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Written by Matthew Toomey

Created: 03 May 2023

There’s much chatter right now about rising interest rates, significant cost of living pressures, and a slowing economy.  Are we heading into a recession, how bad will it be, and is there any way it can be avoided?  The Hollywood equivalent of these issues/questions is currently playing out within the world of superhero movies.

Marvel’s Ant Man and the Wasp, released back in February 2023, has grossed just $475m USD at the global box-office.  This it the worst take for any sequel within the Marvel Cinematic Universe.  One month later, Shazam! Fury of the Gods became the worst performer within the DC Extended Universe by pulling it just $133m USD globally.  Have audiences grown tired of the increasingly formulaic genre and are ready to move on to something else?  The Super Mario Bros. Movie is making gazillions right now!  Or is this just a quick blip from which the genre will soon recover?

Guardians of the Galaxy Vol. 3 will be seen by many as a litmus test.   The first two flicks, released in 2014 and 2017, were successful at the box-office and this fresh instalment is being billed as a culmination of the trilogy and, possibly, the end of the road for some heroes.  In addition to the big-name cast, James Gunn also returns as writer-director to help close subplots and character arcs he first conceived a decade ago.

The narrative is ho-hum.  Rocket the raccoon (Cooper) is injured in a surprise attack and will die in roughly 48 hours if his friends, headlined by professional thief Peter Quill (Pratt), are not able to locate the deactivation code for a “kill switch” located inside his body.  This sends them on a series of dangerous missions across the universe where everyone wants to capture or kill them.  Headlining the list of enemies is the High Evolutionary (Iwuji), a man trying to create an alternative Earth where everyone is happy, and violence is non-existent.

Guardians of the Galaxy Vol. 3 is the 32^nd film in the Marvel Cinematic Universe (wowzers!) and the creative well has seemingly run dry in creating interesting, complex villains.  The High Evolutionary likes to shout and boss people around but he’s a bland baddie with seen-it-all-before plans for world domination.  I’d argue the best Marvel flicks are those with the best antagonists – see Thanos in Avengers: Infinity War or Killmonger in Black Panther. 

The action is a bit all over place at times (I had no idea what the Guardians were strategizing during the hectic finale) but this is still entertaining because of its comedy and the chemistry between its leads.  They’re a humorous, depreciating group with distinctive personalities.  The tone is light, the zingers and plentiful, and there’s a splash of genuine emotion at just the right moments.  The visual effects and production values are also strong.  One of the best scenes takes place on a colourful, gooey, “living” spaceship.

150 minutes is a touch long for an action-comedy (the opening is slow) but Guardians of the Galaxy Vol. 3 is a (just) good enough entry to close out the story of these music-loving superheroes.

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Written by Matthew Toomey

Created: 18 April 2023

The setting is a rainy, lightning-filled evening in a dilapidated apartment building.  The catalyst is an old, mysterious book discovered in a cavity beneath the underground basement.  The victim is a single mother who has been possessed by an unexplained, demonic presence.  None of these plot points are original within the horror genre (they’ve been used time and time again) but Evil Dead Rise works because its simple nature and above-average production values.  It knows what it wants to be and doesn’t try too hard.

The title allows it to be included within the Evil Dead franchise but it’s as much marketing as anything else.  There are no returning characters from earlier instalments (except a scratchy voice on an old record) and it operates as a stand-alone movie.  For those new to the brand, the original 1981 flick launched the career of filmmaker Sam Raimi and while he’s gone on to bigger things (like the Tobey Maguire helmed Spider-Man trilogy), he remains connected as an executive producer.  Newcomer Lee Cronin has now taken the reins as writer-director.

Evil Dead Rise has received an R-rating here in Australia for its “high impact horror violence.”  It’s hard to argue with that classification given the gruesome, gory fight sequences and the farcical amount of blood.  The make-up crew and visual effects team have done a stellar job making these characters look as sickly and creepy as possible.  Composer Stephen McKeon and the sound technicians add to the edge-of-your-seat vibe with an array of sharp, piercing sounds.  If you’ve got a slight headache, perhaps this isn’t the best movie for it.

It’s an American production but there’s a strong Australian connection given the cast includes Lily Sullivan (Mental), Alyssa Sutherland (Vikings), and Morgan Davies (The Hunter).  Once we get past the short introduction and into the carnage, they go a genuine job either being scared… or scary.  I’m sure stunt doubles were involved but they also find themselves contorting their bodies into uncomfortable positions and being thrown across the room.

Offering a dash of creativity when it comes to the brutal deaths (thumbs up on the shredder), Evil Dead Rise clocks in at a tight 97-minutes and, for fans of the genre, provides sufficient entertainment.

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Written by Matthew Toomey

Created: 26 April 2023

It’s not often you can say the four lead actors of a film are a combined 335 years of age.  Lily Tomlin (83), Jane Fonda (85), Rita Moreno (91) and Sally Field (76) play four long-time friends from Boston who, thanks to the sex appeal of Tom Brady, have become fans of the New England Patriots.  The year is 2017 and having watched the Patriots win the AFC Championship Game from the comfort of a living room, their attention turns to Super Bowl LI to be held in Houston.  They win a competition to get 4 lucrative tickets and go on a “girls’ weekend” to see if their favourite quarterback can lift the Vince Lombardi Trophy.

Jane Fonda’s character plays a writer who has authored popular, Mills & Boon-style fan-fiction novels about women being seduced by successful footballers.  It’s relevant because the screenplay here is as trashy as those books.  It becomes more unrealistic with each scene – reaching a point where Lily Tomlin is providing motivational speeches to Tom Brady while he sits on the sideline mid-game.  I’d have preferred a dash more credibility but hey, it’s intended to be a simple comedy and there will be audience for this.

