll and Ms. Dunst's gradual change over the course of the film is a wonder in its tragedy.  Phil's relationship with Peter borders on underlying and suppressed homoerotic feelings that are brought to the surface in a particularly brilliant scene.

            The cinematography is stunning and Ms. Campion's direction while deliberately slow and steady, gives her actor's the time and range to fully express the building tension of their relationships. The story goes to an unexpected place and subtly sneaks up on you until ending on an explosive revelation that will make you rethink the entire film. 

Licorice Pizza

        Defying the simple description of a "coming of age film", this new comedy-drama is from writer/director Paul Thomas Anderson. As with many of his films, the story is set in the San Fernando Valley circa 1973 and revolves around the odd relationship between 15-year-old Gary Valentine (played by Cooper Hoffman) and 25-year-old Alana Kane (played by Alana Haim).

        Ms. Haim is one third of the band, "Haim" along with her two sisters, who play her sisters in the film. And keeping it in the family, Alana Kane's parents are played by the Haim sister's real parents.

        Gary Valentine is based on one of Mr. Anderson's friends and many of the plot points are culled from real events. While still in high school, Gary has an entrepreneurial spirit and after spending time as a child actor, starts a waterbed company and later on opens a pinball arcade. After meeting Alana at a photo shoot at his school, they become friends and she gets involved in his various business ventures flirting with him from time to time.

        Sean Penn has a cameo as Jack Holden (based on William Holden) in an odd scene involving Tom Waits, Alana and a motorcycle. Bradley Cooper also has a cameo as Jon Peters, once the boyfriend of Barbra Streisand. The sequence involving Mr. Cooper is one of the best in the film.

        Mr. Hoffman and Ms. Haim have a wonderful chemistry and while their relationship is the heart of the film, the plot moves in odd directions and you are never quite sure where it's going. The film could have also benefitted from some additional editing.

        Familiar with period, Mr. Anderson knows how to get the mood and visuals of the time right and uses a wonderful soundtrack that enhances the story perfectly. It's an odd tale of first love that may not appeal to everyone but both leads are terrific and have bright futures ahead.

The King's Man

 

               The third film in the series is actually a prequel to learn the origin of The Kingsmen. Written by Matthew Vaughn (with Karl Gajdusek) and directed by Mr. Vaughn, it's a grand adventure incorporating elements of history mixed with fictional characters.

               The film stars Ralph Fiennes, Gemma Arterton, Matthew Goode, Rhys Ifans, Tom Hollander, Harris Dickinsen, Daniel Bruhl, Djimon Hounsou, and Charles Dance. Mr. Fiennes, in fine form, is the impeccably dressed Duke of Oxford destined to start the Kingsmen Secret Service. Mr. Dickinsen plays his son Conrad. Mr. Ifans is the Russian Monk, Rasputin and clearly is enjoying himself in an over-the-top performance. Ms. Arterton and Mr. Hounsou assist Mr. Fiennes in his secret attempt to defeat Germany and end World War I.

                 Mr. Vaughn is known for his kinetic style of directing and while there are plenty of moments that qualify, most come in the second half of the film. Uncharacteristically, the first half is rather slow and devoid of much action. The plot can't decide if it's a war story with spies or a spy story in a war. It is quite a long setup for what comes next but Mr. Vaughn redeems himself for the slow start once the story finds its footing.

                 The mix of wonderful vintage costumes, terrific stunt work and CGI when necessary, bring all the action to vivid life. And in the end, it's all quite enjoyable fun. Anyone for tea?

Spider-Man: No Way Home

      Revealed at the end of "Spider-Man: Far From Home", the world found out that Peter Parker was Spider-Man and now as the new film begins, Peter's life is a mess. The casual viewer will probably get lost in the chaos that ensues when Dr. Strange casts a spell to make people forget that Peter Parker is Spider-man. Fans however, will absolutely not be disappointed.

      Tom Holland returns as Spider-Man, along with Zendaya as MJ, Jacob Batalon as Ned, Marisa Tomei as Aunt May, Jon Favreau as "Happy" Hogan, and Benedict Cumberbatch as Dr. Strange. There are many other cast surprises that I won't spoil here (although social media has probably spoiled them already). 

     Mr. Holland and Mr. Cumberbatch have great chemistry together which makes for a lot of fun as they try to correct the damage done by the spell gone wrong. The film does lack a certain gravitas that existed in the other films, making this one much more appealing to a younger fan audience.  The violence is very cartoonish with very little blood but it is a whirlwind of action, especially late in the film and will satisfy viewers of any age. The special effects are first rate and the script by Chris McKenna and Erik Sommers adds just enough drama to keep things balanced. 

