There are plenty of Minions and horror afoot as of late, but I also have some fresh takes on several other new releases. This set of write-ups includes a rom-com set during the Space Race, a mob drama from the women’s perspective, a documentary confronting the harsh truths surrounding a comedian, an Indian sci-fi epic, an 18th-century French vampire film, and a thriller focused on Native Americans. The following features reviews for Fly Me to the Moon, Fresh Kills, Sorry/Not Sorry, Kalki 2898 AD, The Vourdalak, and Fancy Dance.
Fly Me To The Moon: 6 out of 10
The Setup: During the 1960s Space Race between the United States and the Soviet Union, a relationship develops between the NASA director in charge of the Apollo 11 launch (Channing Tatum) and the marketing specialist (Scarlett Johansson) brought in to fix NASA’s public image and stage a “back-up” fake Moon landing.
Review: Here’s an entirely pleasant feature film. Director Greg Berlanti adds enough charming elements to make this film work, even if being loosely based on reality doesn’t do this Space Race rom-com any favors. Working well in its corner are Johansson and the production design. Johansson makes up for a film that puts too much emphasis on her shady backstory, but it’s okay, as she gets how to play the tone. This is also a good-looking movie, heightened enough to let the colors pop on screen harder than the flat romantic chemistry between its leads. Tatum is pushed into playing uptight, which makes sense for the film, but he only really works with his co-star when their banter leans on their respective missions. Otherwise, the film is a bit adrift as a romance, but with a 132-minute runtime (much too much), there are other areas where the film shines.
Despite overselling the idea that NASA wasn’t popular leading up to Apollo 11 (it was), it makes for an interesting take on marketing. As for the eventual subplot regarding the construction of a fake Moon landing, I can just be glad the film has its heart in the right place regarding the handling of this notion, despite having to humor the popular conspiracy theory, to begin with. This film may have lunar surface-level pleasures, but deeper exploration may not take one too far. Still, as a diverting way to have some Summer fun, it satisfies.
Where To Watch: Opening in theaters on July 12, 2024.
Fresh Kills: 8 out of 10
The Setup: In 1980s New York City, Francine (Jennifer Esposito) married into a Brooklyn organized crime family, who have just moved to the more spacious surroundings of Staten Island. However, for her and her daughters Rose (Emily Bader) and Connie (Odessa A’zion), the shadow of the mafia remains ever-present.
Review: There’s something about mob stories that can always attract an audience. What allows Fresh Kills to stand out is its perspective. While Domenik Lombardozzi may co-star as a notable mafia figure, this story focuses on the women in his life, specifically his daughters, growing up under the shadow of the mafia. It makes for an absorbing coming-of-age story, and it proves to be very effective, thanks to the work of writer/director/producer Jennifer Esposito, who pushed hard to self-finance this film and get it out to audiences. It’s commendable work that pays off, thanks to the strong work by Bader, A’Zion, and Esposito in their roles, along with the general mood of the picture.
While a series like The Sopranos strengthened the female characters within this genre, seeing a film like Fresh Kills fully embrace that side of things and connect audiences with the kinds of struggles these characters would have worked out well. There’s a level of darkness that comes with the territory, but different observations concerning the bond between family members, the types of drama they have to deal with, and what sort of life can be hoped for are ideas all explored in interesting ways. Unsurprisingly, I’m not alone in praising what Esposito has put together with her feature directorial debut. Ideally, audiences who enjoy a good mob story, let alone those who may be more inclined to see one based on Fresh Kill’s point of view, can seek this one out and enjoy a passion project that delivers.
Where To Watch: Now available to purchase on digital.
Sorry/Not Sorry: 6 out of 10
The Setup: An inside look at Louis CK’s public downfall and surprising return to the spotlight. Featuring interviews with women who spoke up about his sexual misconduct, New York Times journalists who broke the story, and fellow comedians.
Review: It’s normal to be weary of a film that functions primarily as a hit job. Sorry/Not Sorry isn’t a film that’s really swaying me regarding a famous comedian using power over people in a sexual manner and getting called out on it. What it does provide is additional context from the three women who spoke up but whose names were largely absent from the initial reporting. These are comedians Jen Kirkman, Abby Schachner, and Megan Koester, who provide honest, saddening, and even mildly amusing stories regarding their experiences with Louis C.K.
On top of that, this documentary from directors Cara Mones and Caroline Suh attempts to explore the #MeToo era, the idea of how to value the art of individuals who reveal a less savory side of themselves, and what can be done. This is all less successful. Given how the stories have been verified as true by C.K. himself, it’s not as though there’s necessarily another side to tell (and C.K. declined to have any participation). Still, when posing deeper philosophical questions about where to draw the line, I’m not sure Sorry/Not Sorry knows how to get away with providing more beyond some clips and talking heads showing the kinds of perspectives others have. This doc is not without merit, as it’s nicely assembled, can entertain the viewer despite the content, and gets in and out in 90 minutes. I just wish it knew how to offer more, particularly when considering the aftermath of it all and what happens when a supposedly “canceled” star manages to still succeed in significant ways. While the participants willingly call out the dark joke that it is, that’s about all it’s got.
