First Glance: “Last Night in Soho”

The exciting first trailer for Edgar Wright’s new movie “Last Night in Soho” dropped today and it didn’t disappoint. This psychological horror film is built around a wonderfully twisted premise and the first images we get are eerie, moody, and soaked in tension. And while the wonderful Anya Taylor-Joy gets top billing, the most exciting for me is seeing Thomasin McKenzie handed such a meaty role. Talk about a great young actress on the rise.

Set in London and with a time travel element, “Last Night in Soho” centers around an aspiring fashion designer named Eloise (McKenzie) who is mysteriously transported to 1960’s London. There her identity seems interwoven with that of her idol, a vivacious wanna-be singer named Sandy (Taylor-Joy). But as the trailer shows all is not what it seems. Wright and Focus Features are still keeping a lot under wraps, but what they show us looks great and definitely piques my curiosity.

“Last Night in Soho” hits theaters October 22nd. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Tina” (2021)

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Younger generations may not realize how big Tina Turner really was. Not just in her early days in the 1960’s as the lead singer of the Ike & Tina Turner Revue. But also during her massive comeback years later culminating with her 1984 multi-platinum solo album “Private Dancer”. That record would go on to sell 20 million copies and launch a global tour featuring 230 shows in 18 months including a concert in Rio in front of 186,000 fans. The next year she was starring in a “Mad Max” movie and authoring a New York Times best selling autobiography.

Now 81 years-old, Turner has mostly stepped away from the limelight yet people are still fascinated with her life’s journey – one full of amazing triumphs and devastating hardships. In HBO Max’s new documentary “Tina” from directors Dan Lindsay and TJ Martin, Turner tells her heartbreaking yet inspirational story for what she hopes is the last time while also paying her final farewell to a fan base that spans the entire globe.

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Image Courtesy of HBO Max

One of the documentary’s biggest strengths is that so much of what we see is in Turner’s own words. Lindsay and Martin pull large chunks from a 2019 interview with Turner from her home in Zurich, Switzerland and from her much publicized 1981 interview with People Magazine which marked the first time she spoke publicly about the abusive relationship and bitter breakup with Ike Turner, her husband and long-time music collaborator. Tina and Ike had been together for sixteen years, and though divorced from him, prying interviews made certain Tina could never fully escape his shadow.

Tina Turner was a natural performer full of energy, arms and legs flailing wildly, hair thrashing to the rhythms, and full-bodied notes pouring out of her soul. Yet we learn it was never her dream to become a superstar. Instead it was a fateful evening in 1957 when Tina went to hear Ike and his band play at a St. Louis nightclub. She was wow’d by Ike’s talent and asked if she could join him on stage. He didn’t buy that she could sing and turned her down. But she kept going back night after night until Ike gave in. Her voice blew him away and soon the 17-year-old Turner was playing weekend gigs which began her rocky road to stardom.

Lindsay and Martin ease us through Tina’s years with Ike using her voice, a wealth of great archival footage, and some revealing interviews with friends and former bandmates. The film takes a very candid yet compassionate look at the duo’s creative highs and their marital lows which were mostly a byproduct of Ike’s mental and physical abuse. It paints a vivid portrait of their 16 years together including one of the film’s most sobering moments as Turner gives her account of the evening of July 3rd, 1976 in Dallas, Texas – the night she determined enough was enough.

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Image Courtesy of HBO Max

In many ways “Tina” is also a movie about overcoming, reclaiming your life, and making your name your own. We see it as Turner, essentially cast aside by the industry, sets out to reinvent herself. She started by doing Las Vegas cabaret gigs, TV specials, and game show appearances just to get by. But soon she not only hits it big but becomes a global mega-star, selling out massive arenas and doing it all on her terms.

“Tina” is in many ways a fairly traditional music documentary which is just fine when you have a fascinating subject and you tell the story with clarity and honesty. That’s what we get here in large part because Lindsay and Martin let Turner do a lot of the talking. And while we get a clear picture of the savage effects of domestic abuse, we also see one of the first women to stand up to her abuser publicly which would inspire others to do the same. At the same time she was never able to get away from the very abuse that caused her so much pain. Even after becoming the biggest female pop star in the world the media and the public made sure Ike Turner’s influence was always present. With this documentary maybe she can finally put that painful part to rest. “Tina” is now streaming on HBO Max.

