Sydney Sweeney and Glen Powell make an attractive pair for sure. But that’s not enough to save the lackluster “Anyone But You”, a sparkless romantic comedy that checks off plenty of boxes while trying to get by on mere looks alone. Director Will Gluck offers up yet another spin on Shakespeare’s “Much Ado About Nothing”. But aside from a few glimmers of promise, this by-the-numbers rom-com never gets off the ground.
“Anyone But You” has one of those annoying stories where the driving conflict could easily be avoided or solved with one simple and obvious conversation. But that conversation doesn’t come until the very end which is a contrivance the flimsy script (penned by Gluck and Ilana Wolpert) desperately needs to keep going. And even then, it hits you with nothing that you won’t see coming from a mile away.
Image Courtesy of Sony Pictures
Bea (Sweeney) and Ben (Powell) meet in a coffee shop and proverbial sparks fly. They end up going back to his place where they spend all night talking before falling asleep in each other’s arms. Bea wakes up first and quickly slips out, terrified of the strong feelings she suddenly has for Ben. Heartbroken because she left without saying a word, Ben feels that he’s been duped, leading him to trash Bea to his best friend Pete (GaTa). But what he doesn’t notice is that Bea has returned to share how she feels and overhears Ben. She again slips away unnoticed. But as fate would have it, the two meet again six months later, both bitter and angry at the other but for much different reasons.
In a stroke of convenience, it turns out Bea’s sister (Hadley Robinson) is engaged to Ben’s friend (Alexandra Shipp). They’re set to be married in Sydney, Australia so everyone flies down under where they’ll spend the next few days at a luxurious oceanside estate. Bea and Ben’s growing animosity begins to threaten the wedding. That is until the two form a pact. In another convenient turn, both of their exes arrive for the wedding. So Bea and Ben agree to pretend they’re together in hopes of solving their problems with their former flames. Of course hijinks ensue.
The bulk of the film’s 100 minutes has us following this uninteresting group of rich and privileged people as they navigate their rich and privileged problems within their very rich and privileged world. There are moments of charm and there are times when we get flickers of romantic tension between Sweeney and Powell. But two good-looking people doesn’t automatically equal chemistry.
Image Courtesy of Sony Pictures
Powell is up for the task, but too often he’s handed dialogue that no amount of good acting could sell. It’s a little more complicated for Sweeney. Her room-temperature performance more closely resembles flat line-reading than anything from the heart. It isn’t until late into the movie that we actually see something from her that feels like real emotion. The mixed bag of supporting work doesn’t help. Some are able to overcome the material, but none can make their characters the slightest bit compelling.
And if the corny dialogue, bland characters, and predictable story weren’t enough, the vain attempts at humor only makes things worse. This is especially true with the physical comedy, most of which is embarrassingly bad for everyone involved. So many of the other gags land with a thud as well. It’s all so painfully unfunny that the movie is never able to recover once it does try to be more serious. It leaves us with an uninspired mess of a movie lacking even a trace of heart, humor, or humanity to cling to. “Anyone But You” is in theaters now.
On October 13, 1972 a plane carrying an Uruguayan rugby team crashed high in the snow-covered Andes Mountains. Many among the 40 passengers and five crew members were killed instantly. Several more died shortly afterward from the severity of their injuries combined with the bitter cold temperatures. Authorities searched for the wreckage but canceled after eight days. More died from starvation, exposure, and a horrific avalanche. After surviving 72 days, 16 survivors were rescued.
The true story of that ill-fated flight has been brought to screen several times including in Frank Marshall’s 1993 film “Alive” starring a young Ethan Hawke. “Society of the Snow’ from director and co-writer J. A. Bayona is the latest and arguably the best. Appreciators of “Alive” will recognize many of the same touches in Bayona’s film. But “Society of the Snow” expands a bit further beyond the survival element and uses its own thoughtful framing device to offer a fresh and unique perspective that honors both the living and the dead.
Image Courtesy of Netflix
Adapted from journalist Pablo Vierci’s 2009 book of the same name, “Society of the Snow” pulls no punches with Bayona’s focus on realism. His film is uncomfortably yet respectfully authentic, staying true to every horrific detail without ever being sensational or lurid. It makes for a viscerally immersive survival saga. But just as potent as the sensory experience is the simple yet profound message at its core – one about the indomitable human spirit as seen through the steadfast will to live and the sacrifice for those you hold dear.
