What kind of person does it take to live next to the most infamous Nazi death camp and just go about your day like it’s nothing? It would take an extreme lack of empathy, compassion, and a superhuman ability to separate yourself from the outside world. Jonathan Glazer explores an entire family who can do this in his chilling new film, The Zone of Interest.
Starring Christian Friedel and Sandra Hüller, The Zone of Interest centers on a family in Auschwitz as they attempt to raise a family and live the pure life demanded by Hitler, while living just feet away from the infamous Nazi concentration camp.
The film is a loose adaptation of Martin Amis’ 2014 novel, directed and written by Glazer. Glazer is good for about one movie every decade or so, which is why they always make a splash and command attention. His most recent was 2013’s Under the Skin which starred Scarlett Johansson as a man-eating alien. But that film was about how the alien learned to love humanity, while The Zone of Interest is about people who have lost all of theirs.
Here’s the synopsis: The commandant of Auschwitz, Rudolf Höss, and his wife Hedwig, strive to build a dream life for their family in a house and garden next to the camp.
Earning accolades after its world premiere at Cannes, the film is expected to be a major player this awards season. That said, I wasn’t really into it when I saw it at Middleburg a couple of months ago, finding it repetitive, dull, and poorly structured.
A24 will open The Zone of Interest into theaters on December 15th.
Has Ava DuVernay ever made a simple, easy to digest movie meant to entertain? I guess you could argue A Wrinkle in Time, but for the most part she has been devoted to addressing larger ideas. Whether it was her MLK Jr. film Selma, her stunning documentary 13th about the incarceration of Black men, or dramas such as Middle of Nowhere and Colin in Black & White, DuVernay has focused much of her attention on the issue of race. Only a filmmaker like DuVernay would dare present the issue of racism as being too simplistic, but in the case of Origin, a bold, heartfelt adaptation of Isabel Wilkerson’s Pultizer Prize-winning book Caste: The Origins of Our Discontents, it is literally true as inferior to the levels of discrimination and prejudice affecting certain groups regardless of skin color.
Wilkerson’s bestseller doesn’t exactly lend itself to easy adaptation, either, at least not as a narrative feature. DuVernay could’ve easily turned Caste into another award-winning documentary or series, and nobody would’ve batted an eye. Instead, she took on the challenge of making it into a feature film, a complicated, often heartbreaking journey that incorporates aspects of Wilkerson’s own personal story. Let’s make it clear: the crux of Origin and Wilkerson’s theory isn’t that racism is a non-factor. It’s that racism isn’t enough to explain the centuries of calculated oppression against specific groups. The idea is sparked when Wilkerson, played with an equal mix of ferocity and grace by Aunjanue Ellis, is chastised by a German philosopher (Connie Nielsen) for trying to draw a connection to Nazis treatment of the Jews and our country’s treatment of Blacks. The revelation that our own Jim Crow laws inspired the Nazi cause will act as a powerful gut punch to those unaware, as it was for Wilkerson. But furthermore, Wilkerson also investigates India and the plight of the Dalits, or the “untouchables”, a marginalized group in the lowest possible caste in India, who are forced to work the most humiliating jobs with no hope of ascending beyond. In the case of the Dalits, they are brown just like their persecutors; just as the Jews were White like the Nazis. To merely call it racism that they are discriminated against simply dosn’t suffice: it’s caste that is the problem.
Origin works as a history lesson and a walk through Wilkerson’s intellectual growth, driven by tragedy and an insatiable thirst for knowledge. It is both an ambitious and arduous task that DuVernay has given for herself, and at times the film feels as if it is taking on way too much. From the beginning, with a devastating reenactment of the Trayvon Martin murder, DuVernay makes clear that she’s not going to pull any punches. The scene plays out as we know it will and it’s going to be triggering for a lot of people. Wilkerson, whose sweet, supportive husband Brett (Jon Bernthal) is white, is shocked when her mother (Emily Yancy) suggests Trayvon should’ve been more careful about where he was at and who he was speaking to. The older woman isn’t blaming Trayvon; people of a certain generation are taught to be fearful and respectful of whites. She even poses to Brett that white people are terrified of Blacks being in their neighborhood and he concedes that he thinks it’s true, but also that people can’t live their life in fear.
Nevertheless, the comment gets Isabel thinking, and every good idea starts with a single thought. Tragedy hits Isabel left and right; she loses practically everyone close to her. It’s during these frequent tragedies that Origin feels a bit unwieldy. We never see quite enough of Brett; although we get a good sense of the decent human being that he is and why Isabel loves him. It’s a solid role for Bernthal who is astonishingly good at playing this kind of supportive role for a guy who has also been The Punisher. Practically overshadowing everyone in her too-few scenes is Niecy Nash-Betts as Marion, Isabel’s cousin and often her sounding board when she needs a common person’s perspective. Isabel can get in her own head and forget to impart her wisdom in a way people can understand, but it’s Marion who encourages her to “make it plain” so the message gets out.
