This past week, we had a big studio toon and an epic passion play. That said, other smaller releases found their place. This set of write-ups includes a Stephen King adaptation, a crime comedy with a couple of movie stars, a bleak horror film, a touching documentary, a WWII-set photographer biopic, and a NY comedy-drama. The following features reviews for Salem’s Lot, Wolfs, Never Let Go, Will & Harper, Lee, and Notice to Quit.
Salem’s Lot: 5 out of 10
Salem’s Lot: 5 out of 10The Setup: When author Ben Mears (Lewis Pullman) comes back to his childhood home in search of some inspiration for his next book, he discovers that people in his hometown are mysteriously turning into blood-sucking vampires, leading him to band together with a ragtag group to fight it.
Review: Full disclosure – I have not read Salem’s Lot nor seen the two previous miniseries versions. What I have seen in recent years are continued adaptations of Stephen King’s works; some successful (mostly what Mike Flanagan puts out), and many others not so much (Mr. Harrigan’s Phone…*shudders*). Writer/director Gary Dauberman has done what he can to adapt the near-500-page book into a movie that runs under two hours. However, even as one not familiar with all the ins and outs of the novel, it seems very clear a lot has been truncated. This is a rushed effort that is done no favors by a lack of life within this production. By that, I mean, not unlike the It films that Dauberman also provided the screenplay for, it feels like a movie that should be able to get across more than it does just by nature of a proper production that would feature people on the streets and various lived in qualities. Instead, in addition to rushing through a story that could use time to breathe, the film feels curiously empty.
For his efforts, Dauberman does inject some style into the filmmaking. Uses of silhouettes, canted angles, and other qualities suggest the remnants of a better movie. Cast-wise, while many of these characters lack more to really define them beyond their most basic qualities, Pullman puts in enough effort to deliver more than what’s on the page. Meanwhile, character actors Bill Camp and Alfre Woodard similarly do a lot with a little based on the sheer experience of making not-so-great movies look better. I wish I could say the same about the quality of the vampires we see. While there are some efforts to create tension, this is a fairly bloodless (for an R-rated film) effort to deliver on the horror of it all, and it certainly doesn’t offer anything resembling scares. After being shuffled around for a while, I can see why this film is making a streaming debut. It’s not awful, but it leaves a lot to be desired.
Where To Watch: Available to stream on Max starting October 3, 2024.
Review: Full disclosure – I have not read Salem’s Lot nor seen the two previous miniseries versions. What I have seen in recent years are continued adaptations of Stephen King’s works; some successful (mostly what Mike Flanagan puts out), and many others not so much (Mr. Harrigan’s Phone…*shudders*). Writer/director Gary Dauberman has done what he can to adapt the near-500-page book into a movie that runs under two hours. However, even as one not familiar with all the ins and outs of the novel, it seems very clear a lot has been truncated. This is a rushed effort that is done no favors by a lack of life within this production. By that, I mean, not unlike the It films that Dauberman also provided the screenplay for, it feels like a movie that should be able to get across more than it does just by nature of a proper production that would feature people on the streets and various lived in qualities. Instead, in addition to rushing through a story that could use time to breathe, the film feels curiously empty.
For his efforts, Dauberman does inject some style into the filmmaking. Uses of silhouettes, canted angles, and other qualities suggest the remnants of a better movie. Cast-wise, while many of these characters lack more to really define them beyond their most basic qualities, Pullman puts in enough effort to deliver more than what’s on the page. Meanwhile, character actors Bill Camp and Alfre Woodard similarly do a lot with a little based on the sheer experience of making not-so-great movies look better. I wish I could say the same about the quality of the vampires we see. While there are some efforts to create tension, this is a fairly bloodless (for an R-rated film) effort to deliver on the horror of it all, and it certainly doesn’t offer anything resembling scares. After being shuffled around for a while, I can see why this film is making a streaming debut. It’s not awful, but it leaves a lot to be desired.
Where To Watch: Available to stream on Max starting October 3, 2024.
Wolfs: 6 out of 10
Wolfs: 6 out of 10The Setup: A professional fixer (George Clooney) is hired to cover up a high-profile crime. But when a second fixer (Brad Pitt) shows up and the two “lone wolves” are forced to work together, they find their night spiraling out of control in ways neither one expected.