Bayona tells the majority of his story from the perspective of 24-year-old Numa Turcatti (Enzo Vogrincic Roldán). His voiceover offers some intriguing observations and insight. And later on he poses a haunting question, “Who were we in the mountains?” It’s a difficult, soul-straining consideration that he labors over through much of the film, ultimately answering it the best and only way he knows how.
The depiction of the plane crash itself is brief but intense and not for the faint of heart. It’s a terrifying sequence as the Fairchild FH-227D strikes a mountain, losing both wings and the tail section, and sucking out several helpless passengers. What’s left of the fuselage barrels down an icy mountain at over 200 mph. The gruesome images before it finally comes to a stop will make even the ‘toughest’ viewer wince. But wisely and mercifully, Bayona doesn’t draw it out. The whole thing lasts a couple of minutes tops and then we’re faced with the aftermath.
What follows is a harrowing story of survival that’s as unsettling as it is inspirational. We watch as those who lived through the crash suffer through even more perilous situations – intense sub-zero cold, no food, and the mounting deaths of their friends and family. As days pass hopelessness sets in, leading the weakened and starving group to make a desperate choice. With the inevitability of death lingering, they painfully decide to eat from the dead bodies. It’s a heart-rending turn handled with great empathy. Bayona stays focused on the humanity, showing the group laboring over their options, weighing the spiritual consequences, and bearing the psychological toll.
Image Courtesy of Netflix
Pedro Luque’s striking cinematography is as vital as any other storytelling component. At times he takes your breath away by the sheer beauty of the scenery he captures. Yet he’s able to take those very same images a create feelings of isolation and despair. Just as effective are the intense closeups and tight quartered shots which emphasize the severity of the group’s circumstances.
Bayona’s impressive vision is also helped by the immersive sound design as well as Michael Giacchino’s resonating score. And perhaps most of all by the sublime performances from the mostly unknown Uruguayan and Argentine cast. There are so many crucial ingredients and Bayona uses them to craft what could be considered the definitive telling of this unimaginable true story. And even if you know the real account, “Society of the Snow” will still leave you astonished by the sheer tenacity of the filmmaking and the passion in its storytelling. Premieres January 4th on Netflix.
And just like that 2023 is done and what a wild year it has been for movies. As usual it was a year with its share of surprises and more than a few disappointments. Some movies made big splashes at the box office; some movies deservedly bombed; other highly anticipated movies were pushed to next year. One thing is for sure, 2023 gave us plenty to enjoy.
So here we are in late December, the time where we critics take on that annual tradition of picking the ten best movies from the past year. While some (understandably) argue that such lists are pointless and silly, what can I say? I love reading them and putting mine together. With that said, it’s time to get to it. Without further delay, here are my Top 10 Films of 2023.
As always let me start by showing some love to my #11-20….
#20 – “The Boy and the Heron”
#19 – “Revoir Paris”
#18 – “Are You There God? It’s Me, Margaret.
#17 – “May December”
#16 – “Society of the Snow”
#15 – “The Promised Land”
#14 – “The Boys in the Boat”
#13 – “The Holdovers”
#12 – “Mission: Impossible – Dead Reckoning Part One”
#11 – “Fallen Leaves”
The Top 10 Films of 2023
#10 “The Last Voyage of the Demeter” – File this one as the movie on my list that deserved way more attention than it received. “The Last Voyage of the Demeter” didn’t get a warm reception upon its release. That’s a shame. It remains my favorite horror movie of 2023. Stylishly mixing old-school supernatural chills with extraordinary practical effects, “Demeter” takes a lone chapter from Bram Stoker’s “Dracula” and turns it into a harrowing horror movie on the high seas. It all festers into a tense, moody, and gruesome delight from Norwegian director André Øvredal. [REVIEW]
#9 “Ferrari” – Among the more exciting announcements in 2023 was Michael Mann’s return to the director’s chair. “Ferrari” is a movie Mann has been trying to make for over two decades and his passion for the project penetrates every frame. The film follows three tumultuous months in the life of Enzo Ferrari, the founder of the luxury sports car manufacturer that bears his name. Adam Driver is as sturdy as ever while Penélope Cruz is outstanding playing his wife Laura. Mann caps it off with the racing of the Mille Miglia in what is one of the most breathtaking final acts of the year. [REVIEW]