DuVernay sometimes has the same problem as Wilkerson, and occasionally Origin can feel like homework. That’s when DuVernay flips the script on our expectations. Nick Offerman, sporting one of those Make America Great Again hats that the Trumpers love so much, plays a dismissive plumber hired by Isabel to fix a leak. While it looks like things will explode in a typically confrontational, on-the-nose manner, DuVernay highlights the virtues of simple conversation and finding common ground to diffuse a situation. The point being that regardless of our politics, we all want the same things and share many of the same concerns if we’d only take the time to listen.
It’s another superb, unshakeable performance from Ellis, following what turned out to be a breakthrough role in King Richard. Ellis’ intellect and passion are matched by DuVernay, with the two giving Wilkerson’s weighty concepts the emotional grounding they need. Those baffled by her decision not to do a documentary only need to watch Origin to see why. A cold recitation of the facts might’ve gotten the message across, and then nothing would be done to address the issue. You need to make people feel something in order to move them, and few are better than DuVernay at stirring audiences to action.
Origin opens in select theaters on December 8th, expanding on January 19th 2024.
Bingo once considered a pastime primarily enjoyed by the older generation, has made a resurgence in recent years. It has become not only a fun game to play with friends and family but also a popular source of entertainment in the world of cinema.
To understand the bingo phenomenon’s impact on the big screen, we need to look at its growing success, with online bingo sites and themed bingo parties leading the way. Online bingo has seen a significant surge in popularity in recent years. As technology has advanced, so has the accessibility and convenience of playing bingo online. The rise of online bingo sites has made the game accessible to a wider and younger audience. It offers the thrill of traditional bingo from the comfort of one’s own home, and it’s available 24/7.
One of the key factors contributing to online bingo’s success is the variety of themes and styles available. Online bingo sites often feature themed rooms and games, allowing players to immerse themselves in a world of their choosing. Whether it’s a classic bingo hall setting or a fun and colourful themed room, players can enjoy a unique and immersive experience. This diversity in themes has not only kept players engaged but has also inspired filmmakers to incorporate bingo scenes in their movies.
The King of Bingo – “King of the Bingo Game” (1999)
This short film, based on the short story by Ralph Ellison, is a powerful portrayal of a person’s focus on winning at bingo. The film captures the intensity and challenges of bingo through the main character’s drive to secure a winning ticket.
In this animated comedy, Dracula and his monstrous friends enjoy a game of bingo during their stay at Hotel Transylvania. The scene combines humour and horror elements, making it a memorable bingo moment for all ages.
The Lucky Streak – “In Her Shoes” (2005)
This heartwarming film features a touching bingo scene where two sisters bond over the game. It highlights the sense of community and connection that bingo can bring, even in difficult times.
Stealing the Show – “Coneheads” (1993)
The Conehead family, trying to fit into human society, crashes a bingo game and hilariously disrupts the proceedings. This scene showcases the universal appeal of bingo and how it can be appreciated by extraterrestrial beings as well.
The Ultimate Game – “King of the Hill” (1993)
Set in the Great Depression era, this film follows a young boy’s life journey. A bingo game plays a significant role in the storyline, where the stakes are high, and the atmosphere is tense.
In conclusion, bingo has come a long way from its traditional roots and has found a place in the world of cinema. The most iconic bingo scenes in movie history demonstrate the game’s ability to evoke a wide range of emotions and resonate with audiences of all ages. As online bingo continues to thrive, we can expect more memorable bingo moments to grace the silver screen in the future, keeping this timeless game alive and well in our hearts and on our screens.
Ferrari who? While Michael Mann’s upcoming auto drama has gotten the driver’s share of attention, there’s another that is starting to pick up speed. Race for Glory: Audi vs. Lancia is based on the adrenaline-fueled rivalry between Audi and Lancia during the 1983 Rally World Championship.
Riccardo Scamarcio (A Haunting in Venice) stars as Italy’s Lancia team manager Cesare Fiorio, who was considered to be in a real-life David vs. Goliath battle against Germany’s formidable Audi racing team at the 1983 Rally World Championship.
Also in the Race for Glory cast are Daniel Brühl as the legendary Roland Gumpert, the German engineer and Apollo Automobil founder who also led Audi to multiple rally championships. The film also features Volker Bruch as German racer Walter Röhrl who was convinced by Fiorio to race for Lancia against Germany’s top champion driver.
This is familiar ground for Brühl. He found himself behind the wheel in Ron Howard’s acclaimed, high-octane drama Rush, playing racer Niki Lauda.
Italian filmmaker Stefano Mordini directed and co-wrote the script alongside Scamarcia and Filippo Bologna. Scamarcia is also one of the film’s producers, showing his level of commitment to the project.
Here is the official synopsis: Feel the thrill of the road with this action-packed sports drama inspired by true events. Daniel Brühl (The King’s Man) and Riccardo Scamarcio (A Haunting in Venice) star in a true David vs. Goliath story spotlighting the intense rivalry between Germany (Audi) and Italy (Lancia) at the 1983 Rally World Championships. Against all odds, Lancia battles to regain its former glory with an unbeatable combination of bold innovation and extraordinary courage.
Race for Glory: Audi vs. Lancia will be available in theaters, on demand and digital January 5th, 2024.
The list of game franchises that maintain a high level of critical and commercial success over the years is a short one. Fallout an action RPG set in a dystopian irradiated future is undoubtedly high on that list. With 11 titles dating back to 1997 and a pop culture imprint going back just as far Fallout is a series that has had highs and lows but maintained it’s place in the world of gaming, expanding from their core series to a series of successful spin-offs, tabletop games, and even a pinball release.
Set in a 1950s style world of Americana gone wrong the terrain is full of armored soldiers, mutants, vast wastelands and wildlife intent on killing you, the central plot and characters change game to game but general idea that the series tries to impart stays the same. No matter how bad things get, there will always be people that want to make them worse and that war is a core part of the human experience.
Fallout is the latest in a line of video game to series adaptations the results of which are wildly varying from astounding (The Last of Us, The Witcher) to harmless (Sonic The Hedgehog) and all the way down to “WTF, did they even play the game?” (Halo). I’ve found that the key indicator of quality on a video game adaptation is how well the show runner understands what made the game popular in the first place. If that theory is right then the trailer just released by Prime Video for Fallout is an omen of good things to come. See, while my earlier synopsis of this game may sound bleak, Fallout is, at its core, a darkly funny, action-packed time that never takes itself TOO seriously.
While the footage below doesn’t exactly spell out a laugh riot of a time it does promise that fun is going to be had. Just as important is the attention to detail paid by the filmmakers. Fallout has a ton of iconic imagery, whether that’s the raw intimidation of the power armor or the oddly peppy “Pipboy” smart watch. If that’s what your looking for, not to worry, its here in abundance.
Probably the most striking thing glimpsed in the trailer is a quick shot of an unrecognizable Walton Goggins as “The Ghoul”, for the uninitiated that would be the nasally challenged cowboy near the end of the clip. I have yet to see Goggins take on a role halfway and it’s obvious, thanks to the close-up, that the makeup and CGI were done with care.
Make sure to look for Fallout on Prime Video until April 12th, 2024
Official Synopsis: Based on one of the greatest video game series of all time, Fallout is the story of haves and have-nots in a world in which there’s almost nothing left to have. 200 years after the apocalypse, the gentle denizens of luxury fallout shelters are forced to return to the irradiated hellscape their ancestors left behind — and are shocked to discover an incredibly complex, gleefully weird and highly violent universe waiting for them. From executive producers Jonathan Nolan and Lisa Joy, the creators of Westworld, starring Ella Purnell, Aaron Moten, Walton Goggins and more. Arriving April 12 on Prime Video.
I there’s a golden age of Godzilla, it’s hard to argue that we’re not in it right now. Let’s face, the king of all kaiju is hotter than atomic breath right now, and on all fronts. Usually, the Toho oft-rebooted franchise is clicking, while here in America we’re getting crappy, occasionally-embarrassing versions that do Godzilla no justice. But right now with Legendary’s Monsterverse running wild, Toho has gone back to its roots and achieved the true pinnacle of Godzilla glory with Godzilla Minus One, a stunning achievement that manages to surpass even 2016’s revitalizing Shin Godzilla.
In a way, Godzilla Minus One springboards from what Gareth Edwards attempted with his 2014 movie, which I found to be pretty dull. But he attempted to do something by making the humans more than just puny insects waiting to get stomped. He tried to give us real stakes so we could invest in the human cost of battling the kaiju. But with Godzilla Minus One, the formula is just right, calculating post-WWII trauma and atomic age anxiety, along with a healthy dose of survivor’s guilt. Godzilla isn’t the central character by any means. He is a force of nature, an unstoppable, irresistible presence wearing down a nation that has just lost a war, one in which its government literally told its soldiers to sacrifice their lives to a hopeless cause. With heavy restrictions placed on Japan after the fighting, any attempt at rebuilding would take multiple generations to complete. Those who would start it, would never reap the fruits of their labor. Certainly, nobody had the will to fight another war.
