Wes Anderson’s latest, Asteroid City (review here), is in theaters now and doing quite well. His fans are turning out in droves for it, as they’re likely to do for the long haul. Fortunately for them, Anderson is working at the fastest clip of his career. He’s already his upcoming 37-minute Netflix movie, Roald Dahl’s The Wonderful Story of Henry Sugar, and Anderson is also dropping details on his next feature.
Speaking with LeMonde in France, Anderson revealed that his next movie will be a father/daughter spy story, and it’ll star Benicio Del Toro, who he worked with once on The French Dispatch…
“My next feature film will be linear, with Benicio Del Toro in every shot. I can’t tell you much more than that except that it will be about espionage, a father-daughter relationship, and, let’s say, with a rather dark tone.”
A “dark tone”? That’s interesting, especially given the pastel-colored Asteroid City. But maybe it suits the “linear” style that Anderson is turning to, after his most recent films have been anthology or meta or both…
“With ‘The French Dispatch’ (2021), I’d always wanted to do an anthology [film],” Anderson said. “I had certain ones that I loved like Max Ophüls’ ‘La Ronde’ (1950) and ‘Le Plaisir’ (‘House of Pleasure,’ 1952) and Vittorio De Sica’s ‘L’Or de Naples’ (‘The Gold of Naples,’ 1954). ‘Asteroid City,’ I feel it’s all mixed together. The theater and the cinema part of it are meant to communicate, and it is meant to be one thing.
This actually sounds like an Anderson project I can get excited about. But do Anderson’s fans want him to do something that sounds so different?
It has not been all good news when it comes to Fast X and the future of the Fast & Furious franchise. While the tenth film has managed to earn $689M worldwide, only $144M of that was stateside, making for one of the lowest domestic totals since the early years. But you think any of that is going to stop Universal from expanding? Not a chance. And the planned spinoff featuring Dwayne Johnson’s Luke Hobbs might be including the craziest character these movies have ever seen.
According to Production Weekly, the Hobbs spinoff movie will reportedly be titled Fast & Furious Presents: Hobbs & Reyes. That’s right, Johnson would be teamed up with Jason Momoa, whose villain Dante Reyes stole EVERY scene he was in during Fast X. The conclusion to Fast X did tease that Hobbs was on Reyes’ target list for revenge, given that it was the special agent who literally put the bullets into Reyes’ father, former crime kingpin Hernan Reyes, back in Fast Five.
The spinoff is expected to be a bridge between Fast X and the eleventh feature, where we will presumably see the continuation of Reyes’ vengeance against Dominic Toretto. Will Johnson also appear in that sequel, too? Maybe, maybe not. While he and Diesel have mended their longstanding feud, it doesn’t mean they’re ready to share the screen. And that’s what is sorta surprising about this news. Johnson doesn’t like to be upstaged, and he almost certainly will be by Momoa’s performance which is off the friggin’ chain wild. Let’s hope this doesn’t end with another stupid alpha male rivalry.
Spider-Man: Across the Spider-Verse – $19.3M/$317M
After spending a week at #3 Miles Morales and all the varied Spider-People take back the #1 spot this week cementing the animated flick’s place as the movie of the summer
2. Elemental – $18.4M/$65.5M
While the news surrounding Pixar’s latest has been bleak, things could be worse as Elemental holds it’s second place spot with only a 37% drop in its box office receipts. It certainly doesn’t change things long-term for the legacy of the movie but it must dull the sting a bit.
3. The Flash – $15.2M/$87.6M
Ouch. After a dismal opening weekend the film hailed by studio execs as “The greatest superhero film of all time” fell even harder in it’s second week with a $15M take. The Ezra Miller led flick dropped a colossal 72% in it’s box office take, and that’s including the fact that it was added to 22 additional screens.
While fourth place is probably not what the filmmakers had in mind when pitching their Jennifer Lawrence led R-rated sex comedy, it’s not bad all things considered. One has to wonder how this would have done if it was released in August or September in a less crowded field.
5. Transformers: Rise of the Beasts – $11.6M/$122.9M
Wes Anderson’s latest, which premiered in limited release last week, expanded to over 1600 screens this week and it looks like the Anderson fans across the country were waiting. Sure coming it at #6 doesn’t sound like a win but the film does have the distinction of holding the highest per screen average at $5,375 per screen.