#8 “Godzilla Minus One” – If you had asked me at the beginning of the year I wouldn’t have predicted that a Godzilla movie would be on my Top 10 list. At the time I didn’t even know one was set to be released. But Takashi Yamasaki’s “Godzilla Minus One” ended up being one of the biggest surprises of 2023. This engaging mixture of exhilarating spectacle and heartfelt humanity offers up a crash course on how to make a great blockbuster. The kaiju action is immensely satisfying. But it’s the story’s deeply ingrained human element that makes it stand out. [REVIEW]
#7 “Past Lives” – Writer-director Celine Song blessed us with the very best feature film debut of 2023. Her endearing and poignant drama “Past Lives” received widespread praise after premiering at Sundance. Since then that praise has (rightfully) only grown. “Past Lives” tells a sophisticated and bittersweet story that’s subtly romantic and thematically rich. It’s driven by a sublime Greta Lee who delivers one of the most evocative performances of 2023. Warmly written and beautifully shot, “Past Lives” marks the emergence of a new and truly exciting cinematic voice. [REVIEW]
#6 “John Wick: Chapter 4” – It’s the time of year where many of us start setting guidelines for our ‘Best of the Year’ lists and begin narrowing down what constitutes a “worthy” movie. Take a film like “John Wick Chapter 4”. Fellow critics have rightly sang its praises. But is it an awards caliber movie? Allow me to answer with an emphatic YES! JW4 is far and away the best action movie of the year, with its incredible blend of vision, style, and craftsmanship. The action sequences are mind-blowing and the intensely committed and inherently likable Keanu Reeves is icing on the cake. [REVIEW]
#5 “The Iron Claw” – You don’t have to be a fan of professional wrestling to love Sean Durkin’s brilliant “The Iron Claw”. This wrenching drama tells the true story of the legendary Von Erichs, a family whose in-ring achievements were only outshined by their personal tragedies. Durkin approaches the story with honesty and empathy through one of the year’s best screenplays. The film also features some terrific performances led by a career best turn from Zac Efron. Fans will love the numerous name drops and cool callbacks. Yet it’s the deeply affecting human drama that sets the movie apart. [REVIEW]
#4 “The Killer” – “The Killer” gives us two long awaited returns – that of David Fincher and Michael Fassbender. Directed by Fincher and written by Andrew Kevin Walker, this lean, smart, and stylish action-thriller proves to be the perfect vehicle for Fassbender’s ice-cold charisma and steely magnetism. Fincher’s steady screw-tightening builds some great tension within the film’s effectively deliberate and deceptively layered frame. “The Killer” is a first-rate pulpy neo-noir that seems to get better with each viewing. And I already have a hankering for the next Fincher-Fassbender collaboration. [REVIEW]
#3 “The Zone of Interest” – Movies rarely leave me speechless. “The Zone of Interest” certainly did. This is no ordinary historical drama nor is it like any Holocaust movie you’ve seen before. Writer-director Jonathan Glazer has made a daringly precise and artfully calculated feature that puts what Hannah Arendt called “the banality of evil” on shocking display. This is a quietly chilling work that doesn’t need gruesome imagery to make you uncomfortable. Explorations like this are never “fun”. But Glazer has delivered a vital movie that is a landmark achievement both in filmmaking and as a historical reflection. [REVIEW]
#2 “Killers of the Flower Moon” – “Killers of the Flower Moon” seems like a movie only Martin Scorsese could make. From its scope to its craft to its style of storytelling, everything about it feels like a Scorsese picture. And it’s not recency bias to say it’s one of the acclaimed director’s very best films. I’ve seen “Killers of the Flower Moon” three times – all three hours and 26 minutes of it. Each time I found myself absorbed in nearly every facet of the film – the performances from the top stars to the terrific supporting cast, the incredible production design, the sweeping epic feel, the unshakable honesty of the story, the moody magnetic score. It’s a masterwork. [REVIEW]
#1 “Oppenheimer” – The sheer achievement that is “Oppenheimer” cannot be overstated. From a simple box office perspective it was the biggest surprise of the year. A three hour biography of a theoretical physicist isn’t the kind of movie you would expect to make nearly $1 billion. But such is the Christopher Nolan effect. From the brilliance of his screenplay to the stunning execution of his direction, Nolan has a made a film that defies expectations. It’s an utterly mesmerizing piece featuring the best ensemble cast of the year, a haunting score, and phenomenal cinematography. It’s extraordinary filmmaking and storytelling making this yet another career defining accomplishment from one of the best in the business. [REVIEW]
And those are my picks for the best movies of 2023. What did you think of my list? What would make yours? Let me know in the comments section below. Till next year….