And that goes double for kamikaze pilot Koichi Shikishima (Ryunosuke Kamiki). In short, Koichi is a coward. He definitely sees himself as one, but so too the people forced to endure the humiliation of defeat in war. We meet Koichi as he’s faking a malfunction in his plane so as not to fulfil his kamikaze duties. He lands on Odo Island where Godzilla emerges and attacks the military mechanics. Koichi, as the only gunner, has a chance to take out Godzilla but is too scared to shoot. As a result, the other men all die, and Koichi is left to carry the burden of his cowardice.
Self-sacrifice is a big theme in Godzilla Minus One. A dismissive government casts a noble spin on self-sacrifice as its soldiers hurl themselves into certain doom. But real sacrifice comes from the living, who give of themselves to help others live, to rebuild, to love, to find new purpose. Koichi can’t get over the sins of his past, but nevertheless takes in a wandering stranger, Noriko Oishi (Minami Hamabe), and the orphaned daughter Akiko (Sae Nagatani) that she cares for. Along with ex-military men Kenji Noda (Hidetaka Yoshioka) and Sosaku Tachibana (Munetaka Aoki), Koichi finds renewed reasons to live, and a use for his gunnery skills, as a destroyer of leftover mines. It’s risky work, but one he’s willing to do in order to care for Noriko and Akiko, But also, possibly, because he hopes one day it’ll go wrong and his suffering will be ended in an unexpected explosion.
Koichi is constantly being pulled in different directions, with one foot in the living and one in the dead. When Godzilla threatens to destroy all of Ginza, putting the people he’s unexpectedly grown to love at risk, Koichi begins to muster up the courage to fight for them, no matter the cost.
So yeah, Godzilla Minus One is basically a post-war melodrama with a dash of Godzilla. Usually, the mix is the other way around. Godzilla dominates the screen and we endure the puny little humans scattering around at his feet. But here, Godzilla is truly terrifying. There’s no attempt to humanize the creature. When he arrives, people die and towns are destroyed. Godzilla could be any force of Mother Nature; a monsoon, a hurricane, a tornado, an earthquake, a meteor making landfall. He is something to be survived, and the power at Godzilla’s disposal is beyond human measure. Because the scaly beast seems so indestructible, it makes the efforts of Koichi and his colleagues, all ex-soldiers with backgrounds in tragedy, or citizens worn down by war, even more engaging. As Koichi tries to learn to live again, it’s like he’s pulling Japan out of its collective despair into a future where they can find reason to hope.
Director Takashi Yamazaki treats Godzilla with all of the reverence he deserves. After 70 years, we’ve grown accustomed to its roar, to the glowing build-up to his unstoppable atomic breath. We’ve seen it all before, tweaked in a thousand different ways to try to add something “cool”. These aspects are truly crowd pleasers, and Yamakazi uses them sparingly for maximum effect. The first time Godzilla unleashes his atomic blast you might catch yourself holding your own breath as I did, anticipating its destructive impact.
I don’t consider myself a Godzilla aficionado. I’ve seen my share of the classic movies and all of the most recent ones, both from Japanese and American studios. None of them have ever had the emotional impact on me that Godzilla Minus One had. There were tears shed in the theater I was at, as people connected with Koichi’s story and his seemingly impossible showdown with Godzilla. As we all know, nothing can ever truly keep this kaiju down, but Godzilla Minus One has set a towering bar to surpass. It’s not just a great Godzilla movie, it might just be the best one yet.
We’re happy to offer our DC readers the chance to attend a free early screening of Wonka, starring Timothée Chalamet. The film is directed by Paul King (Paddington 2).
SYNOPSIS: Based on the extraordinary character at the center of Charlie and the Chocolate Factory, Roald Dahl’s most iconic children’s book and one of the best-selling children’s books of all time, “Wonka” tells the wondrous story of how the world’s greatest inventor, magician and chocolate-maker became the beloved Willy Wonka we know today.
The screening takes place on Monday, December 11th at 7:00pm at Regal Majestic. If you’d like to attend, RSVP at the Warner Bros. ticketing site here. Please remember all screenings are first come first served and you’ll need to arrive early to ensure seating. Enjoy the show!
Emerald Fennell’s provocative, hedonistic thriller Saltburn has been in theaters for a couple of weeks, but today Prime Video has announced the film’s streaming debut on December 22nd. And to go along with that good news is a trailer that takes you deep inside the mayhem and debauchery of Saltburn.
Oscar nominee Barry Keoghan stars as Oliver Quick, a student trying to find his way among the upper crust at Oxford University. He eventually works his way into the orbit of the gorgeous, popular Felix Catton (Jacob Elordi), who invites him to stay with his aristocratic family at their sprawling Saltburn estate for a summer he will never forget. Think Talented Mr. Ripley with a bit of Brideshead Revisited, some Cruel Intentions and, yes, The Killing of a Sacred Deer for you Keoghan fanatics out there.
Fennell’s previous film, Promising Young Woman, was no less provocative and earned her an Oscar win for Best Original Screenplay. The expectations have been high for this one, and the reviews have been pretty good. I dug it.
Also in the cast are Rosamund Pike, Archie Madekwe, Alison Oliver, Richard E. Grant, and Carey Mulligan, reuniting with Fennell. Also showing her support is producer Margot Robbie, who worked with Fennell on Barbie where the latter played the always-pregnant Midge.
Here’s the synopsis followed by the new trailer: Academy Award winning filmmaker Emerald Fennell (Promising Young Woman) brings us a beautifully wicked tale of privilege and desire. Struggling to find his place at Oxford University, student Oliver Quick (Barry Keoghan) finds himself drawn into the world of the charming and aristocratic Felix Catton (Jacob Elordi), who invites him to Saltburn, his eccentric family’s sprawling estate, for a summer never to be forgotten.
Why does anybody ever go into space? Nothing good ever seems to happen out there? Either you get lost in the vast expanse of the universe, or a sun explodes, or a predatory alien race hatches aboard your ship, or someone on your ship goes nuts and tries to kill the entire crew. It’s never good. And certainly, things go awry for the U.S. and Russian crew aboard an international space station in the upcoming thriller, I.S.S.
One of the big draws of this film will be Oscar-winner Ariana Debose, with the Wishand West Side Story actress leading a cast that includes Chris Messina, Pilou Asbæk, John Gallagher Jr., Costa Ronin, and Masha Mashkova.
The story, penned by Nick Shafir, finds tensions rising between American and Russian astronauts aboard the I.S.S. space station when global conflict erupts down on Earth. Both teams are secretly ordered to take out the other and claim the station.
Behind the camera is director Gabriela Cowperthwaite. She broke out with the acclaimed documentary Blackfish, but since then has been taking on more narrative projects including Megan Leavey and Our Friend, both really good dramas. She also recently went back to documentaries with The Grab.
Here’s the synopsis: Tensions flare in the near future aboard the International Space Station as a worldwide conflict breaks out on Earth. Reeling from this, the astronauts receive orders from the ground: take control of the station by any means necessary. Director Gabriela Cowperthwaite, working with Nick Shafir’s Blacklist script, brings together a stellar cast that includes Academy Award winner Ariana DeBose, Chris Messina, Pilou Asbaek, John Gallagher Jr., Costa Ronin, and Masha Mashkova, in a high-stakes thriller set entirely in the confines of the I.S.S. as astronauts are called to duty in fateful and terrifying ways.
By now you’ve probably seen the rumors. Marvel is angling to reunite the original Avengers stars, most of whom have left, in an upcoming film. This all seems to have started because it’s been a rough year for Marvel Studios with numerous films underperforming, such as Ant-Man 3 and The Marvels, while the Secret Wars series was a dud. In short, people think Marvel is starting to get desperate and calling on Iron Man to come to the rescue.
But if you were hoping that Robert Downey Jr.’s Iron Man would suddenly be snapped back into existence, think again. Speaking with Vanity Fair, Kevin Feige made it clear that Downey will not be coming back to the MCU and Tony Stark is really and truly gone…
“We are going to keep that moment and not touch that moment again,” Feige said. “We all worked very hard for many years to get to that, and we would never want to magically undo it in any way.”
Avengers: Endgame co-director Joe Russo also weighed in, saying “We’d already said tearful goodbyes on the last day of shooting. Everybody had moved on emotionally. We promised him it would be the last time we made him do it—ever.”
Of course, with the Multiverse being a thing, nothing can ever truly be written off. Downey could come back as a different character entirely, or as a different version of Iron Man. I don’t see that happening, though. Downey was one of the most vocal stars eager to finish up his time with Marvel so pursue other projects. He’s been doing that, rather selectively, ever since. Most likely Tony Stark will live on in flashback or as an inspiration to other heroes. Or, and this is a definite possibility, we see Iron Man with a new character in the suit.