VERDICT – 4 STARS

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First Glance: “Eternals”

Marvel Studios seems prepped and ready for their next big box office blitz. “Black Widow” finally hits theaters in July. “Shang-Chi and the Legend of the Ten Rings” arrives in September. And then you have November’s “Eternals”, the star-studded superhero ensemble film co-written and directed by recent Oscar winner Chloé Zhao. That peculiar mix of filmmaker and material is enough to make me want to see the film. But outside of that I’m having a hard time getting excited for this particular MCU installment.

The new teaser trailer gives us just a glimpse of what this $200 million blockbuster has in store for loyal MCU followers. It’s great seeing Gemma Chan have such a prominent spot in the clips we get. We also see Angelina Jolie, Salma Hayak, Richard Madden, Kumail Nanjiani, Barry Keoghan, and others. We learn practically nothing about this secret team of immortal protectors, but we do get to see them all costumed up. I figure that will be enough for the multitude of Marvel die-hards, but I found it to be surprisingly generic. In fairness it is just a teaser. But I need more than famous faces in spandex.

“Eternals” hits theaters November 5th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Above Suspicion” (2021)

Emilia Clarke stores away her English accent (and Mother of Dragons renown) in the new movie “Above Suspicion”, a grimy southern noir from Australian director Phillip Noyce. The film was shot all the way back in 2016 but is just now finding its way to American screens. That type of hesitation doesn’t exactly exude studio confidence. While watching the film it’s pretty easy to detect the cause for concern. At the same time, the movie is kept afloat by its compelling lead and just enough surface-level treatment of its true story inspiration to keep things interesting.

“Above Suspicion” is based on Joe Shakey’s book of the same name, a non-fiction work that tells the tragic story of Susan Daniels Smith. I’ll stay away from detailing Smith’s story as doing so would leave no real reason (other than Clarke) to watch the movie. I say that because one of the film’s biggest issues is that it leaves too much meat on the bone. The movie we get seems content with touching on the high points of the story which are certainly worth covering. But Noyce never seems confident in his approach to the material and screenwriter Chris Gerolmo can’t make the story as compelling as it should be.

Image Courtesy of Lionsgate

Clarke is the one real highlight here. She puts a nice accent onto dialogue that’s caught somewhere between authentic and full-blown Southern stereotype. Set in the Appalachian Mountain valley town of Pikeville, Kentucky in 1988, Clarke plays Susan Smith, a young mother whose life has been one bad beat after another. She’s always wanted to get out of Pikeville, yet she almost seems bound to the tragic hand she has been dealt. Instead she’s stuck living in a trailer park with her abusive ex-husband Cash (Johnny Knoxville). “There’s only two ways to make money in this town since the mine shut down,” she says at one point. “One is the funeral business and the other is selling drugs.” Cash is certainly no funeral director.

Stuck in a dead-end world of drugs and rural poverty, Susan sees a way out when ambitious clean-cut FBI agent Mark Putnam (Jack Huston) moves into town with his wife (Sophie Lowe) and their new baby. Hungry to climb his way up the Bureau’s ladder, Mark is there to track down a serial bank robber, something that would put a significant notch in his belt and get the attention he craves from his bosses.

When Susan and Mark eventually meet, he convinces her to become an informant. Professionally, their partnership proves fruitful for both of them. Mark gets closer to his big bust and Susan gets some much needed cash for every bit of information she provides. But then they cross the line and the two begin a steamy affair that quickly sours. Feeling he has too much at stake (professionally more so than at home), Mark decides to moves on. But Susan is having none of it which leads their story down a darker and more sordid path.

Image Courtesy of Lionsgate

As you can tell, there is plenty here for a good rural crime thriller especially with two capable leads like Clarke and Huston. Yet from start to finish, the movie remains as tepid as its generic title. It’s never boring. It simply fails to explore the human complexities that should be the centerpiece of a story like this. Even the film’s well-meaning style choices feel dated and unneeded. Susan’s narration, the drab color palette, the sweaty close-ups – none of it enhances the story or the characters in any meaningful way.

“Above Suspicion” has a story worthy of being told but it’s emphasis is too often on the wrong thing. It’s a shame because even amid the clichés and character types Emilia Clarke gives a strong performance that will probably go unseen by many. That’s because the film does little to stand out and set itself apart. And it isn’t helped by all the time spent sitting on the shelf and the almost non-existent promotion once it was finally set for release. Still, if you’re looking for something to watch at home you could do a lot worse, even though the film itself could have been a lot better. “Above Suspicion” is now streaming on VOD.