Director Paul King’s “Wonka” sets out to tell the origin story of none other than Willy Wonka, the popular chocolatier from Roald Dahl’s beloved 1964 novel “Charlie and the Chocolate Factory”. The story (co-written by King and Simon Farnaby from a story conceived by King) follow Willy’s challenging early days in Europe. King has called his film a companion piece to Mel Stuart’s 1971 film “Willy Wonka & the Chocolate Factory”. You can certainly feel that connection.
I don’t have much of a history with the Wonka character or the previous two movies. I’ve seen them both but never felt the same affection that many do. And that’s why “Wonka” was such a pleasant surprise. It turns out to be a delightful fantasy film for the entire family that features a terrific ensemble, great production design, good humor, and even better musical numbers. Oh, and there’s the hysterical Hugh Grant who quite honestly steals every single scene he’s in (and that is no exaggeration).
The film kicks off with a fabulous opening number as Willy Wonka (an affable and energetic Timothée Chalamet) arrives in a European coastal town with very little money but a really big dream. He desperately wants to open his own chocolate shop in the town’s famed Galeries Gourmet. There he hopes to make the finest magical chocolates to share with the world. But as he quickly learns, that’s easier said than done.
Image Courtesy of Warner Bros. Pictures
The wide-eyed Willy is a dreamer at heart. He prides himself in being a magician and an inventor. But his true passion is chocolate – something handed down to him by his late mother (played in flashbacks by Sally Hawkins). Unfortunately the ambitious but gullible Willy doesn’t have a good grasp of the real world and is immediately duped by the devious Mrs. Scrubitt (Olivia Colman) and her lunkheaded goon Bleacher (Tom Davis). Under the guise of kindness, the pair offer Willy a room for the night but trick him into signing a binding contract (always read the fine print) that confines him to labor in her basement laundry.
Willy joins several others who also failed to read the fine print. He takes a liking to the small group of coerced laborers, especially a resourceful orphan girl named Noodle (Calah Lane). The two have a great rapport and the brother-sister dynamic that develops is one of the sweetest (bad pun intended) ingredients in the film.
Noodle helps Willy slip out of his confinement so he can begin selling his chocolate. But he runs into bigger challenges than mean old Mrs. Scrubitt. It turns out there is a cartel of chocolate shop owners (played with hilarious over-the-top panache by Paterson Joseph, Matt Lucas, and Matthew Baynton) intent on squashing any competition. They ensure their chocolate dominance through bribes to the crooked sweet-toothed police chief (Keegan Michael Key) and an equally corrupt local cleric (Rowan Atkinson).
Image Courtesy of Warner Bros. Pictures
Then there’s the nagging issue of the small green-haired orange-skinned man who keeps slipping in and stealing Willy’s chocolates. He identifies himself as an Oompa-Loompa and he’s played by the riotously starchy Hugh Grant. It’s such a wildly absurd pairing (Grant and Oompa-Loompa) but it works so well thanks to the effortlessly droll veteran actor. He had me smiling every time he popped up on screen.
The ‘overcoming adversity’ tale that follows sticks close to formula as Willy the confectioner and his new friends go head-to-head with the choco-conglomerate. Yet King (best known for his terrific “Paddington” films) infuses the movie with his own charming effervescent style of storytelling, slyly navigating through some surprisingly dark themes with a warm and genial spirit. And to his credit, King gets the tone just right, whether he’s submerging us in his sugar-coated fantasy, tenderly touching our emotions, or playfully venturing into full heist movie territory.
As for the music (and yes, “Wonka” is very much a musical), none of Neil Hannon’s original songs will stick in your mind. But that’s not to say they’re bad. In fact the songs are perfectly in tune with the storytelling and the smile-inducing musical set pieces offer entertaining rushes of vibrant creativity. And kudos to Chalamet who does a great job balancing all that’s asked of him. He’s a nice fit for a story that smoothes off most of the Dahl’s sharp edges and embraces the childlike sense of wonder that makes this movie such a treat. “Wonka” is in theaters now.
