With an understanding that the week of the election isn’t calling for many high-profile releases, there are still some new movies out there to look into. This set of write-ups includes a courtroom drama, a sci-fi action flick, a historical drama, a science fiction drama, a thriller, a documentary about a famous composer, a Liam Neeson action drama, a neo-noir, and an absurd sports comedy. The following features reviews for Juror No. 2, Elevation, Small Things Like These, Meanwhile On Earth, Don’t Move, Music By John Williams, Absolution, Magpie, and The Gutter.
Juror No. 2: 6 out of 10
The Setup: Family man Justin Kemp (Nicholas Hoult) who, while serving as a juror in a high-profile murder trial, finds himself struggling with a serious moral dilemma…one he could use to sway the jury verdict and potentially convict – or free – the wrong killer.
Review: Whether or not this is Clint Eastwood’s final directorial effort, the 94-year-old Oscar-winner managed to get his hands on a doozy of a premise. What if a man called into jury duty was actually the one responsible for the crime? That’s great stuff, and true to form, Eastwood is devoted to grounding this idea in reality, getting strong performances out of his leads, and leaving room for thematic interpretation rather than subduing the audience with his own take. I only wish the script from Jonathan Abrams was stronger. Hoult does terrific work wearing haunted face throughout, as he finds himself struggling with his incredibly unfortunate situation. Support from Toni Collette, J.K. Simmons, Chris Messina, and Cedric Yarbrough all add to this.
However, one can’t help but feel less essential characters coming up short on breaking the dialogue out of very writerly rhythms. When dialogue begins feeling perfunctory, Eastwood’s leisurely pacing also begins to rear itself. Also not helpful – the many false endings and a leap in plot progression speak to a movie that is not just uncommitted to having more to say, but seemingly unsure of itself when looking at where to leave these characters. Still, enough effort displayed here makes one pine for more adult legal thrillers such as this, even if it doesn’t stand up to what the best Grisham adaptations offer.
Where To Watch: Now playing in theaters.
Elevation: 6 out of 10
The Setup: Set in the post-apocalyptic Rocky Mountains, a single father (Anthony Mackie) and two women (Morena Baccarin and Maddie Hasson) venture from the safety of their homes to face monstrous creatures to save the life of a young boy.
Review: Looking at Elevation as a sort of somber cousin to the gonzo Skyline series may be the best approach here. As it stands, the film is not offering a whole lot that is new, but it’s based on the performers involved and a sustained level of tension for a quickly-plotted movie I can get behind. Not unlike Arcadian from earlier this year, this film has enough going for it to stand as more than just a wannabe Quiet Place-type film. Rules are established, backstory comes through as necessary, and the monsters being faced feel like a genuine threat. Sure, with a slightly bigger budget or more directorial discipline, director George Nolfi may have been able to accomplish more. Still, I found this journey to be mostly on point and satisfying as an action film., no matter what height I was sitting at.
Where To Watch: Opening in theaters on November 8, 2024.
Small Things Like These: 6 out of 10
The Setup: In 1985, Bill Furlong (Cillian Murphy), a devoted father and coal merchant, uncovers disturbing secrets at the local convent; as he investigates, he discovers shocking truths about his own past and life.
Review: Having just won a Best Actor Oscar, Murphy can now continue showing why he’s been so respected for so long, despite rarely taking on showier roles. Small Things like These is a perfect example of an actor putting in strong work that doesn’t call too much attention to itself. Of course, the fact that the film is so dour and based around harsh circumstances doesn’t exactly lead one to think a big turn from the lead would be all for the better. Instead, this is a reserved film dealing with harsh circumstances concerning abuse.
Expectedly strong supporting work comes from Emily Watson as a corrupt Mother superior, along with Michelle Fairley and Eileen Walsh. Director Tim Mielants wisely doesn’t do too much to draw out this story based on Claire Keegan’s acclaimed 2021 novel. Instead, the focus is on creating a small town that feels lived-in enough for the actions taking place to feel impactful. It works for films like these.
