Movie Reviews

The Worst Person in the World

  • Title: The Worst Person in the World
  • IMDb: link

If there’s a weakness for me in writer/director Joachim Trier‘s The Worst Person in the World it’s that I never come to love the lead character of Julie (Renate Reinsve) nearly as much as the writer nor the characters who cross her path. Don’t get me wrong, Reinsve is terrific here in the role of a woman who abandons careers and relationships at the drop of a hat while searching blindly for something she can never quite articulate. I’m never won over to root for or against Julie’s choices; I’m simply along for the ride.

It’s in the small moments of Julie stumbling through life, largely without any self-reflection or regard to more than the moment, that the movie provides some of its most memorable scenes, such as an unexpected slow-motion sequence that highlights the delight of potential new love versus that which been worn down with age.

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Marry Me

  • Title: Marry Me
  • IMDb: link

With a pair of likable stars and a braindead romcom plot, Marry Me is pretty much exactly what you would expect. The unlikley pairing between celebrity Kat Valdez (Jennifer Lopez) and schoolteacher Charlie Gibert (Owen Wilson) comes about through convoluted means when his friend (Sarah Silverman) drags him to Kat’s live concert where her live engagement goes sideways due to her fiancé’s (Maluma) infidelity and she marries a random member of the audience instead.

The saving grace to balance the inherit weakness to the plot is the charm of the two stars. And Lopez and Owens are good here as characters who seem smarter than to get themselves mixed up in such a ridiculous circumstance. An American version of Notting Hill with a heavy amount of social media and brand perception thrown in, Marry Me is far from a must-see, but if you are forced to sit down for a romcom, you could certainly do worse.

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Death on the Nile

  • Title: Death on the Nile (2022)
  • IMDb: link

Writer/director/star Kenneth Branagh returns to reprise his role as Hercule Poirot in this follow-up to 2017’s adaptation of Murder on the Orient Express. The adaptation of Agatha Christie’s Death on the Nile isn’t as successful, in part due to source material not being as strong this time around and in part for some questionable creative decisions.

It takes far too long to get to the setting for our murder mystery, let alone the murder itself. By the time the body has dropped more than half the film seems to have already passed. In a somewhat defiant attempt to justify the character’s look in the previous film, Branagh opens with a flashback explaining the reasoning behind Poirot’s ridiculous mustache. After jumping forward, we are given multiple scenes setting up various characters, both in London and in Egypt, before finally get them all together on a ship sailing down the Nile River.

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Parallel Mothers

  • Title: Parallel Mothers
  • IMDb: link

For a film that centers around a plot point that would be right at home in any soap opera, Parallel Mothers provides a surprisingly strong drama. Penélope Cruz and Milena Smit are strangers who meet in the hospital, both giving birth to their first child. Each will take home a boy, but what they won’t realize for quite some time is that each mother was given the other’s son.

It’s Janis (Cruz) who begins to suspect the truth when the father (Israel Elejalde), a flirtatious archeologist with a wife and no real interest in a more permanent relationship with the photographer, sees no resemblance in the child to anyone in his family. A chance meeting with Ana (Smit) brings the characters back into each others orbit as Janis’ suspicions are realized and a gnawing guilt over the truth begins to color all that will follow.

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The Power of the Dog

  • Title: The Power of the Dog
  • IMDb: link

Sometimes a movie just doesn’t work for you. I didn’t hate director Jane Champion‘s The Power of the Dog but I’ll admit to being underwhelmed by the critical darling so many are quick to praise. Yes, it has a strong performance by Benedict Cumberbatch and some lovely scenery but it’s also saddled with a predictable plot and a host of single-note characters whom I never became invested in.  In fact, on my first viewing, the film literally put me to sleep.

Our leads are Benedict Cumberbatch as rough-and-tumble rancher Phil Burbank (the mean one), Jesse Plemons as his more genteel brother George (the bland one), Kirsten Dunst as inn owner and George’s new wife Rose (the female one), and Kodi Smit-McPhee as Rose’s nearly full-grown son Peter (the creepy one). The plot mainly involves Phil acting horribly to everyone and the eventual fallout of that behavior. The payoff of which, for me, wasn’t worth the time spent to get there.

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