Review: Do Clooney and Pitt rival the likes of Newman and Redford in terms of movie-star chemistry? That seems to be what Wolfs is out to prove. Made to resemble a sort of hip update on a 70s crime comedy, the A-listers are certainly present, but what do you do when they are forced to play against the energy that makes their chemistry work on screen so well? At least Elaine May’s Mikey & Nicky had a dark edge and an understanding that the two leads are not good for each other. With this film, knowing what they’ve done together in the past, one just keeps hoping to see the sort of banter that helped Soderbergh’s Ocean’s films come alive. That’s not to say it never accomplishes this, but director/writer Jon Watts appears to be pushing harder for subtlety than needed to shake off the blockbuster sensibilities that led him to make 3 Spider-Man films in a row.
Now, it just happens that I do enjoy a fun crime comedy, and even slight larks like this can win me over if enough is done right. Setting the film all in one night, not unlike the aforementioned Mikey & Nicky or Scorsese’s After Hours, is a fun tough. It keeps things simple while letting heightened circumstances reveal more humor than may occur otherwise. It’s also worth stating that Austin Abrams is given many an opportunity to be too annoying for his own good, yet he manages to make his part work, serving as a sort of irritating kid who is caught up in some mob business. On the whole, Wolfs is just okay, but that’s far from a crime.
Where To Watch: Now available to stream on Apple TV+.
Review: Do Clooney and Pitt rival the likes of Newman and Redford in terms of movie-star chemistry? That seems to be what Wolfs is out to prove. Made to resemble a sort of hip update on a 70s crime comedy, the A-listers are certainly present, but what do you do when they are forced to play against the energy that makes their chemistry work on screen so well? At least Elaine May’s Mikey & Nicky had a dark edge and an understanding that the two leads are not good for each other. With this film, knowing what they’ve done together in the past, one just keeps hoping to see the sort of banter that helped Soderbergh’s Ocean’s films come alive. That’s not to say it never accomplishes this, but director/writer Jon Watts appears to be pushing harder for subtlety than needed to shake off the blockbuster sensibilities that led him to make 3 Spider-Man films in a row.
Now, it just happens that I do enjoy a fun crime comedy, and even slight larks like this can win me over if enough is done right. Setting the film all in one night, not unlike the aforementioned Mikey & Nicky or Scorsese’s After Hours, is a fun tough. It keeps things simple while letting heightened circumstances reveal more humor than may occur otherwise. It’s also worth stating that Austin Abrams is given many an opportunity to be too annoying for his own good, yet he manages to make his part work, serving as a sort of irritating kid who is caught up in some mob business. On the whole, Wolfs is just okay, but that’s far from a crime.
Where To Watch: Now available to stream on Apple TV+.
Never Let Go: 6 out of 10
Never Let Go: 6 out of 10The Setup: When an unspeakable evil takes over the world, the only protection for a mother (Halle Berry) and her twin sons (Anthony B. Jenkins and Percy Daggs IV) is their house and strong bond. Needing to stay connected at all times — even tethering themselves with ropes — they must cling to one another and never let go. However, when one of the boys questions if the evil is real, the ties that bind them together are severed, triggering a terrifying fight for survival.
Review: Seeing Berry back to lead another genre effort was intriguing enough, and having her bring along director Alexandre Aja, who knows how to bring the brutality, certainly had me feeling like the cast would be lucky to survive. On the whole, I got what I wanted out of a film like this without it doing more to inspire reasons to revisit. While The Call has a lot of campy fun with its premise (and that wig), and Kidnap is moment-to-moment exciting, Never Let Go is about as bleak as it gets. This is a film where we essentially watch a family come close to starving to death (they literally have to eat tree bark for a portion of the film) while contending with whether or not the world has actually ended due to supernatural forces around them.
