Screening Room: ‘The Banshees of Inisherin’

The new movie from Martin McDonagh, The Banshees of Inisherin, reunites Colin Farrell and Brendan Gleeson from his first feature, In Bruges.

Banshees opens this week. I reviewed for Eyes Wide Open:

Given what Martin McDonagh puts his characters through in his latest bloody confabulation, The Banshees of Inisherin, and how poorly they explain and understand it, putting too much stock in what they say might be unwise. At one point, Pádraic (Colin Farrell) asks his until-recently best friend Colm (Brendan Gleeson) the name of the song Colm has been composing on his fiddle. Told it’s “The Banshees of Inisherin,” Pádraic asks why. “I just like the sound of the double ‘sh’s,” Colm replies. He might even be telling the truth. Of course, this is a man who has threatened to slice off his fingers one at a time if Pádraic does not stop talking to him. So Colm’s judgment and clarity might be questionable…

Here’s the trailer:

Screening Room: ‘Nope’

Jordan Peele’s Nope opens this week. It’s like Get Out and Us … only not.

My review is at Slant:

In writer-director Jordan Peele’s chilling Nope, a struggling, Black-operated ranch that supplies horses for Hollywood productions faces an additional threat in the form of an extraterrestrial being that likes to suck animals and people up into the clouds. The Haywood ranch is a family-run operation, with OJ (Daniel Kaluuya) doing most of the work with a glum diligence while his upbeat sister, Emerald (Keke Palmer), handles the people-interfacing duties. Though the siblings are hardly on the best of terms, when it comes time to face down the alien presence, they unsurprisingly rediscover a familial bond…

Here’s the trailer:

Screening Room: ‘The Gray Man’

Netflix’s next big bet to produce $200 million blockbusters to stream on the small screen is the Russo brothers’ The Gray Man, an assassin-versus-assassin thriller with Chris Evans and Ryan Gosling that shows a sharp drop-off in quality and imagination from the Russos’ MCU movies.

The Gray Man streams on Netflix tomorrow. My review is at Slant:

If all you knew about the C.I.A. was what you saw in Anthony and Joe Russo’s The Gray Man, you would think it was solely devoted to assassination. The entire plot of the film revolves around the psychopathic Lloyd Hansen (Chris Evans) trying to take out his former colleague, Court Gentry (Ryan Gosling), a.k.a Sierra Six, after the latter uncovers unsavory secrets about the agency, which wants to eliminate every trace of Sierra, a poorly considered program that turns convicted murderers into government-sanctioned killers. If this sounds like the plot of every Jason Bourne film, that’s because it basically is…

Here’s the trailer:

Screening Room: ‘Hold Your Fire’

Prior to 1973, there was not a lot of nuance in how the police handled hostage situations. At some point they would lose patience and storm in. As Attica and other tragedies showed, hostages frequently did not survive. The new documentary Hold Your Fire describes a little-remembered siege in Brooklyn from 1973 where the art of hostage negotiation might have been invented.

Hold Your Fire opens in limited release this Friday. My review is at Slant:

With little preamble, Hold Your Fire drops us into the heat of the robbery, then flicks through the resulting drama. Talking-head interviews with Schlossberg, police officers, and some of the robbers and their hostages are interspersed with archival images and video footage captured by news outlets. The footage—of the rattling volleys of gunfire, the rumbling arrival of a police armored personnel carrier, and crowds pressing against barricades and cheering for the robbers—lends a wartime aesthetic of sorts to an urban crime narrative. Through it all, Jonathan Sanford’s squealing jazz-inflected score underlines the chaos of the situation…

Here is the trailer:

Screening Room: ‘The Outfit’

In Graham Moore’s new Hitchcockian thriller The Outfit, a shy-seeming tailor is wrapped up in a tense game of wits with a passel of paranoid gangsters.

The Outfit opens in limited release this Friday. My review is at Slant:

On the surface, the film’s story couldn’t be more different than that of Morten Tyldum’s The Imitation Game, for which Moore won an Oscar for his script, though both films share a love of nattily attired Englishmen puzzling out problems in life-or-death situations. The Englishman in this case is the suit store’s owner, Savile Row-trained tailor Leonard (Mark Rylance). He makes his living not just by crafting bespoke suits but looking the other way when members of the Boyle crime family show up to use the message drop box in the backroom. Leonard drinks his tea, cuts his cloth, and avoids thinking about the elephant in the room…

Here is the trailer:

Screening Room: ‘Master’

Regina Hall stars in Master, a new horror film from Mariama Diallo that adds topical layers to its frights and scares.

Master will be released this Friday on Amazon Prime. My review is at PopMatters:

Diallos’ film, which bolts together race-conscious academic satire and haunted-house narrative, is set at the fictional Ancaster College. A Northeast school “nearly as old as the country”, it is a picture-perfect expanse of brick and ivy complete with hallowed traditions, an Ivy League-adjacent reputation, vanishingly few students or faculty of color, and centuries of ugly undercurrents that never seem to go away. New student Jasmine (Zoe Renee) has barely arrived on campus when she discovers that her dorm room is the one the other students whisper about: Decades earlier, the school’s first black student had killed herself there…

Here is the trailer:

Screening Room: ‘America, We Have a Batman Problem’

How many Batman movies is too many? It seems like we are finding out.

