Set in 17th Century Japan, Blue Eye Samurai follows the vengeful quest of a blue-eyed ronin obsessed with the murder of four white men poisoning the country, any one of which might be her biological father. Since childhood, passing as male, Mizu (Maya Erskine) finds herself orphaned and being raised by a blind blacksmith and sword maker who can’t see and doesn’t hold his new apprentice’s mixed heritage against her.
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A far cry from the overindulgent train wreck of 2022’s Elvis, writer/director Sofia Coppola‘s latest film casts the spotlight not on Elvis Pressley (Jacob Elordi) but on Priscilla (Cailee Spaeny) and how Elvis’ fascination with her changed her life in both positive and disturbing ways. Those who place Elvis on a pedestal may take issue with Coppola’s screenplay, as did Lisa Marie Pressley. However, the film is adapted from Priscilla’s own 1985 biography, notably toning down some of the more shocking moments of their lives together, and Priscilla served and as an executive producer to the film.
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Evil in film is often overt, larger than life. A clown torturing children. A giant monster trampling cities. A high-priced killer or alien leaving a trail of bodies in its wake. Real evil, however, is more insidious. Killing with a smile, insidiously operating with no compunction or fear of reprisal. Adapted by Martin Scorsese and Eric Roth from the book of the same name, Killers of the Flower Moon centers around the Osage Indian murders in the early 20th Century.
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This show is Viagra for conspiracy theorists. Not only do we get a conspiracy centered around a hero FBI Agent (Gabriel Basso) shunned after saving dozens of lives in a subway bombing forcing him into a desk job to wait for call of agents in trouble, but we also get the conspiracy around his father’s history with the bureau being railroaded for a crime he didn’t commit. And we haven’t yet gotten the conspiracy that actually drives the plot of the series when a young woman (Luciane Buchanan) learns her aunt and uncle were spies believing in a conspiracy so deep within the government that it reaches all the way to the White House.
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Based on true events, The Burial offers the odd couple pairing of Tommy Lee Jones as the owner of a family funeral business in Mississippi who enlists the help of a flashy attorney (Jamie Foxx) after being taken advantage by the CEO (Bill Camp) of a Canadian company that backed out of a deal that would have saved the family business. The curmudgeonly Jeremiah O’Keefe (Jones) and the flashy Willie E. Gary (Foxx) have their ups and downs, but the film is as much (if not more) about the respect and friendship that develops between the unlikely pair as the court case itself.
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