With that in mind, Berry is quite good, as I expected. Leaning on character details suggesting someone with a dark past that has found the light, sort of speak, only for that logic to reveal other dangers. As a horror film, it doesn’t offer much beyond effective jumps and an eerie atmosphere. However, given what feels like a sneaky attempt to attract a more religiously inclined viewership, I can respect the way Berry continues to produce genre films that attempt to bring in an audience that may not always seek out films of this nature. Granted, if they do let go, I wouldn’t hold it against them, as the film is quite dark but still decently affecting.
Where To Watch: Now playing in theaters.
Review: Seeing Berry back to lead another genre effort was intriguing enough, and having her bring along director Alexandre Aja, who knows how to bring the brutality, certainly had me feeling like the cast would be lucky to survive. On the whole, I got what I wanted out of a film like this without it doing more to inspire reasons to revisit. While The Call has a lot of campy fun with its premise (and that wig), and Kidnap is moment-to-moment exciting, Never Let Go is about as bleak as it gets. This is a film where we essentially watch a family come close to starving to death (they literally have to eat tree bark for a portion of the film) while contending with whether or not the world has actually ended due to supernatural forces around them.
With that in mind, Berry is quite good, as I expected. Leaning on character details suggesting someone with a dark past that has found the light, sort of speak, only for that logic to reveal other dangers. As a horror film, it doesn’t offer much beyond effective jumps and an eerie atmosphere. However, given what feels like a sneaky attempt to attract a more religiously inclined viewership, I can respect the way Berry continues to produce genre films that attempt to bring in an audience that may not always seek out films of this nature. Granted, if they do let go, I wouldn’t hold it against them, as the film is quite dark but still decently affecting.
Where To Watch: Now playing in theaters.
Will & Harper: 8 out of 10
Will & Harper: 8 out of 10The Setup: When Will Ferrell finds out his close friend (Former SNL writer Harper Steele) of 30 years is coming out as a trans woman, the two decide to embark on a cross-country road trip to process this new stage of their relationship in an intimate portrait of friendship and transition.
Review: An excellent documentary geared toward generating empathy, there is so much to appreciate about what is being offered in an honest, dramatic, and occasionally humorous manner. Here’s a film that is indebted to telling a story of friendship and acceptance, and it does so through a sort of shaggy dog approach as we watch a road trip where the intended final destination is hardly a concern. Instead, the audience is invited by Will and Harper to come along, enjoy their antics as buddies, as well as see how an unassuming society responds to someone who has made a choice in how to live their life purely for the sake of being happy and comfortable with themselves.
To its credit, director Josh Greenbaum knows this is a film about a trans woman and her best friend and not the story of a movie star and someone he can make a show out of. Ferrell is so obviously talented and good at being funny, but he allows himself to be in the backseat, as well as be vulnerable on camera. That’s not to say this seemed like a tough decision (much of what I admire about Ferrell’s comedies is how he lets his co-stars constantly steal scenes). Still, in a world where Haper is not representative of a majority, this film offers plenty to make the presentation worthwhile without resorting to funny tricks in hopes of keeping an audience reeled in. Sweet and heartfelt, there’s plenty to enjoy here.
Where To Watch: Now available to stream on Netflix.
Review: An excellent documentary geared toward generating empathy, there is so much to appreciate about what is being offered in an honest, dramatic, and occasionally humorous manner. Here’s a film that is indebted to telling a story of friendship and acceptance, and it does so through a sort of shaggy dog approach as we watch a road trip where the intended final destination is hardly a concern. Instead, the audience is invited by Will and Harper to come along, enjoy their antics as buddies, as well as see how an unassuming society responds to someone who has made a choice in how to live their life purely for the sake of being happy and comfortable with themselves.
To its credit, director Josh Greenbaum knows this is a film about a trans woman and her best friend and not the story of a movie star and someone he can make a show out of. Ferrell is so obviously talented and good at being funny, but he allows himself to be in the backseat, as well as be vulnerable on camera. That’s not to say this seemed like a tough decision (much of what I admire about Ferrell’s comedies is how he lets his co-stars constantly steal scenes). Still, in a world where Haper is not representative of a majority, this film offers plenty to make the presentation worthwhile without resorting to funny tricks in hopes of keeping an audience reeled in. Sweet and heartfelt, there’s plenty to enjoy here.
Where To Watch: Now available to stream on Netflix.