The characters have backstories but there’s very little in the way of development.  Subplots are fleetingly touched upon (Sally Field’s annoying husband, Rita Moreno’s potential suitor) but they don’t go anywhere.  The focus is more on wacky set pieces – from drugs unknowingly consumed at a pre-game party, to a hot sauce eating competition, to a strange poker tournament.  The material is predictable, repetitive, and lame… but a handful of jokes hit the mark and it’s nice to see these veteran actresses working alongside each other.

Just like Cocaine Bear, this film is looooooosely based on a true story.  You’ll see the real women pictured during the closing credits but they never actually went to the 2017 Super Bowl.  They were just a group of long-time friends who got together each week to watch games on television while consuming a few snacks and beverages.  It was one of their grandson’s who first pitched the idea of a movie and Tom Brady’s new production company thought it was a great idea (no surprise there).  Brady makes a few cameos during the film which may help lure a wider audience.

Released in the United States back in February to coincide with this year’s Super Bowl, 80 for Brady has been late making it to Australia.  Despite the experience of its stars, I’d keep your expectations low.

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Written by Matthew Toomey

Created: 17 April 2023

Having never won at the Oscars, despite 7 previous nominations for best actor, British star Peter O’Toole (Lawrence of Arabia) was presented an honorary Academy Award in 2002 for his long, distinguished career.  During his short acceptance speech, the 69-year-old acknowledged the many people he’d worked with across his career but also the astonishing young talent from whom he “grabs energy in handfuls.”

In that regard, Hollywood is no different from any other industry.  It’s sad when a gifted actor passes away but there’s always someone coming through to fill the gap and leave their own mark.  These thoughts were rummaging through my head while watching A Good Person, the latest creation of writer-director Zach Braff (Garden State).

The film stars iconic 85-year-old Morgan Freeman (The Shawshank Redemption) who has nothing left to prove in terms of ability, but he continues to be motivated by a love for the craft.  It’s as if he’s in a contest with the ageless Clint Eastwood to see who can last the longest!  Here, Freeman is working alongside one of the great upcoming stars of today’s generation – 27-year-old Florence Pugh who, after a breakout performance in 2016’s Lady Macbeth, has built an impressive resume with roles in Fighting with My Family, Midsommar, and Little Women.

There is nothing flash or original with the script for A Good Person.  Pugh plays a young woman who has become addicted to prescription medication after being involved in a car accident which took the life of two friends.  Freeman plays a former alcoholic who has become the sole caregiver to his rebellious teenage granddaughter following the death of her parents.  They are as different as chalk and cheese but these two come together, via some semi-contrived moments, and reluctantly help each other through their pain and suffering.

Other films have covered the subject of addiction in a more convincing and emotional manner (The Lost Weekend, The Basketball Diaries, Requiem for a Dream) but A Good Person warrants your time for its two lead performances.  The experience of Freeman and the passion of Pugh make for a nice pairing.  There are moments when the characters let their guard down and show a tormented, willing-to-change side… and there are moments when the guard springs back up and they refuse to acknowledge their problems and alternate views.

A few plot points are heavy-handed (“I’ve read the reports”) and a few others are undercooked (the teenage daughter) but A Good Person does remind us that asking for help, when facing a life-altering addiction, is a tough first step.

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Written by Matthew Toomey

Created: 24 April 2023

When people hit me up for a movie recommendation, I always ask what they are in the mood for?  Options include action, comedy, drama, thrills, horror, romance, sci-fi, true stories… and the list goes on.  In making her feature film debut, writer-director Nida Manzoor has bravely attempted to offer something for everyone with Polite Society.  It’s a little messy in places but, for the most part, it’s an entertaining ride which blends a multitude of genres.

It is the story of a British high school student, Ria (Kansara), who isn’t too excited about her older sister, Lena (Arya), getting married to a guy she’s only known for a month.  There’s no obvious flaws with the fiancé (he’s a 32-year-old, good-looking geneticist) but Ria is more upset with her sister’s sudden change in focus and temperament. Instead of being a happily single, fun-loving art student, Lena is now a subdued, cardigan-wearing woman who is prepared to give up her dreams and start a more subservient life in Singapore with her husband-to-be,

As you’d expect from that simple plot overview, Polite Society has the appearance of a family drama.  Many will relate to the tight-nit bond that exists between siblings… and the way it lessens over time as they develop their own lives and their own independence.  Is Ria upset because she has genuine concerns about the rushed martial decision Lena is making?  Or is her judgement clouded because she selfishly doesn’t want to lose the close relationship they have always shared?  Adding to Ria’s frustration is the fact her frankly speaking parents (Mirza and Kapoor) do not appreciate her point of view.

As alluded to above, there’s a lot more to this film.  Ria has a martial arts YouTube channel and is hopes to become a successful stuntwoman.  If you’re looking for action, there are some fun scenes where Ria uses these skills in deliberately over-the-top battles – including one with the high school bully.  The laughs ain’t bad either.  There are some humorous scenes where Ria argues with her folks (crude words aplenty) and interacts with her friends in trying to sabotage the upcoming wedding.

There are other surprises but you can see Polite Society for yourself to discover them.  Newcomer Priya Kansara, in her first feature film, is excellent in the lead role.  It’s a performance that requires charisma, humour, exaggerated reactions… and karate.  Manzoor also deserves credit for her directorial choices.  The editing (quick cutaways) and music score keep the narrative moving at a brisk pace.  The lavish wedding, complete with colourful costumes, is another highlight.

Selected to open last week’s Gold Coast Film Festival and now openly widely across the country, Polite Society finds a way to balance goofiness, emotion and spectacle.