“As Amazon’s new thriller Homecoming unfolds, it becomes more and more clear that its lofty ambitions are both a curse and a blessing.
The series, which stars Julia Roberts, is built like a puzzle box, weaving a story between the past and the present that often threatens to fall apart under its own weight. Its tropes are well-worn, and its narrative doesn’t go anywhere unexpected.
And yet all these elements miraculously coalesce into a show that is still tremendously emotionally affecting. Ultimately, Homecoming has too many strengths — and is a story too strikingly told — for its flaws to find real purchase.
The title of the series refers to the treatment facility where Roberts’s character, a novice psychologist named Heidi Bergman, works to help transition military veterans back into civilian life — at least in flashbacks. In the present timeline, a few years later, she’s waitressing. When Shea Whigham’s Thomas Carrasco, a Defense Department auditor, comes calling with some questions about her former employer, her new life starts to fragment.”
Captive State review ambitious sci-fi thriller offers up uneven intrigue
“A jumble of themes and ideas jostle for space in an audacious, but often messy, film that takes a familiar alien invasion set-up and goes for broke
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Buried somewhere underneath the wreckage, theres a smart little sci-fi film pulsing at the centre of Captive State, a scrappy, unwieldy curio with plenty on its mind, coherence not necessarily included. Shot over two years ago and pushed around the release schedule, its a troubled project that feels troubled, with confused editing and clear structural issues clueing us in on its difficult journey to the screen. Its a frustrating experience but one that remains worthwhile because theres just enough of a glimmer of the film it could have been to make it worth watching the film it turned into instead.
Were presented with a familiar set-up: aliens have invaded Earth leading to destruction, division and plenty of dust. But unlike the majority of similar films that have come before, were then presented with an idea of what comes after. What if aliens stuck around? What if an uneasy arrangement was made with Earths governing bodies? And what if the invaders were now seen as the main legislative force whose presence had actually led to a statistically safer society? Its a fascinating conceit and one that raises a string of intriguing questions, some of which the film answers with skill.
Pitched somewhere between District 9 and The Purge, writer-director Rupert Wyatt, whose 2011 prequel Rise of the Planet of the Apes was a surprisingly urgent and necessary blockbuster, focuses the action on Chicago and how the new world order affects a city already struggling with crime and economic disparity. His lead is Gabriel, played by Moonlights Ashton Sanders, existing in one of the poorer districts and working in a factory tasked with wiping data from digital devices, which have been outlawed. His brother Rafe (Jonathan Majors, a rising star after his charming turn in Sundance darling The Last Black Man in San Francisco) was leading a resistance against the state but after his death, Gabriel finds himself scrambling for an escape………………………………………………………………”
Jordan Peele’s ‘Us’ demands to be watched and watched again
There’s a reason this lady has an Oscar.
“When the credits rolled on Us, I realized I needed a minute.
It wasn’t that I didn’t like the film – quite the opposite. It was that the film, written and directed by Jordan Peele, is so rich, so layered, so diabolically clever and emotionally astute, that it felt an enormous undertaking to process in a single sitting.
Several hours and many conversations later, I’m still convinced this film has secrets I haven’t uncovered yet, and I’m just eager for my next chance to go digging through it again.
Which is not to say it’s without surface-level pleasures. Moment to moment, Us is a film designed to make you react – to get you to giggle at Winston Duke’s extreme dad-ness (“You don’t need the internet. You have the outernet!” he tells his exasperated teenage daughter), or scream at a villain silently materializing in the corner of a frame. And it shapeshifts so frequently, and so deftly, that it’s a fool’s errand to guess at any moment what might happen next.
But it quickly becomes obvious that Us has a lot more on its mind than making you jump. Every detail here seems carefully considered, down to the amount of dust gathered on a coffee table in a rarely used living room. In the hands of a filmmaker this precise, much of the fun is in waiting to see just how his intricate puzzle will come together.
Duke, Lupita Nyong’o, Shahadi Wright Joseph, and Evan Alex are instantly winning as the Wilson family, whose beach vacation is cruelly interrupted by funhouse-mirror versions of themselves. These strangers – clad in blood-red jumpsuits and armed with gleaming gold scissors – are hell-bent not just on killing them, but on explaining exactly why they’re doing so…………………………………………………………..”
Fighting With My Family review, Stephen Merchant has all the right moves
The writer-directors story of a British female wrestler striving to make it big in the US winningly balances oddball humour with affection for the antics of the WWE
“These are big movies, insists Michael Lerners studio boss in the Coen brothers 1991 hit Barton Fink, about big men in tights, both physically and mentally! Hes trying to explain to John Turturros angsty writer the inherent parameters of a wrestling movie, insisting: We dont put Wally Beery in a fruity movie about suffering. Yet just as William Faulkner reportedly did uncredited rewrites on Beerys 1932 picture Flesh, so writer-director Stephen Merchant here manages to subvert the genre and inject some of that Barton Fink feeling into this uplifting romp. Inspired by Max Fishers similarly titled Channel 4 documentary about a Norwich wrestling clan, Fighting With My Family is a hugely likable underdog tale, packing plenty of crowd-pleasing comedy wallop, and boasting a smack-down turn from the indomitable Florence Pugh.
Building on her brilliantly modulated performances in Carol Morleys The Falling and William Oldroyds Lady Macbeth, Pugh gets physical as Saraya (AKA Britani), punchy daughter of wrestlers………………………………………………………..”
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