Like the series “Lupin” even on Netflix, this charming French film offers fleet-footed, family-friendly fare that doesn’t talk to its audience or look like it’s pooping Happy Meal toys.
Douglas Attel’s action comedy is set in a world where special abilities are so common that a cop like Morrow (Pio Marma) is assigned to catch “super-criminals”. He doesn’t take pity on his new partner, Lieutenant Schultzman (Vimala Pons), who isn’t used to these unusual veils, and we go along with the frenzied joke from the “lethal weapon” playbook.
The main plot involves a drug that can turn people into human flamethrowers, shooting fire out of their hands, but the visual effects are so clunky that it seems like it’s an afterthought. The film is at a very safe level when it lets its brilliant actors have fun. Marmaï and Pons, often associated with young French autobiographical cinema, excel in a romantic-comedy register. But the best scenes include the spectacular Belgian star Benot Polvoorde (“wait”) as Monte Carlo, who fought baddies in the Pack Royal Superteam alongside Leila Bechty’s Calista. If these two get their own spinoff then no one is likely to complain.
Younger viewers may be shocked by the strange object at the center of Lee Chung-hyun’s creepy hybrid of science-fiction, thriller and horror. It’s black and crappy, and you talk in: yes, it’s a cordless phone, connected to a so-called landline. When Seo-yeon (Park Shin-hee) picks it up, Young-sook (Sharp Joon Jong-seo) is at the other end. Both women are almost the same age and, as it turns out, live in the same house. Except that Seo-yeon has been calling since 2019 and Young-sook since 1999.
In the rules governing the internal logic of this Korean movie, you can change both the future and the past, adjusting each person’s present instantly before their eyes. The bad news is that one of the people is a psychopath. Lee has a firm grasp on aesthetics and shot framing – everything looks simultaneously gorgeous and ostentatious – but more important, events are easy to follow. In recent years, there has been a paganization of hypercomplex plotlines, such that any screenplay requiring an explanatory diagram is automatically rendered depth. There is a clarity in “The Call” that has become rare in this type of storytelling; Which makes the film more powerful.
It seems impossible to put one of these columns together without including a time-loop movie: not only can they be done on the cheap, but they have an addictive quality—the desire to come back baked in.
In DC Hamilton’s “The Fair”, a cabbie, Harris (Gino Anthony Pacey), picks up a passenger, Penny (Brinna Kelly, who also wrote the screenplay). When he resets the meter, their conversation is repeated. He does not understand at first what is happening; On the other hand, she has always been ahead of him.
Warning bells have been ringing from the start, though: After all, Harris drives an old-fashioned checkered cab into the middle of a landscape so barren, it’s shocking to hear the dispatcher mention the streets.
The film was mostly shot on a soundstage using behind-the-scenes projections, but these budget-minded constraints really helped create a dreamy mood, as if the action was taking place in a chiaroscuro netherworld. Visual hat tips for old Hollywood movies and “The Twilight Zone” are an added advantage. (Hamilton hasn’t been as successful at getting an equally solid performance from his cast.)
Many such stories focus on the protagonist’s efforts to escape the proverbial loop and don’t bother to explain how it happened. But that aspect is the key to “fare,” and the left-field reveal is surprisingly satisfying.
One day, four friends discover that an old mirror in their shared home serves as a portal to alternate universes that mimic ours, with at least one major difference: Time in those places is very slow. passes slowly. This, for example, allows Noel (Martin Wallstrom from “Mr. Robot”) and Josh (Mark O’Brien) to pass a seemingly impossible deadline for an important business meeting. Lena (Georgia King) poses artifacts from a mirror universe as her own and finally lands in a gallery exhibit. As far as Devin (Amal Amin) is concerned, he keeps trying to find a reality where his father is still alive.
The dudes also have silly fun in the world of mirrors without fear of the consequences, as they can always retreat to the safety of their regular home—in those scenes, Isaac Azban’s film feels like it’s “Goonies”— The type is lark, the goofy adult.
But when a friend dies and the other three are kidnapped by the Mirror version, we enter the game of Whac-a-Mole as uncontrollable contradictions flourish and the movie can’t seem to control them. A character’s ambition is revealed to be morally destructive. Eventually we realize the apple had the worm: no need to look for trouble through the mirror when it’s just sitting there.
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A scientist (Daniel Dae Kim) and a doctor (Anna Kendrick) are on an exploratory journey to Mars led by their commander (Tony Collette, who gets to keep his Australian accent for a change). When the crew discovers the title character (Shamier Anderson) the entire mission is in jeopardy: there simply won’t be enough oxygen for four people.
Joe Penna’s film is more concerned with practical matters and intimate human dilemmas than the massive, interstellar whiz-bang. Life or death decisions must be made, and “Stoaway” brings up key issues: How do you evaluate the value of life? How do you rank a person’s worth and decide who lives and who dies? These are tough questions, and the film struggles when it needs to go deeper – there’s little chance anyone would mistake it for Penna. Andrei Tarkovsky. At the same time, “Stoaway” doesn’t shy away from the consequences of actions, and Kendrick’s presence anchors the audience: She’s credible as a medical prodigy, while her Everywoman quality gives the doctor’s choice genuine poignancy.