Army of the Dead

"Easy peasy Japanesy"

      I remember sneaking into the theatre and witnessing the chiseled slo-mo action sequences  of 300 that blew my high school mind. The imagery too, with the freakish ranks of Xerxes Persian army, really sold the time period of the Ancients. With Sin City he kept that signature visual flare but shifted to a more contrasting style, bold red highlights to capture the graphic novel pizazz that it was going for. In a surprise twist he switched it up to a more contemporary superhero aesthetic with his titles Man of Steel and Super vs. Batman: Dawn of Justice. These were his attempts at combining his visual prowess with compelling character storytelling, and while delivering on his trademarks, the films often felt a bit too bloated or directionless to really hold any water to anyone aside from true comic-Snyder fans.   

     But Synder must be butter, because he's been on a roll as of late. On top of his resurgence through the passionate fanbase of Zack Synders Justice League, what better way to deliver after that by making a heist movie? And not just a heist movie, but a zombie heist movie? Just 2 months after the release of his 4 hour magnum opus, he's back with Army of the Dead, a pseudo post-apocalyptic shoot-'em-up that has all of his trademark flair, to some detrimental degree. It surprisingly makes the most of its 2 and a half hour (yeesh) runtime, and is driven by a solid cast, though how you feel about Synders work as a whole will determine how you feel about this.

     We open on a military convoy transferring some sort of super secret military cargo, with two soldiers playing conspiracy guessing games as to what it could be. One predictable event later, Las Vegas finds itself ground zero of a zombie outbreak. An opening montage of violence delivers the gore while introducing us to our characters and backstory of the situation. Vegas has become overrun, with our lead Scott Ward (Dave Bautista) and his team of mercs on the job to pull people out. 

Source: Den of Geek

     Some time (years?) later, Vegas is sealed off from the world, with a quarantine zone set up outside its perimeters. The President plans to drop a nuke on the city to wipe out the zombie population on the Fourth of July, because America. Ward, trading his assault rifle for burgers, is approached by shady businessman Bly Tanaka (Hiroyuki Sanada). He has a deal: find the lost 200 million dollars at the bottom of a casino, and you get a cut. One montage later, we're Oceans 11ing our team back together, complete with typical character archetypes: safecracker, witty pilot, "nerves of steel" guy, sketchy henchman, sleazy authority type, and so on. 

     The film doesn't waste any time with the setup, which definitely helps the pacing. From the intro we already know these characters relationships to Bautistas, so it isn't so much as introducing them, but getting them together. And being paper thin they don't matter much beyond their proper roles. There are also some other rag-tag members of the militia, including social media influencer Guzman (Raul Castillo) and Wards daughter Kate (Ella Purnell). One character (Nora Arnezeder) played a bigger role than I expected, and added a nice presence throughout. From there it's just a matter of getting into the city. There's another b-plot that doesn't really play into anything, nor has any real lasting implications overall. 

Source: Polygon

     Once we're inside Vegas, things get...interesting. This isn't your typical zombie movie. There are rules to this world of the undead. Comprised of a hierarchy, there are the "shamblers", regular type zombies, then there are "Alphas" that rule over them. Intelligent, sentient, fast, you have to gain their trust in order to move through their territory. And if you're bitten by one you become one yourself, which may be the one conventional rule in this zombie movie. These sort of extracurricular stipulations kind of took the fun out of the film for me, because as the film goes on you see that it's used more plot-wise in order to create relatability to our creatures. They had what they needed with the speed and viciousness, but to add actual depth to them actually took away from what makes them threatening. There are also some weird tidbits that, instead of adding to the movie, make it feel that much more excessive. 

     There was another angle that was shoehorned in that felt out of place and not the kind of movie for this sort of commentary. In our times of Covid and social isolating, and social-political drama all over the world, it attempts to play off of that through the use of the quarantine zone outside of Vegas. Deemed a humanitarian crisis, it is labeled a hot zone where authorities can accuse minorities and other foreigners of being "sick" by giving false temperature readings and sticking them in the camp, or worse (Sean Spicer even has a cameo, which was probably the most bizarre thing in the entire movie). This is all delivered through candid tv commentary, and never actually plays into the plot itself, so Synders attempt to relate this release to our world fell flat.

     Another thing I caught that felt odd was Tig Notaros character Peters (the witty pilot). If you really pay attention to her, you'll notice that she has a weird, uncanny valley sort of glow around her. That's because she's apparently completely digital. It didn't really affect her performance, as everything she said and did felt natural and interacted with everyone nicely, but it does have a jarring affect if you really notice it.

Source: The New York Times

     If you don't care about any of these things and just want to see some weird action, go for it. Any fan of Synders work will appreciate his "kitchen sink" approach to visuals and storytelling. It throws a lot at you while also pretending it isn't predictable, but that's not necessarily a bad thing. Plus, did I mention the soundtrack? It's great, and definitely makes the movie.

7 burgers out of 10

But that's just my opinion. What do you think? Comment below and be a part of the conversation!

Those Who Wish Me Dead

"I fucking hate this place"

     On immediate recall I can only think of 2 Angelina Jolie movies that I've seen: 2008s Wanted and 2014s Maleficent. She certainly has her own charm, a gaze that holds more than meets the eye. But with Those Who Wish Me Dead (what a title), that charm is dialed back for a more grounded, rugged version of Jolie. As many thriller ordourves as it delivers: guns, fire, action, and a grand central set piece, it's tone and characters feel a bit thin, while the hook of its premise is delivered as sort of an afterthought. Which is disappointing, because the films opener does a great job establishing the scope of the forest in which the film takes place. 

Source: Russh

     Parachuting into a hot zone, Jolie plays Hannah Faber, an EMT Paratrooper who gets dropped in to assess forest fires and those trapped in them. Haunted by a previous mission, she gets tasked with sitting up at a FireWatch Tower, overlooking the horizon for storms or any impending dooms (hint hint). We're introduced to her cheeky squad of comrades, none of which appear to have any names, nor have any real input into the plot. In a surprise casting appearance we have the great, underappreciated Jon Bernthal as chummy sheriff Ethan, and his tough as nails, survivalist wife Allie (Medina Senghore). For her part as a damaged medical worker, Jolie does enough with the tropes given to her. She's a bit wacky, but it's only to cover up her emotional scars. Bernthal, in his usual brooding prowess, is tied back a bit, more of a tender bear rather than a stalking lion.

      Elsewhere we have Owen Casserly (Jake Weber) and his son Connor (Finn Little). There are a couple of sketchy bad guys (Nicholas Holt and Aiden Gillen, respectively) who are after Connors dad for...something. Something with money. That's never really explained, rather used as a plot device to set up Connors path with Jolie, who gets her shot at redemption in protecting Connor from the goons with guns. For not knowing the kid of who plays Connor, he did a good job of expressing the weight of his experiences. 

The New York Times

     As you can see the characters and motivations are a bit thin here. Aside from the core cast, everyone else are essentially stock characters (really. I had to look up the cast to find out the character names of the bad guys, because I never heard them mentioned directly). Tyler Perry even has a small cameo, as the lead bad guy I'm assuming. He didn't have a name either, but he set up a meeting with our bad guys in the back of an industrial complex while he stares off in the distance. How mysterious.

     Thankfully the film uses all of these action clichés well, as it has some nice set pieces, and it doesn't hold back on the gunplay with formidable enemies. There's an ambush that helps tie some plot points together and gives us some nice spectacle, a sprint through a field during a lightening storm like a minefield, and of course the inevitable forest fire that engulfs our heroes. The latter left me hanging, as that doesn't really hold any significance until the finale, and is used more thematically rather than for action purposes. It looks great visually, smoke and ash filling the frame, almost putting our inhabitants on another planet, but ultimately it's meant more for Jolie to overcome her shortcomings. Even throughout, things in the forest are shot rather close to mid range, rather than giving us some grand vistas or wider open shots like in the beginning.

     The money and goon stuff felt a bit shoehorned, as the pacing kind of throws everything all of over the place. It attempts to be a mishmosh of thriller genres (environmental disaster, action, kidnap/rescue) but it all comes off a bit rushed. But with a good main cast and action to keep you engaged, it's worth a stream or afternoon out.