My article, ‘America, We Have a Batman Problem’ is at Eyes Wide Open:

Batman’s appeal to artists and audiences is understandable. His immense wealth, traumatized childhood, and schizophrenic relationship with the villains he hunts provides a buffet of dramatic possibilities. Batman’s need (trauma) and ability (wealth) to act is as bottomless as his inability to avoid questioning his actions. Still, isn’t it time to give the man a rest?

Screening Room: Sundance Film Festival, 2022 Edition

Once again, the Sundance Film Festival (still showing movies virtually) is spreading cheer in an otherwise gloomy month by giving us a glimpse of what is coming our way in the coming year, cinematically. I covered a few of the movies at this year’s festival for Slant here:

  • When You Finish Saving the World (pictured): Jesse Eisenberg’s directorial debut is a satire with Julianne Moore and Finn Wolfhard as monumentally clueless narcissists.
  • We Need to Talk About Cosby: W. Kamau Bell’s four-part docuseries digs into the comedic genius and criminal villainy of Bill Cosby and the toxic tangling of the two.
  • Sharp Stick: The latest comedy from Lena Dunham is about a young woman determined to lose her virginity by starting an affair with her older, married employer.
  • Call Jane: Phyllis Nagy’s drama stars Elizabeth Banks as a late-Sixties Chicago housewife who inadvertently becomes part of an underground abortion operation run by activist Sigourney Weaver.
  • 892: A true-life hostage drama starring John Boyega as an Iraq War veteran who threatens to set off a bomb in a bank if his demands against the VA are not met.

Screening Room: ‘Stillwater’

The new movie from Tom McCarthy (Spotlight) takes some inspiration from the Amanda Knox case but goes in different directions, some interesting, others less so.

Stillwater is playing in wide theaters-only release now. My review is at PopMatters:

Oil field roughneck Bill (Matt Damon) relocates from the hardscrabble flatlands of Oklahoma to the graffiti-splattered urban puzzle of Marseilles to help free his daughter Allison (Abigail Breslin) from prison. It’s not an easy quest, given that Bill does not know anybody and barely communicates in English, much less French…

Here’s the trailer:

Screening Room: ‘Roadrunner: A Film About Anthony Bourdain’

In Roadrunner: A Film About Anthony Bourdain, documentarian Morgan Neville (Won’t You Be My Neighbor?) tracks the alt-chef’s rise to fame and his struggle over what to do once he reached the top of the mountain.

Roadrunner opens next week in limited release. My review is at PopMatters:

The current theatrical landscape in which celebrity culture mixes with foodie nerdism and extreme travel narratives is impossible to imagine without a boundary-crossing hyphenate enthusiast like Bourdain. What is de rigueur now—chefs with tattoos and potty mouths going to faraway lands or little-known domestic dives to eat off-the-beaten path foods—was more or less invented in 2000. That was the year Bourdain blew up the still-staid manner of writing about cuisine with his bestselling behind-the-scenes part-memoir part-manifesto Kitchen Confidential

Here’s the trailer:

Screening Room: ‘In the Heights’

Yes, movie theaters are open again. To put it very simply, we could do (and have done) worse than have something like In the Heights to kick off the summer movie season.

My article is at Eyes Wide Open:

This is not the movie that officially re-opened movie theaters. That honor went to John Krasinski’s A Quiet Place, Part II. A perfectly palatable and nonessential sequel which failed not only the opportunity to add anything new to the original’s chilling conceit but also the naming test (why not A Quieter Place?), it was a jolting scarefest that served as a surprisingly satisfying communal theater palate-cleanser after the long months of streaming hibernation. Hitting theaters this weekend, In the Heights remains what it was originally meant to be back in 2020: A celebratory early summer blast of song and dance before the long hot months of superheroes and sequels…

Writer’s Desk: Rules? What Rules?

So Seth Rogen has a book out. That may surprise some who just think, “The guy from Knocked Up?” He’s almost more writer / producer these days than charter member of the Judd Apatow comedy mafia.

Rogen and his longtime friend Evan Goldberg have something of a screenwriting machine going, ranging from instant classics like Superbad to series like Preacher to, well, The Green Hornet. So they know how to put words on the page and make something out of it.

Of the advice they gave to The Script Lab, one item in particular jumped out:

Any rule can be broken. They’re just basic guidelines that you can just shatter if the moment is right.

It seems obvious, but really it is not. We all have rules that get stuck in our head, from hanging that gun on the wall in the first act to the number of red herrings to give your detective hero before he/she finds the killer (by the way, that number has been scientifically calculated as 4.5).

But each and every one of them should be hurled out the window with great force the second they get between you and your story.

Screening Room: ‘The Dry’

My review of the perfectly okay new Eric Bana mystery The Dry is at Slant:

It would be difficult to find a worse candidate for solving the murder-suicide that lies at the heart of Robert Connolly’s The Dry than its hero, federal police officer Aaron Falk (Eric Bana). Not only is he prejudiced about the case because he was once close friends with Luke (Martin Dingle Wall), the initial suspect, but almost everyone in the small town where the killings took place despises Aaron for his connection to a 20-year-old scandal. In reality, this would create a near-impossible barrier for any investigator to overcome. But this is the kind of mystery where a standup cop willing to doggedly bang his head against enough walls can always knock the truth loose, even if he might be a murderer himself…

The trailer is here: