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The Card Counter

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  • Title: The Card Counter
  • IMDb: link

Writer/director Paul Schrader examines the worlds of gambling and torture, which turn out to not be as mutually exclusive as you may think. In terms of gambling, The Card Counter doesn’t offer any new information or insight we haven’t seen presented before by movies like Rounders and 21.

What makes the movie unique is William Tell’s (Oscar Isaac) past as a disgraced MP who served 1o years in federal prison for torture in Abu Ghraib. His past causes him to befriend a troubled young man (Tye Sheridan), hoping to dissuade him from taking vengeance out on a man (Willem Dafoe) both characters have reason to hate. The relationship between the pair is a peculiar one as Will takes accepts a job on the poker tour to help his new friend who wants a completely different kind of assistance from him.

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The Nowhere Inn

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  • Title: The Nowhere Inn
  • IMDb: link

The Nowhere Inn has one of my favorite opening scenes of the year as American musician Annie “St. Vincent” Clark, playing herself, is being driven by a confused limousine driver (Ezra Buzzington) with no idea who his latest passenger is, or why she’s famous, only to stop in the middle of a desolate highway and disappear. Seeds of the larger themes of the film are planted here, even if it never reaches the same heights.

The film’s plot involves Annie hiring her friend Carrie, also playing herself, to make a documentary about the band which the pair hope will help both of them reach wider audiences. What Carrie soon discovers, however, is life on the road isn’t all that interesting off-stage for the band. Carrie’s attempts to find an interesting hook for the story and Annie drastically changing her behavior slowly devolve into a situation where neither Carrie nor Annie can differentiate what is actually real.

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Josie and the Pussycats

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  • Title: Josie and the Pussycats
  • IMDb: link

“Du Jour means seat belts.”

I’m still waiting for a Du Jour spinoff. Even 20 years after its release, 2001’s adaptation of the Archie Comics series and the Hanna-Barbera cartoon is simply a delight. A satirical take on pop culture and consumerism underneath a tale of a band’s meteoric rise to the top of the pop charts, Josie and the Pussycats was well before its time carving out a cult status in the years since its lukewarm reception in theaters.

Following the plane crash of the delightful boy band Du Jour (Donald Faison, Seth Green, Breckin Meyer, and Alexander Martin), who discover something unexpected when listening to their latest mix tracks, their manipulative promoter (Alan Cumming) seeks another band to hide subliminal messages within their music and so we meet the Pussycats: Josie (Rachael Leigh Cook), Melody (Tara Reid), and Val (Rosario Dawson).

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The Djinn

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  • Title: The Djinn
  • IMDb: link

Written and directed by the team of David Charbonier and Justin Powell, The Djinn plays on several classic horror tropes including children and monsters and the unforeseen price of asking for wishes from a demonic source (Hint: it’s never a good idea).

The film takes place entirely within the apartment of the mute pre-teen Dylan (Ezra Dewey). On night when his father (Rob Brownstein) is at work, Dylan makes use of a satanic book of spells left over from the apartment’s previous tenant and makes a wish. To see his wish granted, he’ll need to survive an hour of being hunted by a malevolent creature known as the Djinn (a mix of CGI and performances from multiple actors including John Erickson, Donald Pitts, and Tevy Poe).

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The Last Duel

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  • Title: The Last Duel
  • IMDb: link

The Last Duel offers a medieval he-said/she-said/he-said tale based on the true events involving Jean de Carrouges (Matt Damon), his wife Marguerite (Jodie Comer), and Jacques Le Gris (Adam Driver) who is accused of raping her. Events leading up to and after the rape are shown from each of the three characters’ perspectives including the trial of Marguerite and the eventual duel between the two men who may or may not have been friends at one point depending on whose account you believe.

Each reciting covers many of the same events, offering more context to their character’s actions and the perspective of themselves and Marguerite who under the laws of the time was Jean’s property damaged by Jacques. Let’s just say it wasn’t the best time to be a woman. Nor does the script look fondly on nobility (Ben Affleck) or royalty (Alex Lawther). It’s as much an indictment of the time period as on the events that occurred.

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