Where To Watch: Opening in theaters on November 8, 2024.
Meanwhile On Earth: 5 out of 10
The Setup: Elsa (Megan Northam) who, along with her family, is struggling following the disappearance of her brother Franck, an astronaut who vanished during his first mission. While stargazing one night, Elsa is shocked to receive contact from Franck, but her joy is short-lived when she learns of the dark and troubling forces behind his reappearance, forcing her to confront the lengths she will go for the brother she once feared was gone forever.
Review: Here’s a film I wish I felt more strongly about. It has a solid setup, proceeds at the sort of pace I’ve found pleasing in other offbeat sci-fi films, and features a terrific score by Dan Levy. Alas, while I can respect the movie’s aims to be a focused study of grief, among other things, Meanwhile on Earth seemed content with meandering around Earth for enough time before leaving me hanging. No, I don’t need films like these to make definitive statements, but I was caught up enough in wanting to see where this would all be heading that I feel let down to not have more to say about the overall results.
Director Jérémy Clapin impressed me plenty with his previous feature, the animated fantasy drama about a severed hand on a journey, I Lost My Body, but I was less impressed this time around. That said, this is Northman’s debut in a feature film, and she is quite effective here, with enough physical presence in a fairly quiet role, to make it clear she can take on other projects with certain levels of intensity. Still, the film, as a whole, is a bit out of my orbit.
Where To Watch: Opening in select theaters on November 8, 2024.
Don’t Move: 6 out of 10
The Setup: A woman (Kelsey Asbille) alone in the forests of Big Sur must escape a serial killer (Finn Wittrock) with just 20 minutes left before her body completely shuts down.
Review: There’s a lot of fun to be had with this thriller, but it comes with two caveats. One is accepting how the high concept means a lot of plot contrivances need to take place for the film to sustain momentum (recall John Ford being asked, “Why don’t they just shoot the horses,” regarding Stagecoach. “They would have stopped the picture.”). The other thing is more of an unforced error that feels like the result of two male writers and two male directors (Adam Schindler and Brian Netto) putting together their idea of female empowerment. Without getting too far into the arc of Asbille’s character, something about how agency is achieved could rub some the wrong way.
With all of that in mind, like I stated, I had fun with this movie. It’s a nifty idea for a thriller – “How do you escape a killer when you’re paralyzed?” Obviously, that’s ridiculous, but this is the kind of movie that writes itself into corners and finds ways out. Plus, there’s plenty of good work by Asbille and Wittrock to at least show their commitment to the material. This would be a fine film to pair with Strange Darling in the realm of quick-paced suspense flicks that allow the audience to be in on the joke to a degree without winking at them.
Where To Watch: Now streaming on Netflix.
Music By John Williams: 6 out of 10
The Setup: An exploration of composer John Williams’ story, with insights from filmmakers, musicians, and others he has inspired, along with rare behind-the-scenes glimpses into the making of cinematic history.
Review: This documentary is pure comfort food. It’s very much a hagiography about what a great career Williams has had and how his memorable work as a composer has influenced and meant a great deal to so many. There’s not much that will seem new for film fans beyond hearing from various talking heads, ranging from Steven Spielberg to Chris Martin to Seth MacFarlane. However, it’s tough to deny the joy one can get from hearing 100 minutes of John William’s phenomenal work while listening to the man himself and many notable admirers talk about it. Spielberg, in particular, provides some fun context regarding their history together, and others pop in throughout to remind us all of why Williams has earned such a high status among his peers. Inessential as an attempt to understand more about Williams’ process, but certainly entertaining.
Where To Watch: Now streaming on Disney+.