Lee: 5 out of 10
Lee: 5 out of 10The Setup: The story of photographer Elizabeth `Lee’ Miller (Kate Winslet), a fashion model who became an acclaimed war correspondent for Vogue magazine during World War II.
Review: There are a lot of solid moments reflecting the challenges of the time concerning the efforts of Lee Miller. Similarly, many of the performances on display speak to the kind of dedication the actors put into nailing what they were after. This is all why it’s so frustrating that Lee, as a whole, doesn’t quite work. It’s so rooted in its conventional structure that it feels like it’s undermining the power that could come from a script better adjusted to specific aspects of what this brilliant photographer had to go through. Not helping is a framing device that eventually takes the sort of bold turn that would work in a better movie, but not so much here. All of that said, Winslet, who worked incredibly hard to get this film produced, is very good, and her efforts should not go unsung. Also great, in a real against-type role, Andy Samberg as Lee’s confident and fellow photographer friend David Scherman. Director Ellen Kuras rises above some of the trappings of the screenplay to deliver on the importance of telling this story. I just wish the movie had, overall, turned out as well as Lee’s photos.
Where To Watch: Now playing in theaters.
Review: There are a lot of solid moments reflecting the challenges of the time concerning the efforts of Lee Miller. Similarly, many of the performances on display speak to the kind of dedication the actors put into nailing what they were after. This is all why it’s so frustrating that Lee, as a whole, doesn’t quite work. It’s so rooted in its conventional structure that it feels like it’s undermining the power that could come from a script better adjusted to specific aspects of what this brilliant photographer had to go through. Not helping is a framing device that eventually takes the sort of bold turn that would work in a better movie, but not so much here. All of that said, Winslet, who worked incredibly hard to get this film produced, is very good, and her efforts should not go unsung. Also great, in a real against-type role, Andy Samberg as Lee’s confident and fellow photographer friend David Scherman. Director Ellen Kuras rises above some of the trappings of the screenplay to deliver on the importance of telling this story. I just wish the movie had, overall, turned out as well as Lee’s photos.
Where To Watch: Now playing in theaters.
Notice to Quit: 6 out of 10
Notice to Quit: 6 out of 10The Setup: Andy Singer (Michael Zegen), an out-of-work actor now struggling as a New York City realtor, finds his world crashing down around him when his estranged 10-year-old daughter, Anna (Kasey Bella Suarez), shows up unannounced on his doorstep in the middle of his eviction.
Review: Writer/director Simon Hacker has arrived with a debut film set in New York and delivers what feels like the sort of scrappy indie one hopes to enjoy now and again. Made with the urgency of what the Safdie brothers have been pulling off but holding onto an awkward charm that makes Woody Allen films so memorable, Notice to Quit is not quite rising that high in terms of what it accomplishes, but as far as providing a 90-minute feature that both stresses you out and entertains, there’s a lot to like here. Zegen has more chances to show off what he can do when a whole narrative rests on his shoulder. He finds the right ways to allow his inability to ever be the cleverest guy in the room play to his advantage. Plus, for a father/daughter story, there’s good work in making this relationship feel authentic. The sense of struggle is real here and comes in many forms. For this movie, it revels in sad simplicity.
Where To Watch: Now playing in theaters.
Review: Writer/director Simon Hacker has arrived with a debut film set in New York and delivers what feels like the sort of scrappy indie one hopes to enjoy now and again. Made with the urgency of what the Safdie brothers have been pulling off but holding onto an awkward charm that makes Woody Allen films so memorable, Notice to Quit is not quite rising that high in terms of what it accomplishes, but as far as providing a 90-minute feature that both stresses you out and entertains, there’s a lot to like here. Zegen has more chances to show off what he can do when a whole narrative rests on his shoulder. He finds the right ways to allow his inability to ever be the cleverest guy in the room play to his advantage. Plus, for a father/daughter story, there’s good work in making this relationship feel authentic. The sense of struggle is real here and comes in many forms. For this movie, it revels in sad simplicity.
Where To Watch: Now playing in theaters.
***
The post In-House Reviews #131: Salem’s Lot, Wolfs, Never Let Go, Lee, & More! appeared first on We Live Entertainment.