by Josh Sewell
Nope
(Rated R for language throughout and some violence/bloody images. Opens in theaters on July 22.)
The premise: Jordan Peele gave audiences his take on the thriller genre with Get Out (winning a Best Original Screenplay Oscar for his efforts) and Us showed his knack for horror. Now he’s taking a stab at the sci-fi summer blockbuster. The writer-director reteams with Academy Award winner Daniel Kaluuya as OJ Haywood, who – along with his sister Emerald (Keke Palmer) – is shocked to discover a UFO hovering over their family’s horse ranch. The duo sets out to capture it on video, but let’s just say it doesn’t go well.
The verdict: Every few years, people like to proclaim that a new filmmaker is “the next Spielberg.” It happened with M. Night Shyamalan, then it was J.J. Abrams’ turn. However, I think there’s a persuasive argument Peele fits the bill more than those guys. That’s especially true considering Nope is clearly his take on Jaws (with some Close Encounters of the Third Kind thrown in).
The sci-fi thriller is also Peele’s most ambitious work so far, an intriguing combination of weird, funny and deeply unsettling. People who disliked Us because it wasn’t Get Out 2 are probably going to loathe this one, but I had a blast. I respect that Peele always experiments with new tones and themes, rather than recycling the same handful of tricks over and over.
Kaluuya and Palmer are terrific (as always), playing siblings with a complicated history who still clearly love one another. Michael Wincott, a dependable character actor for decades, is also excellent as the story’s version of Quint.
However, Steven Yuen’s outstanding performance might be the film’s most fascinating element. As a former child star with a traumatic past, his subplot – revealed gradually through flashbacks – is easily the most terrifying aspect of the story. Although his experience seems unrelated at first, it becomes even more disturbing once everything clicks into place.
Nope seems destined for divisive word-of-mouth when it opens this weekend, as those expecting a run-of-the-mill horror flick will probably be disappointed. (I heard quite a few grumbles in my screening as viewers began to catch on to the nonlinear narrative structure.) But more adventurous viewers will find plenty to appreciate about Peele’s Lovecraftian monster flick. This one is bound to unearth plenty of secrets upon repeat viewings.
Grade: B+
The Gray Man
(Rated PG-13 for intense sequences of strong violence, and strong language. Now playing in select theaters and available on Netflix starting July 22.)
The premise: Joe and Anthony Russo, who conquered blockbuster cinema with Avengers: Endgame, take on Mark Greaney’s popular novel about a highly skilled CIA operative (Ryan Gosling) who is drawn into a shady government conspiracy thanks to his nefarious handlers (Rege-Jean Page and Jessica Henwick). Targeted by a deranged assassin (Chris Evans), he turns to his former mentor (Billy Bob Thornton) for help and keeps crossing paths with a fellow agent (Ana de Armas) who could be friend or foe.
The verdict: Netflix continues to be the king of entertaining, instantly forgettable action flicks. As with Chris Hemsworth’s Extraction and the double-dose of Ryan Reynolds in Red Notice (along with Dwayne Johnson) and The Adam Project, the studio’s latest wannabe blockbuster is fun in the moment, but it evaporates from the viewer’s consciousness as soon as the credits roll. That doesn’t necessarily make The Gray Man a bad movie, but it feels like a lot of work for little reward.
When it comes to casting and interesting character moments, the Russos are in their element. It’s clear why they want to launch a new “dad movie” series with Gosling as an assassin with a troubled past and a heart of gold.
He’s solid in the role and his scenes with Thornton and Julia Butters (the phenomenal young actress from Once Upon a Time in Hollywood, playing the niece of Thornton’s character) are the best parts of the movie. Evans is also terrific, continuing to avoid Captain America typecasting by playing a cartoonishly evil villain, complete with a mustache so terrible you’ve got to respect it.
It's too bad the actors (along with co-star de Armas, wasted in basically a nothing role) are having such a good time in a paint-by-numbers spy thriller with generic action sequences. They go on forever (the movie’s a good 30 minutes longer than it needs to be) and look surprisingly cheap considering the flick’s reported $200 million price tag. Oh, well – perhaps the inevitable sequel will be better. There’s no way Netflix pumped this much money into a franchise starter without thinking ahead to the next chapter.
Grade: B-
Don’t Make Me Go
(Rated R for some sexual content, some graphic nudity, language and teen drinking. Now available on Amazon Prime Video.)
The premise: After single dad Max (John Cho) discovers he has a life-threatening brain tumor, he decides to take his daughter Wally (newcomer Mia Isaac) on a final road trip while he figures out how to break the news. Bribing the angst-ridden teen with driving lessons, he convinces her to travel from California to New Orleans for his college reunion. However, Max has an ulterior motive: he hopes to reunite Wally with her long-absent mother (Jen Van Epps), so she won’t be alone when he dies.
The verdict: Directed by promising actress-turned-filmmaker Hannah Marks and written by Vera Herbert, Don’t Make Me Go is a solid throwback to the weepy melodramas of bygone eras for most of its running time. That’s largely in part to the poignant, charming performances from Cho and Isaac, as well as a strong focus on their characters as opposed to the various hijinks that ensue on their trip.
Too bad the bait-and-switch ending renders the entire flick super frustrating in hindsight. Herbert is clearly going for a tear-jerking “twist” in the style of Nicholas Sparks, but it comes off condescending and mean-spirited instead of philosophical. It’s not a total narrative cheat, considering the film plants a couple of obvious clues along the way. But it still left me scowling through the final few scenes rather than brushing away tears, ultimately weakening the whole endeavor.