7 lightening strikes out of 10

But that's just my opinion. What do you think? Comment below and be a part of the conversation!

     

     

 

Saint Maud

(note: this movie was originally released sometime early last year, but due to Covid its release in the States was delayed numerous times before going indefinite. I stumbled upon it on Hulu, and already knowing about it, I had to check it out. If this is something you've heard of but hadn't gotten to see, or if you don't know but want to know, read on.)

"It takes nothing special to mop up after the dying. But to save a soul..."

     A24 seems to have found a niche in thickly settled, prodding psychological horror thrillers. The Witch, Hereditary, The Lighthouse, and so on, each installment explores individuals in over their heads regarding forces they cannot comprehend. Or even believe. This year (finally) we get Saint Maud, the newest adventure in trudging creepiness. And while it delivers on its premise and tone with a committed lead, its the trademark ambiguity that continues to make these hit or miss.

     Saint Maud follows the trials and tribulations of...Maud (Morfydd Clark), a young hospice nurse tending to the needs of one Amanda Kohl (Jennifer Ehle), a retired performer who is dying of stage 4 Lymphoma. After a cold open (served with a side of foreshadowing) it's established early on that Maud is simple and analytical. Isolated. Her narrations throughout help demonstrate her intelligence, how observant she is. It also provides the lens in which she views the world, and that lens is old fashioned pious tradition. Like, way traditional, penance rituals and all (some of which made my whole body tense with unease).

Source: Den of Geek

     Maud, in her former life as a nurse, experienced an accident (or was it?) with a patient, and after some time, found herself renewed in the light of God. She is completely loyal to Him (experiencing bouts of physical ecstasy), and actress Morfydd Clark does a great job channeling Mauds inner passions. Writhing up the stairs or slithering on the floor, she sells the big moments as much as the smaller, nuanced moments that capture Mauds reclusiveness and sadistic self destruction. Some moments you'll catch are enhanced visually, only to sell the deeper turmoil literally bubbling underneath her surface.

     Taking every moment as a test or sign, she sees her care for Amanda as her newest highest task, attempting to save her soul from her vices. Amanda is essentially the polar opposite of Maud: out going. Loose. She has friends. And she shouldn't be trying to enjoy her remaining days on earth drinking with friends, having fun. She should be trying to save her soul dammit! Maud attempts to share her deep appreciation of God to her ("It's like he's physically in me..."), and a small friendship begins to blossom. To say anymore would hint at where the conflicts go, but rest assured things slowly escalate. Mauds need for destiny and, more specifically-affection-come to a head, in more than one way.

     Director Rose Glass, for her debut, achieves the perfect visual tone for what she's seeking. Everything is shot rather confined, in Amanda or Mauds apartment, and yet each moment has its own unique sense of drawing you in. In the real world things are open, dreary and wet, with a slummy undertone that you could say contributes to Mauds internalization. There's also a lot of visual play, such as spirals manifesting and other illusions of grandeur, that help sell the battle of her soul.

Source: Bloody Disgusting

     The one drawback, as with most of these independent films, is the ending. These films walk a tightrope between, to borrow the name of a Live song, "Selling the Drama," and losing it. Usually there's a lot of style along with substance, where story serves the ethereal atmospheres, but too much and it feels like it's trying too hard. This has a nice balance of narrative linearity and style. I liked the ending. The issue is that things with Maud felt a bit too ambiguous to justify the more extravagant displays of her piousness, which in turn may leave some scratching their heads. There are other acts of self mutilation implied but never elaborated on. We don't know if what she's experiencing are full on delusions, if these things are really occurring, a bit of both, or what. How you interpret the ending (which definitely lead me to my own sad conclusion) will define that for you I guess, but I would've liked a bit more to think about, and how the flashback of her accident contributed to her visions and current state of mind. 

     This doesn't match the suffocating nature of Hereditary or the schizophrenic funhouse of The Lighthouse, but this certainly offers a solid, distinctive chapter in A24s psych-horror catalogue. I would even suggest that it could serve as a companion piece to A24s other religion-orientated title, First Reformed. If you want something new and something to make your face go "uhhh...", then check this out.

8 shoe sole nails out of 10

But that's just my opinion. What do you think? Comment below and be a part of the conversation!