We’re happy to offer our DC readers the chance to attend a free early screening of Indiana Jones and the Dial of Destiny, starring Harrison Ford in his return as the legendary hero!
SYNOPSIS: Harrison Ford returns to the role of the legendary hero archaeologist for this highly anticipated final installment of the iconic franchise– a big, globe-trotting, rip-roaring cinematic adventure. Starring along with Ford are Phoebe Waller-Bridge (“Fleabag”), Antonio Banderas (“Pain and Glory”), John Rhys-Davies (Raiders of the Lost Ark), Shaunette Renée Wilson (“Black Panther”), Thomas Kretschmann (“Das Boot”), Toby Jones (“Tinker Tailor Soldier Spy”), Boyd Holbrook (“Logan”), Olivier Richters (“Black Widow”), Ethann Isidore (“Mortel”) and Mads Mikkelsen (“Another Round”). Directed by James Mangold (“Ford v Ferrari,” “Logan”) and written by Jez Butterworth & John-Henry Butterworth and David Koepp and James Mangold, based on characters created by George Lucas and Philip Kaufman, the film is produced by Kathleen Kennedy, Frank Marshall and Simon Emanuel, with Steven Spielberg and George Lucas serving as executive producers. John Williams, who has scored each Indy adventure since the original Raiders of the Lost Ark in 1981, has once again composed the score.
The screening takes place on Wednesday, June 28th at 7:00pm at AMC Tysons Corner. If you’d like to attend this special event, RSVP at the Gofobo site here. Please remember all screenings are first come first served and if you’re late you’ll be forced to stare at the Ark of the Covenant.
Indiana Jones and the Dial of Destiny opens on June 30th.
I don’t know about you, but I’d follow Laura Linney, Maggie Smith, and Kathy Bates just about anywhere. Imagine the jokes between those three ladies! We sort of get to go on just such a journey in the new comedy, The Miracle Club, centered on three generations of Dublin ladies and the problems that arise when an exile returns and joins them on a pilgrimage to the sacred French town of Lourdes.
Here’s the synopsis from Sony Pictures Classics: Set in 1967, THE MIRACLE CLUB is a heartwarming film that follows the story of three generations of close friends, Lily, Eileen, and Dolly of Ballygar, a hard-knocks community in Dublin, who have one tantalizing dream: to win a pilgrimage to the sacred French town of Lourdes, that place of miracles that draws millions of visitors each year. When the chance to win presents itself, the women seize it. However, just before their trip, their old friend Chrissie arrives in Ballygar for her Mother’s funeral, dampening their good mood and well-laid plans. The women secure tickets and set out on the journey that they hope will change their lives, with Chrissie joining in place of her mother. The glamor and sophistication of Chrissie, who has just returned from a nearly 40-year exile in the United States, are not her only difficult traits. Old wounds are reopened along the way, forcing the women to confront their pasts even as they travel in search of a miracle. Deep wounds from the past can only be healed by the curative power of love and friendship.
Also in the cast are Stephen Rea, Agnes O’Casey, Mark O’Halloran, and Mark McKenna. The film is directed by the Irish filmmaker with the most Irish name, Thaddeus O’Sullivan.
The Miracle Club opens in theaters on July 14th, when it’ll be counterprogramming against the typical summer blockbusters.
Although we here at Punch Drunk Critics cover any and everything related to movies and TV shows, the theater is still a one-of-a-kind way to be entertained. It’s something about actors and actresses dedicated to their craft, who put out a new performance every night (sometimes even twice a day) and have an intimate relationship with their audience during their performance. The theater gives an actor/actress time to truly show what they are about as they almost “play jazz” while performing. But what if that performance was by a group of Jewish actors holed on in a Warsaw ghetto during the Nazi occupation? That’s what director Rodrigo Cortés explores in his latest film Love Gets a Room.
I wasn’t sure what to expect from Love Gets a Room when I first started watching the film. The promotional material paints a picture of a love triangle between 3 actors holed up in Warsaw, but the film is so much more than a “who will she choose” narrative that’s built more for contemporary rom-coms. Having Love Gets a Room take place for the entire 103 minutes of the actual play being performed, and having the film showcase the ins and outs of putting on a performance under the misery of being a young Jewish person under Nazi occupation who just wants to live to the next day is not only a technical masterpiece, but an outstanding film.
Speaking of technical achievement, Love Gets a Room opens with an exquisite single tack tracking shot (I’m a sucker for a good tracking shot and musicals so I was in heaven!) as we follow Stefcia (Clara Rugaard) as she goes about her day in the ghetto. Everyone’s miserable, everyone’s hungry, everyone’s desperate. As Stefcia goes about her day, we realize that she’s an actress who’s about to perform “Love Looks For An Apartment” at a local comedy show, the one form of entertainment the Nazis didn’t shut down. Stefcia is in love with fellow actor Edmund (Ferdia Walsh-Peelo) and is very close with Edmund’s little sister Sarah (Dalit Streett Tejeda), who is also in the play, as well as a host of other Jewish actors who want to put on a good performance.
However, everyone’s current life situation is also going on. Stefcia’s former boyfriend Patrik (Mark Ryder) arrives to tell her that he managed to bribe an SS soldier to look the other way and allow him and one other person to escape the occupied area. Naturally, Patrick wants Stefcia to come along with him. Not only to they have to navigate a potential escape and what that means for them, but they also have to do it while putting on a performance for the play. When it’s their turn to be on the stage, they are professional, singing and dancing their hearts out. However, when they are backstage, they are all nervous wrecks. To make matters worse, a group of Nazi soldiers (who may or may not know what’s going on) have sat in the audience and they have their own plans. Love Gets a Room showcases just how hectic it is to put on a play, but also how even more hectic it can be while either planning to escape a death sentence, or avoid being killed by your occupiers. Each of the actors of the play (and in the movie itself) display the magic of theater and how it often can’t be replicated on film, and yet in Love Gets a Room it has!
Don’t be surprised if this actually becomes a Broadway show because it’s such a love letter to theaters, plus the singular setting (except the beginning where the audience gets a tour of the ghetto) of Love Gets a Room is in the theater. While watching the film I even wondered to myself “Why hasn’t this been made a play already?” All of the songs performed in the film were written for the film, many even by director Rodrigo Cortés. Keeping the runtime with a normal play makes adapting this to an actual play rather seamless.
All of the performances are top-notch, even SS officer Sergeant Szkop (Magnus Krepper) who comes in the third act to remind us why Nazis suck (where’s Indiana Jones when you need him) as he is delightfully evil. Only Hans Landa from Inglorious Basterds was more terrifyingly menacing, especially in the third act where he stops the play to do his own nefarious monologuing.
Love Gets a Room is an incredible film as it showcases that even in tragedy and hopelessness, the arts can be a way to allow us to smile through the pain. It was true back during American Enslavement with old Negro spirituals, and it is also the case for Jews under occupation. Even when those in Warsaw are forbidden to clap under the threat of death, they still find solace in entertainment to help them get through a tough time. Love Gets a Room completely understands the assignment and helps raise your spirits.
Love Gets A Room is currently available in select theaters and will be available on VOD Friday, June 30th.
Sheroes is an action/thriller film presented by Paramount Global Content Distribution Group that boasts a kick-ass, social media-savvy female cast. Directed by Jordan Gertner, known for his work as a producer on Spring Breakers, delivering a story of survival, loyalty, and friendship as his directorial debut. Starring Sasha Luss, Wallis Day, Isabelle Fuhrman, and Skai Jackson, Sheroes centers on a ‘good girls gone bad’ mission through Thailand, where these ladies must confront a notorious drug lord to rescue one of their own.
Diamond (Luss, Anna), Ezra (Fuhrman, Orphan, Orphan: First Kill), Ryder (Day, Batwoman), and Daisy (Bunk’d) are four high-maintenance girls, bored with their clichéd careers and easy money lifestyles, come together when Diamond’s billionaire director father privately flies them to Thailand for an all-girls vacation. The journey starts with a private jet loaded with alcohol, drugs, and an attractive pilot, Jasper. However, when Ryder’s bag gets mixed up with the Thai drug lord’s stash, it puts them all in a precarious situation. Instead of disposing of the cocaine, they party and pass out, only to wake up to Daisy missing and a threatening note demanding the return of the drugs.
Diamond, Ezra, and Ryder transform from party girls to overnight mission assassins, utilizing convenient “toys” stashed around their vacation home. Determined to find their friend, they embark on a dangerous search for Daisy. That leads to Diamond crossing paths with the enigmatic yet, dark and mysterious pilot, Jasper (Jack Kessy, Deadpool 2). Despite his sporadic assistance, Diamond remains wary of his intentions, convinced that she and her friends are beyond capable enough of rescuing Daisy on their own.
Diamond takes charge, rallying her friends to transform from party girls into determined, resourceful assassins, using all the typical ‘toys’ to locate and rescue Daisy. As they fight for their lives and strive to protect one another, they unleash their “unique set of skills” and unyielding loyalty, leading to an action-packed battle for survival.
While Sheroes delivers fun-fueled action, the film shortfalls in originality and depth. The plot follows a predictable path, with perfectly timed aspects, props, and dialogue that hinder the film’s potential for surprise. The focus on the individual looks and achievements of the actors, likely driven by their social media influence and fan loyalists, overshadows the need for a more profound and realistic story.
Sheroes is a fun yet predictable action thriller showcasing its female cast’s talents. The film’s emphasis on survival, loyalty, and friendship is center-front as the characters evolve from carefree party girls to determined and resourceful heroines. While lacking depth and originality, this film still delivers an entertainable perspective. So, keep an eye out for this digital release if you’re interested in embarking on this all-girl, rich bitch blend of Barbie meets Charlie’s Angels kind of adventure.
As a fan of The Coup, when I heard that Boots Riley was going to get into making movies and (now) TV shows, I wasn’t sure what to expect. After all, Boots had an album cover for one of The Coup’s albums had them blowing up the World Trade Center (the album was released in September 2001 to many people’s frowns and later had to change the album cover), so he very much wears his anti-capitalist sentiments on his sleeve. Boots Riley’s directorial debut Sorry to Bother You was captivating as it explored how black people have to do code-switching to thrive in a corporate environment. It was an absurdist and smart dark comedy…..until the “Equisapien” plot showed up. I even made an audible “What the f*ck” in the theater while watching it. Weird horse people aside, Sorry to Bother You was a solid directorial debut from someone I didn’t even know had a strong director’s voice. What was next in store for Riley and the stories he wanted to tell? Ironically, Riley teamed up with Amazon (one of the largest corporations in the world) to tell an even more anti-capitalist message in his new show I’m a Virgo.
If you saw Sorry to Bother You, you know Boots Riley can get weird…. Like REALLY weird! If that’s your thing, fear not for I’m a Virgo is even weirder! The show centers on a 13-foot-tall young black man in Oakland, California (it’s Boots, so it has to be Oakland) named Cootie (Jharrel Jerome). Being a giant, Cootie has lived a sheltered life under the care of his Aunt Lafrancine (Carmen Ejogo) and Uncle Martisse (Mike Epps). It’s never clear what happened to his mother, but we’ll just assume she dies giving birth to a 4-foot-tall baby, so Cootie has lived his whole life sheltered away from the outside world. His only social interaction is with his uncle and aunt, him watching tv, and his love of comic books, notably a comic book about a hero in their world named “The Hero” (Walton Goggins who somehow channels both Stan Lee and Tony Stark at the same time). One day, he just becomes fed up with being reclusive and starts to try and explore the outside world when his aunt and uncle aren’t looking.
At first in I’m a Virgo, he just tries to not be seen, even disguising himself with branches pretending to be a 13-foot-tall tree. But folks in the hood seem to notice a 13-foot-tall tree walking around at night, which causes him to become a viral sensation and a legend around the hood called “the twamp monster.” Soon enough, the cat is out of the bag and he meets a group of interesting friends: Felix (Brett Gray), Jones (Kara Young), and Scat (Allius Barnes) who take him for a night out on the town. Having never been outside, he really enjoys being around people and even more notably, being outside. He marvels at how large the skyscrapers are and finally realizes he’s not the biggest thing in Oakland. He’s also a big fan of a burger joint he’s only seen commercials for and befriends Flora (Olivia Washington) as he has a crush on her, and she has one on him.