Absolution: 6 out of 10
The Setup: An aging ex-boxer (Liam Neeson) working as muscle for a Boston crime boss (Ron Perlman) receives an upsetting diagnosis. Despite a faltering memory, he attempts to rectify the sins of his past and reconnect with his estranged children. He is determined to leave a positive legacy for his grandson, but the criminal underworld isn’t done with him and won’t loosen their grip willingly.
Review: It’s weird having kept track of this particular phase of Neeson’s career. However, there is value in seeing when he decides to invest in the roles making up his “Charles Bronson but classier” phase. With that said, working once again with director Hans Petter Moland (Cold Pursuit) has paid off, as Absolution largely works as an adult drama that just happens to have some tough guy moments to please the Neeson fans in it for one thing. While not nearly as deadpan and hilarious as their previous effort together, this film does have the same effort put into establishing a level of pathos.
This time around, Neeson is playing a character who knows he has made mistakes, and watching him take the steps needed while preparing for an upcoming exit is about as affecting as he can make it in a film like this. With that in mind, the film also allows for a few solid supporting parts for Perlman and Yolonda Ross. After that lame Marlowe attempt, between this and In the Land of Saints and Sinners, these calmer, more reflective features have done well for the star performer than Neeson still can be.
Where To Watch: Now playing in theaters.
Magpie: 7 out of 10
The Setup: Married couple Anette (Daisy Ridley) and Ben’s (Shazad Latif) lives begin to fracture when their daughter is cast in a film alongside a glamorous movie star, Alicia (Matilda Lutz). With Ben chaperoning her daughter on set, Anette’s suspicions of Ben’s infatuation with Alicia intensify, and their secrets and lies threaten to burst to the surface and destroy them all.
Review: Much like I’ve already expressed with Juror #2, I’m all for a nifty premise for a thriller, and Magpie satisfies as well. Coming off a story idea from Ridley, who then had the screenplay developed by her husband, actor and writer Tom Bateman, director Sam Yates really found a way to deliver a neo-noir that’s not reliant on the typical elements, but instead settles for the characters having an existential crisis, morality plays, use of paranoia, and duplicity on the part of multiple players. It makes for a clever little story reliant on solid performances from all involved.
Ridley, in particular, has a tricky role in terms of playing sympathetic yet slightly antagonistic from a certain point of view. Latif is positioned to be featured throughout, yet the film knows how to toy with our feelings about him. The way Magpie unfolds allows for an intriguing look at how power dynamics and the semblance of a specific image can inform behavior, and making it a modern setting only adds to how well the script can play with expectations.
Where To Watch: Now available on VOD.
The Gutter: 7 out of 10
The Setup: Walt (Shameik Moore) is an unemployed underachiever who discovers a newfound talent for bowling. Encouraged by a barfly named Skunk (D’Arcy Carden), he launches a pro career to save the local bowling alley from foreclosure. With his powerful rolling skills and unconventional style, Walt becomes an unlikely bowling hero – much to the chagrin of legendary champion Linda “The Crusher” Curson (Susan Sarandon).
Review: Here’s a film that caught me off guard by how funny it was. Sure, it has an appeal that will work for some, but perhaps not all, but I can argue with a film that genuinely made me laugh a lot. Taking the proper lessons from sports comedies like Dodgeball: A True Underdog Story and Happy Gilmore, this is the sort of film that is incredibly offbeat, irreverent, and not too committed to a bit for too long, outside of a couple of fun running gags. At the same time, it revels in just the right amount of emotional stakes for an audience to feel okay with taking certain aspects at least a little seriously.
Still, this is a comedy, through and through, and the jokes are there. Moore and Carden work very well together, each bringing their own sensibilities in a way that works. Various appearances by other funny performers are welcome, along with a game Sarandon, who throws herself into this villain role. Is there much fun to be had with the sport of bowling itself? Not really, but directors Isaiah and Yassir Lester play around enough with the settings on display to make for a silly comedy that lands plenty of strikes and spares.
Where To Watch: Now playing in theaters and available on digital.