VERDICT – 2.5 STARS

REVIEW: “Final Account” (2021)

Auschwitz survivor Primo Levi wrote “Monsters exist, but they are too few in number to be truly dangerous. More dangerous are the common man, the functionaries ready to believe and to act without asking questions.” The thrust of that quote forms the backbone of Luke Holland’s engrossing new Holocaust documentary “Final Account”. In it Holland condenses twelve years of work and nearly 300 interviews into a 90 minute study of how passivity can open the door to great evil and how denial of one’s complicity can take many different forms.

There is a tag at the end of “Final Account” that captures Holland’s relationship to this subject – “In the memory of my murdered grandparents and millions of others.” This was a personal journey for Holland who sadly died from cancer shortly after completing the film. He sought to capture the German point-of-view from some of that generation’s few remaining voices. Some were simply witnesses; others were active participants. Either way it’s fascinating (and sometimes shocking) to hear them in their very own words now 75 years since the end of World War II.

Image Courtesy of Focus Features

When dealing with the Holocaust, movies of all types tend to examine it through the pained eyes of the countless victims. But Holland’s interview-focused documentary takes a different approach, seeking out those connected in different ways to the Nazi Party and Hitler’s Third Reich. Soldiers from the Waffen-SS, officers, bookkeepers, concentration camp guards, party officials – just some of the people Holland talks to who offer a startling array of responses to that dark time in German history.

The plethora of different opinions and perspectives coming directly from the mouths of people with first-hand knowledge is both fascinating and utterly unnerving. Elderly men and woman in the final stages of their own lives share feelings ranging from remorse and regret to outright denial. Some reminisce with an appalling tinge of nostalgia. One lady chuckles as she talks about hiding her SS boyfriend from American troops. While blindly defending an area concentration camp, a man states “most people benefited from it”. A former Nazi officer proudly shows off his service medals while defiantly defending Hitler’s “honor”.

Other people plead ignorance only to later undermine their claims by recalling distinct details such as the smell of human flesh as Jews were burned alive in a nearby camp. Many defended their passivity by saying they had no choice; that they would have been executed had they spoke or disobeyed. You see some of this when Holland sits down with a group of four women at a nursing home in Austria who offer different accounts of their days growing up close to a nearby work camp. “We knew nothing,” one says. “Everyone knew,” argues another.

Image Courtesy of Focus Features

Perhaps most enlightening are the scenes where Holland asks the interviewees what drew them to the Nazi Party. Nearly all were brought in when they were young, one as early as 9-years-old. Many were indoctrinated at school where teaching propaganda and anti-Jewish sentiment to children was a prominent part of Hitler’s recruitment. By the age of 14 many had joined Hitler’s Youth. For some “participation was mandatory,” we’re told. A few spoke of that time with a sense of shame, but most talked about it as if reflecting on ‘the good old days’.

Moments like those permeate nearly every frame of “Final Account”. Luke Holland stays away from anything showy and there is a minimal use of archived footage. It can make the film feel a little dry, but it allows him to focus on the people he interviews and their direct testimonies. Much of Holland’s questioning is designed to make them sit in front of his camera and express whether or not they should be considered perpetrators. Some genuinely wrestle with a question and more importantly the answer. But most have found unconvincing ways to exonerate themselves in their own minds, with some going as far as to proudly boast of having “no regrets”. Hearing people from our current day clinging to such venomous ideology is hard to stomach, but that is a big part of what makes Holland’s film so effective and powerful. “Final Account” hits select theaters today (May 21st).

VERDICT – 4 STARS

First Glance: “American Traitor: The Trial of Axis Sally”

“American Traitor: The Trial of Axis Sally” is the new film from Michael Polish that tells the story of Mildred Gillars, later given the nickname “Axis Sally”. She was an American broadcaster who shared propaganda over the airwaves for Nazi Germany during World War II. After the war she was taken into custody and put on trial by the US government. But it was quickly learned that her case was far from cut-and-dry.

The film sees Al Pacino in his first role since his Oscar-nominated work in “The Irishman”. He plays James Laughlin, an attorney tasked with defending Mildred Gillars (played by Meadow Williams) who faces eight counts of treason. “You are right now at this very moment the most hated person in America,” he tells her. I’m a sucker for a good courtroom drama and I’m interested in seeing how this one turns out. It may not be the best trailer, but the story is intriguing and watching Pacino is (almost) always a treat.

“American Traitor: The Trial of Axis Sally” comes out May 28th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.