Now that everyone knows about him in I’m a Virgo, Cootie is no longer just an urban legend or a viral sensation, everyone wants a piece of him. Sports agents want him in the NBA or NFL (Boots Riley’s critique of professional sports wanting to use black bodies for our entertainment), and modeling agencies was a 13-foot-tall model to make money off of (a critique of the fashion industry as well). He’s also almost worshipped by a strange cult that treats him like some sort of deity (a critique of organized religion). His sheer size has also captured the attention of The Hero, who just sees him as a giant black man and therefore a possible threat.
While Boots Riley does a great job at satirizing various industries in the early episodes of I’m a Virgo, about halfway through the series an event happens that allows him to really get on his soapbox and speak about the evils of capitalism. Originally there was a larger story looming in the background related to unfettered capitalism, but when it starts affecting the lives of the characters, then the show gets serious. Cootie’s friend Jones is an anti-capitalist activist with her own set of special gifts, who can telepathically put images in people’s minds as she’s preaching to them about whatever she wants. Those are the scenes where you see Amazon put your Prime membership to the test in their CGI department and deliver some great visuals.
In addition to Jones having superpowers, I’m a Virgo also explored other people with superpowers, especially Cootie’s love interest Flora, who just happens to be a speedster and is probably the first time we get to see a realistic approach to how Quicksilver or the Flash view us “slow” people. There’s a part of one episode that explores her past where as a child she’s perceived as autistic because she can’t “slow down” her speech for everyone else to understand and is nonverbal. It almost makes you want to rewatch The Flash and apply that same logic to Barry Allen. Boots Riley’s approach to Walton Goggins’ The Hero is also interesting. He’s a comic book publisher, who is also a master inventor who turns himself into a superhero, and publishes his own propaganda to enrich himself and also patrol the hood to be an even worse version of ED-209. It’s weird though because you don’t like The Hero, but you also feel sorry for him at the same time.
I’m sure there will be countless reviews and think pieces this weekend that discuss I’m a Virgo’s sex scene between Cootie and Flora. How does a speedster have sex with a 13-foot-tall person? Well, you’ll get your answer to that! There’s a moment where she finally gets a look at his “member” (that goodness we don’t get to see it as probably would have taken up your whole TV screen!) and realizes she got way more than she bargained for. He’s hilarious and touching at the same time.
I’m a Virgo, like Riley’s previous film, does not try and hide its message at all. It’s really exploring the notion of being black and feared in America. Cootie is only 19 years old on the show and naive as hell, but society doesn’t give him a chance to learn and grow, he’s already seen as an adult, or more likely a “thug” just for his blackness, his incredibly large blackness. That and the incredibly anti-capitalist message is clear as day. Most films/shows try and slyly put their message hidden within layers, not I’m a Virgo! If you don’t get the message immediately, you aren’t paying attention! Even the show’s title “I’m a Virgo” is something Cootie says, not to reiterate his astrological sign, but more to say he’s ready for the adventure and wants to plunge headfirst into it.
In I’m a Virgo, The performances are great across the board. We already know how good an actor Jharrel Jerome is from his Emmy-winning performance from When They See Us, but he completely shines as Cootie. At first, he’s green to the outside world, but as he sees how black people are treated, how he’s perceived, and that his favorite superhero is just a tool of capitalism and white supremacy, he matures and grows up quickly. All his friends are also great, especially Kara Young as Jones who gives some of the best monologues about capitalism throughout the series. Walton Goggins is Walton Goggins and he’s great in almost everything he does. One big surprise though is Mike Epps, who I’ll admit often is annoying with his comedy and acting styles. While he’s funny in parts of I’m a Virgo, he also has some great moments giving Cootie insight into the outside world and how he’ll be treated. The breakout star of the show, however, is Olivia Washington as Flora. Denzel (yes that Denzel Washington) is slowly starting to build a dynasty as it looks like all his kids are bound for the big screen. She plays shy very well, but is also incredibly confident in herself especially when she and Cootie sleep together.