Where To Watch: Opening in select theaters and available on VOD starting July 12, 2024.
Kalki 2898 AD: 7 out of 10
The Setup: During the Kurukshetra war, Ashwatthama (Amitabh Bachchan) is cursed by lord Krishna to attain immortality and witness the rise and fall of humanity over all of time. Six thousand years later, in the futuristic world, where the desert city of Kasi is ruled by an evil Yaskin (Kamal Haasan), Ashwatthama’s redemption can occur by protecting the mother of Kalki (Deepika Padukone), the last reincarnation of Lord Vishnu. Rebels will set out to protect this woman and her unborn child, and a bounty hunter (Prabhas) may be at least one key to setting things right.
Review: Since RRR rocked my world in 2022, I’ve been more than happy to embrace any Telegu or Hindu-language epics receiving decent-sized theatrical releases in the U.S. I didn’t know what to expect from Kalki 2898 AD going in, other than feeling as though it looked like India’s answer to Dune. I was only sort of correct, as this is a massive sci-fi feature dense with material regarding its story, the setting, religion, and more. However, instead of telling a story that could be wrapped up here or in a possible future installment, Kalki 2898 AD is merely director Nag Ashwin’s first entry in a planned cinematic universe (the KCU).
At three hours, not unlike Kevin Costner’s recent Western epic, there’s a lot of setup here that is bound to pay off in more exciting ways down the line. With that said, I admired the scale of this thing even if I couldn’t grasp all the religious ideas at play, let alone acknowledge all the many cameos due to unfamiliarity. It’s a huge film that is full of life. There’s a mix of junky production design and other sci-fi contraptions that are pretty brilliant, and the cast has a lot of charisma, particularly Bachchan and Prabhas, which is no surprise. With fight scenes, vehicle chases, explosions, magic, and more (though not enough musical interludes for my liking), I can’t say whether or not I’ll attach myself to all of the KCU, but I’m at least looking forward to what’s in the immediate future for this series.
Where To Watch: Now playing in theaters.
The Vourdalak: 7 out of 10
The Setup: When the Marquis d’Urfé (Kacey Mottet Klein), a noble emissary of the King of France, is attacked and abandoned in the remote countryside, he finds refuge at an eerie, isolated manor. The resident family, reluctant to take him in, exhibits strange behavior as they await the imminent return of their father, Gorcha (voiced by Adrien Beau). But what begins simply as strange quickly devolves into a full-fledged nightmare when Gorcha returns, seemingly no longer himself.
Review: Vampire cinema continues to ascend for audiences, and I continue to admire the wide variety of takes filmmakers are coming up with. This story is actually based on an 1839 novella by Tolstoy, which pre-dates Bram Stoker’s “Dracula.” Shot in Super 16mm and relying on a heavily Nino Rota-influenced score, there’s a desire to create a specific period mood to go along with the shenanigans in this darkly funny horror story.
However, the main thing I want to highlight is the depiction of Gorcha, the vourdalak (French for, essentially, “Russian vampire”). Rather than find another modern-day Max Schreck, director Adrien Beau chose to go with an elaborate, life-size rod puppet creation that is entirely creepy and effective in its own right. This is the sort of detail that can make or break the already stylish approach to this story. Still, it recontextualizes the already offbeat atmosphere of a period film, enhancing the supernatural element memorably. If ever there was a lo-fi way in today’s cinematic world to approach something, this one takes the blood cake.
Where To Watch: Now playing in select theaters.
Fancy Dance: 7 out of 10
The Setup: Since her sister’s disappearance, Jax (Lily Gladstone) has cared for her niece, Roki (Isabel DeRoy-Olson), by scraping by on the Seneca-Cayuga reservation in Oklahoma. Every spare minute goes into finding her missing sister while also helping Roki prepare for an upcoming powwow. At the risk of losing custody to Jax’s father, Frank (Shea Whigham), the pair hit the road to track down Roki’s mother in time for the powwow.
Review: I actually first saw this film from director Erica Tremblay when it debuted at the 2023 Sundance Film Festival. Having now watched it again (and remembering this fact while watching it), it’s a shame this film took so long to finally come out. Not unlike another terrific (albeit much darker) feature, Catch the Fair One, it tells an urgent story that reflects how Native American people are treated when it comes to real issues involving missing family members. It’s a narrative that is not relied upon in movies nearly enough, and one can understand why, but Fancy Dance at least takes off in more accessible directions.
Gladstone, whose Oscar nomination was a big part of having Apple finally distribute this film, does excellent work as a somewhat shifty character, ideally trying to do the right thing. There’s a good tension involving how far she can get in her journey while being part of a minor coming-of-age story with her niece. Beyond the thematic readings, let alone cultural observations, I do with this film ultimately led to something a bit more profound. Still, as a feature written, directed by, and starring people who do not receive much representation in this manner in motion pictures, there’s a lot to like here.
Where To Watch: Now streaming on Apple TV+.