       This film completes the trilogy started with "Spider-Man: Homecoming" and it is a fitting conclusion but we have obviously not seen the last of Spider-Man as Marvel continues its next stage of comic-based films. As with all their films, there are post credit scenes. The first is a great surprise but the second, while fun, is just a short trailer for the new Dr. Strange film and it is already all-over social media so save your time unless you just have to see it on the big screen.

The Unforgivable

 

     Sandra Bullock stars in this unrelenting grim drama. Ms. Bullock proves once again that she can play against type as a convicted murderer just released from prison, trying to make a new life for herself. In doing so, she also begins a search for her younger sister who she hasn't seen for 20 years and has never responded to her letters.

      The film goes in some interesting directions, some contrived and some surprising.  Ms. Bullock is stoic and dead serious throughout, barely letting herself even smile. There is an unexpected plot twist that adds a degree of suspense that contributes even more anxiety to the already dark and anxious drama. 

       The fine supporting cast includes Vincent D'Onofrio, Jon Bernthal, Aisling Franciosi, Richard Thomas, Rob Morgan and Viola Davis.

        Out for a short time in the theaters, the film is available now on Netflix.

Being the Ricardos

            Aaron Sorkin writes and directs this dramatic look at Lucille Ball and Desi Arnaz, behind the scenes of "I Love Lucy".  Based on their true story, the real life of these two icons was far different from their televised life on one of the most popular and endearing TV sitcoms of all time.

            While the casting at first may seem odd, it is actually brilliant. Nicole Kidman takes on the daunting task of portraying the beloved comedienne, giving her best performance since "Destroyer". With hair and makeup perfect, she transforms into Lucille Ball, even getting her raspy vocal tone down perfectly. Javier Bardem plays Desi Arnaz and while he may not physically resemble Mr. Arnaz, he does come to embody his tone and spirit. Taking on the roles of Vivian Vance and William Frawley (as Fred and Ethel Mertz) are Nina Arianda and J.K. Simmons, both perfect. The film has some terrific co-stars as well. Tony Hale, Alia Shawkat ( probably reminiscing about "Arrested Development" in their downtime), Jon Rubinstein, Linda Lavin, Clark Gregg, Jake Lacy and Ronny Cox.

            Mr. Sorkin's intelligent, rapid-fire dialog and caustic wit are on full display with some great lines, mostly reserved for Ms. Kidman but enough to go around for the rest of the cast. He sets the film during a particularly difficult time in their lives, when Lucy was accused of being a communist and Desi was having either real or imagined affairs putting stress on their marriage. The story is told during one week of production from the Monday read through to the Friday actual filming in front of a live audience. Through his lens, Mr. Sorkin also faithfully recreates a few famous scenes in the series, filming them in the original black & white. 

           We come to learn quite a bit about the powerful Hollywood couple during the course of the film, most of which I assume to be true since Desi Arnaz Jr. and Lucy Arnaz are both executive producers. It's a fascinating backstory that throws back the curtain and take us behind the scenes in what is most definitely a drama and no laughing matter. The film is in theaters now and will be available on Amazon Prime, December 21st.

 

House of Gucci

        A rare miss for director Ridley Scott, this sordid tale meanders all over, never sets a proper tone or pace, and wastes most of a talented cast. That said, it's based on the downfall of the real Gucci family and makes for fascinating viewing. 

       What Mr. Scott and his team do get right is the look and feel of the period. The set design, locations, costumes and music are all first rate but wasted in a film that just can't find its footing.

        Lady Gaga, one of the few highlights of the film, stars as Patrizia Reggiani who marries Maurizio Gucci (a miscast Adam Driver who can't keep track of his accent) and firmly establishes her place in the Gucci empire. Mr. Driver may physically resemble the real Maurizio but his portrayal is just not convincing. The film also stars Al Pacino as Aldo Gucci and he chews every piece of scenery around him with his usual bombastic style. Jared Leto is Paulo Gucci. Hidden under tons of makeup, Mr. Leto is fun to watch in an over-the-top performance. Rounding out this star filled cast is Jeremy Irons, bringing some dignity to the short role as Rodolfo Gucci and Salma Hayek as Patrizia's fortune teller confident. In smaller but important roles is Jack Houston, Reeve Carny and Camille Cottin.

       Everyone loves a good scandal, especially when it involves the rich and famous. For that reason, along with its star power, the film will probably do better than it deserves.