That said, I do have to talk about the elephant in the room. Boots Riley is aggressively anti-capitalist. Between his rap albums, Sorry to Bother You, and now I’m a Virgo, Riley has hammered you in the head about the evils of capitalism and it needs to be destroyed and replaced with something fairer. To paraphrase Stanley Goodspeed, “Why in the name of Zeus’ butthole did he choose Amazon to tell such an anti-capitalist story?!?” I mean, if you are going to go through a major studio, you go with Amazon?!? The same Amazon that has been actively resisting their workers to unionize (which was a plot point of Sorry to Bother You). The same Amazon that put mom & pop bookstores out of business and that we now order everything online from?!? It’s just a strange choice that he went with Amazon, and an even stranger choice that Amazon went with him!
OK rant done. I’m a Virgo is a weird, absurdist satire of a series that juggles many themes and although is preachy as hell, doesn’t really “feel” preachy as you are just enjoying the storyline. However, you can expect a bunch of MAGA folks who happen to stumble across it this weekend to say it’s “woke.” And you know what… it is!! And that’s a good thing! Also, kudos to Boots Riley for making a weird black as hell science-fiction show, which is normally not a space where these topics are discussed, and definitely not discussed by black people. I’m a Virgo is absolutely strange, but my kind of strange!
I’m a Virgo is currently available on Prime Video.
So I’ve been doing the #Bales2023FilmChallenge on Twitter and just yesterday for “Movie that gives positive vibes”, my pick was Paddington 2. Is there anyone who doesn’t love Paddington, and desperately needs the joy of that franchise coming back? We learned a few months ago the long-awaited third film would be titled Paddington in Peru, and now we have some new faces we can look forward to, including one Oscar winner who herself makes a lot of people happy.
According to Deadline, Olivia Colman, Rachel Zegler, Antonio Banderas, and Emily Mortimer have joined the Paddington in Peru cast. Yes, please! Colman’s casting is a little too perfect, as she’ll play The Reverand Mother, a cheerful, guitar-strumming nun who runs a retirement home for bears. But do they serve marmalade sandwiches there?
Banderas plays Hunter Cabot, a riverboat captain who helps the Browns find Paddington’s birth parents, while Zegler plays Cabot’s daughter, Gina. Meanwhile, Mortimer replaces Sally Hawkins as Mrs. Brown, which is a bit of a bummer. Then again, Mortimer is pretty great, too, and should do a great job. In fact, Hawkins came right out and said so, issuing a statement on her departure…
“For me, it has felt the right time to hand the reins over to another,” said Hawkins, “and one can’t get much better than the truly wonderful Emily Mortimer, she is extraordinarily special. She will embody the essence of Mary Brown and yet make it utterly her own.”
Well said.
Paddington wouldn’t be the same without Ben Whishaw voicing him, so it’s good to know that he’ll return. As will Hugh Bonneville as Henry Brown. Samuel Joslin, Julie Walters, Jim Broadbent, Madeleine Harris, and Imelda Staunton are all in talks to return, as well. Whishaw and Mortimer worked together on Mary Poppins Returns, too.
Dougal Wilson will direct Paddington in Peru when filming begins this July.
While it sucks that we may never see the Coen Brothers reunited, it’s also kind of cool to see how the brothers are using their signature Coen style in different ways. Joel Coen had the prestige picture Macbeth, while Ethan makes his solo feature debut with the queer road comedy Drive-Away Dolls.
It’s hard to top the duo of Margaret Qualley and Geraldine Viswanathan, best friends who hit the road to Florida in hopes of a fresh start. It doesn’t go quite as planned. Let the hijinks begin.
SYNOPSIS: Written by Ethan Coen and Tricia Cooke, this comedy caper follows Jamie, an uninhibited free spirit bemoaning yet another breakup with a girlfriend, and her demure friend Marian who desperately needs to loosen up. In search of a fresh start, the two embark on an impromptu road trip to Tallahassee, but things quickly go awry when they cross paths with a group of inept criminals along the way. Directed by Ethan Coen.
Also in the cast are Beanie Feldstein, Colman Domingo, Pedro Pascal, Bill Camp, and Matt Damon. Again, this cast is impeccable, keeping with the A-list ensembles the Coens have always been able to assemble.