The renowned Studio Ghibli and animation legend Hayao Miyazaki return with their highly anticipated “The Boy and the Heron”. It’s the 82-year-old Miyazaki’s first feature film since 2013 – the year he announced his retirement after the release of the critically acclaimed “The Wind Rises”. But to the elation of his many fans, the beloved filmmaker had a change of heart and began working on a new feature-length project in 2016. After a lengthy production (one made lengthier by the COVID-19 pandemic) it has finally made its way to theaters.
To be completely honest and forthright, I’m hardly what you would call a Miyazaki connoisseur. I haven’t seen all of his movies nor have I ever felt inclined to. That’s not to say I haven’t respected him as a filmmaker. Quite the opposite. I’ve often lamented the fact that his movies have rarely registered with me in the same way they do with his legion of passionate fans. That said, Miyazaki’s career is nothing short of inspiring and his legacy is undeniable.
Image Courtesy of Studio Ghibli
“The Boy and the Heron” sees Miyazaki drawing from his own childhood to tell a warm-hearted coming-of-age story. It’s told from the perspective of 12-year-old Mahito (voiced by Soma Santoki), a character whose experiences echo Miyazaki’s in a number of ways. Both were deeply affected by the losses of their mothers. Both had fathers who worked for companies that manufactured parts for fighter planes. Both were part of families forced to evacuate to other cities due to bombings in World War II.
“The Boy and the Heron” gets its title from Genzaburō Yoshino’s 1937 novel of the same name, but their connection is largely thematic. This is very much an original Miyazaki story set in the turbulance of 1943. A few years after the loss of his mother and amid the growing chaos from the war, 12-year-old Mahito and his father Shoichi (Takuya Kimura) leave Tokyo for the countryside to live with Natsuko (Yoshino Kimura), Shoichi’s new pregnant wife who is the younger sister of Mahito’s late mother.
Still grieving his mother’s death, Mahito is cordial but lukewarm towards the kindly Natsuko. During the day, while Shoichi is away running a nearby air munitions factory, Mahito mostly avoids his ‘new mother’ and her gaggle of elderly maids. He spends chunks of his time exploring the grounds which is where he discovers a creepy old tower grown up and in disrepair. Even stranger is his encounter with a bizarre and pesky talking grey heron (Marsalis Suda).
Things move further into the fantastical after Natsuko wanders off into the forest and goes missing. As parties search for her in our world, Mahito, paired with the suspicious Grey Heron, venture into the tower which turns out to be a gateway to a parallel universe. It’s an bizarre place filled with wild characters, weird creatures, and profound truths that may help Mahito cope with his sadness and find happiness in what he still has.
Image Courtesy of Studio Ghibli
There is a lot in “The Boy and the Heron” that Miyazaki fans will recognize. There is the exquisite hand-drawn animation featuring painterly compositions with gorgeous backgrounds and rich detail. There are his classic themes of loss, grief, and childhood, all treated with his signature sense of optimism. It seems these and other Miyazaki trademarks have made the film a little too familiar for some ardent lovers of his work. But as someone who sees himself as more of an admirer than an authority, I found myself mostly swept away.
Admittedly the movie did lose me a bit in the second half where the wackiness reaches its height. Yet I was still captivated by how Miyazaki maintains his thematic connections throughout. And the way he steadily mirrors reality with the otherworldly is impression. It all leads to a truly touching ending that brings the entire story to a beautiful conclusion. As for Miyazaki, if this is his final feature, he has gifted us with something delightfully charming and artistically precious. “The Boy and the Heron” is in theaters now.
The first cut of Zack Snyder’s “Rebel Moon – Part One: A Child of Fire” has released and Netflix has dropped a series of cool character posters to go along with it. To absolutely no surprise the film has been met with scalding reviews from many critics. Yet equally predictable is the film’s enormous success as it quickly became the #1 movie on Netflix worldwide.
This first installment in Snyder’s sprawling space opera introduces us to a fascinating original world full of interesting characters, jaw-dropping locations, and of course stylish action. It’s a fun two hours but it does more to entice than fulfill, ramping up the anticipation for the already announced extended cut. You can read my full review of “Rebel Moon – Part One” HERE.
Check out the new “Rebel Moon” character posters below…
Keith & the Movies 