Passing

          Written and directed by Rebecca Hall, this new Netflix drama is a fascinating period piece about two light skinned black women, who meet after years apart. Tessa Thompson is Irene, married to a prominent black doctor played by Andre Holland and Ruth Negga is Claire, "passing" for white, and married to a wealthy businessman played by Alexander Skarsgard.

          As the two women reconnect, it becomes obvious that Claire has missed her African-American roots and becomes increasingly involved with Irene, her family and friends. Irene, on the other hand, begins to resent Irene's intrusion into her life but is too timid and polite to turn her away.

         Ms. Thompson and Ms. Negga are both excellent. The film also co-stars Bill Camp and Gbenga Akinnagbe. The period costumes and set designs are exquisite.  It is beautifully shot in black and white but directed with too light a touch by Ms. Hall. While it attempts to explore many issues, it never really digs below the surface and instead just focuses on the two women and the growing divide between their morals and personalities, culminating in a most unexpected way.

Red Notice

 

          More like Red Cliché, this big budget action-comedy adventure tries to be everything for everyone.  Starring Dwayne Johnson, Ryan Reynolds, and Gal Gadot, it's a globetrotting heist film filled with plots from every heist and long con film ever made. It co-stars Ritu Arya and Chris Diamontopolous.

           Mr. Johnson is a federal agent who reluctantly teams up with a notorious art thief played by Mr. Reynolds to catch another art thief played by Ms. Gadot, before she can acquire all of Cleopatra's legendary golden eggs. It's all mindless fun, fuel by its attractive cast and their individual strengths. Mr. Reynolds is quick with the one-liners, Ms. Gadot gets to show off her martial arts skills and Mr. Johnson is...well...Mr. Johnson, who starts to look pretty bored as the film moves along from one exotic location to another.

           As one of the highest grossing (and costliest) Netflix films ever, expect a sequel or even two.

The Harder They Fall

         Director and co-writer (with Boaz Yakin) Jeymes Samuel owes quite a bit to Sergio Leone and Quentin Tarantino in this revisionist western. Featuring a predominantly black cast, this violent revenge story is filled with quirky camera work, interesting cinematography and a cool eclectic soundtrack. A title card at the beginning explains that while the story is fictious, its characters are based on real outlaws, cowboys and lawmen of the old west.

        The film stars Jonathan Majors, Idris Elba, Regina King, Zazie Beetz, Delroy Lindo, Lakeith Stanfield, RJ Ryder, Edi Gathegi, Deon Cole, and Danielle Deadwyler. It's a great cast and everyone seems to be enjoying playing gunslingers and cowboys. The problem lies in the plot. It's paper thin, just a straight forward revenge story with no subplot. It does moves along at a rapid clip, filled with bloody violence throughout.

        Mr. Samuel and Mr. Boaz make a few not-so-subtle points about race but ultimately, it's just one long disappointing story with a last-minute twist that attempts to make things more interesting. It even leaves the door open for a sequel, that, if it happens, hopefully will be a richer, more rewarding story as there is so much real history to draw from.

Last Night in Soho

 

        I usually don't start my reviews like this but I have to say, I loved this film!  Writer/director Edgar Wright is truly an original voice in film today. Here he combines a murder mystery, a ghost story, and an ode to swinging sixties London into a wildly entertaining genre mash-up that you never see coming.

        Thomasin McKenzie stars as Ellie Turner, a suburban English girl accepted into a prestigious London Fashion college. The film starts off mildly and sweet but once Ellie moves off campus into a rented apartment, things take a sharp turn. She begins to have visions of a young sixties' woman named Sandie, played by Anya Taylor-Joy, that turns into more of a psychic connection putting Ellie in the middle of period London nightlife. 

        To say anymore would spoil the surprising twists in the story. Suffice to say, the music and fashion of the period is just great.  Mr. Wright knows his way around a successful soundtrack and knows how to put it to good use (see his earlier film, "Baby Driver"). His casting here is perfect. Ms. McKenzie is perfect as the innocent girl forced to grow up quickly and Ms. Taylor-Joy is the epitome of cool. Co-starring as Ellie's landlady is Lady Diana Rigg (in her last role) and she makes the most of a small but significant role. The film also co-stars Terrence Stamp, perfect casting as a connection to the British films of the sixties, Matt Smith, and Michael Ajao.

         Fair warning that what starts out innocently enough descends into horror and violence, but the fun is how Mr. Wright uses the twists and keeps the audience guessing. It's so clever with a cast that shines, backed by great visuals and wonderful music, that even with the dark direction it takes, it's one of the most entertaining films of the year.

          The film is still in theaters and now available on video on demand.