Grade: C+
(Rated R for language throughout and some violence/bloody images. Opens in theaters on July 22.)
The premise: Jordan Peele gave audiences his take on the thriller genre with Get Out (winning a Best Original Screenplay Oscar for his efforts) and Us showed his knack for horror. Now he’s taking a stab at the sci-fi summer blockbuster. The writer-director reteams with Academy Award winner Daniel Kaluuya as OJ Haywood, who – along with his sister Emerald (Keke Palmer) – is shocked to discover a UFO hovering over their family’s horse ranch. The duo sets out to capture it on video, but let’s just say it doesn’t go well.
The verdict: Every few years, people like to proclaim that a new filmmaker is “the next Spielberg.” It happened with M. Night Shyamalan, then it was J.J. Abrams’ turn. However, I think there’s a persuasive argument Peele fits the bill more than those guys. That’s especially true considering Nope is clearly his take on Jaws (with some Close Encounters of the Third Kind thrown in).
The sci-fi thriller is also Peele’s most ambitious work so far, an intriguing combination of weird, funny and deeply unsettling. People who disliked Us because it wasn’t Get Out 2 are probably going to loathe this one, but I had a blast. I respect that Peele always experiments with new tones and themes, rather than recycling the same handful of tricks over and over.
Kaluuya and Palmer are terrific (as always), playing siblings with a complicated history who still clearly love one another. Michael Wincott, a dependable character actor for decades, is also excellent as the story’s version of Quint.
However, Steven Yuen’s outstanding performance might be the film’s most fascinating element. As a former child star with a traumatic past, his subplot – revealed gradually through flashbacks – is easily the most terrifying aspect of the story. Although his experience seems unrelated at first, it becomes even more disturbing once everything clicks into place.
Nope seems destined for divisive word-of-mouth when it opens this weekend, as those expecting a run-of-the-mill horror flick will probably be disappointed. (I heard quite a few grumbles in my screening as viewers began to catch on to the nonlinear narrative structure.) But more adventurous viewers will find plenty to appreciate about Peele’s Lovecraftian monster flick. This one is bound to unearth plenty of secrets upon repeat viewings.
Grade: B+
(Rated PG-13 for intense sequences of strong violence, and strong language. Now playing in select theaters and available on Netflix starting July 22.)
The premise: Joe and Anthony Russo, who conquered blockbuster cinema with Avengers: Endgame, take on Mark Greaney’s popular novel about a highly skilled CIA operative (Ryan Gosling) who is drawn into a shady government conspiracy thanks to his nefarious handlers (Rege-Jean Page and Jessica Henwick). Targeted by a deranged assassin (Chris Evans), he turns to his former mentor (Billy Bob Thornton) for help and keeps crossing paths with a fellow agent (Ana de Armas) who could be friend or foe.
The verdict: Netflix continues to be the king of entertaining, instantly forgettable action flicks. As with Chris Hemsworth’s Extraction and the double-dose of Ryan Reynolds in Red Notice (along with Dwayne Johnson) and The Adam Project, the studio’s latest wannabe blockbuster is fun in the moment, but it evaporates from the viewer’s consciousness as soon as the credits roll. That doesn’t necessarily make The Gray Man a bad movie, but it feels like a lot of work for little reward.
When it comes to casting and interesting character moments, the Russos are in their element. It’s clear why they want to launch a new “dad movie” series with Gosling as an assassin with a troubled past and a heart of gold.
He’s solid in the role and his scenes with Thornton and Julia Butters (the phenomenal young actress from Once Upon a Time in Hollywood, playing the niece of Thornton’s character) are the best parts of the movie. Evans is also terrific, continuing to avoid Captain America typecasting by playing a cartoonishly evil villain, complete with a mustache so terrible you’ve got to respect it.
It's too bad the actors (along with co-star de Armas, wasted in basically a nothing role) are having such a good time in a paint-by-numbers spy thriller with generic action sequences. They go on forever (the movie’s a good 30 minutes longer than it needs to be) and look surprisingly cheap considering the flick’s reported $200 million price tag. Oh, well – perhaps the inevitable sequel will be better. There’s no way Netflix pumped this much money into a franchise starter without thinking ahead to the next chapter.
Grade: B-
(Rated R for some sexual content, some graphic nudity, language and teen drinking. Now available on Amazon Prime Video.)
The premise: After single dad Max (John Cho) discovers he has a life-threatening brain tumor, he decides to take his daughter Wally (newcomer Mia Isaac) on a final road trip while he figures out how to break the news. Bribing the angst-ridden teen with driving lessons, he convinces her to travel from California to New Orleans for his college reunion. However, Max has an ulterior motive: he hopes to reunite Wally with her long-absent mother (Jen Van Epps), so she won’t be alone when he dies.
The verdict: Directed by promising actress-turned-filmmaker Hannah Marks and written by Vera Herbert, Don’t Make Me Go is a solid throwback to the weepy melodramas of bygone eras for most of its running time. That’s largely in part to the poignant, charming performances from Cho and Isaac, as well as a strong focus on their characters as opposed to the various hijinks that ensue on their trip.
Too bad the bait-and-switch ending renders the entire flick super frustrating in hindsight. Herbert is clearly going for a tear-jerking “twist” in the style of Nicholas Sparks, but it comes off condescending and mean-spirited instead of philosophical. It’s not a total narrative cheat, considering the film plants a couple of obvious clues along the way. But it still left me scowling through the final few scenes rather than brushing away tears, ultimately weakening the whole endeavor.
Grade: C+
Reach out to Josh Sewell on Twitter @IAmJoshSewell
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