All Quiet on the Western Front (2022)

Fresh-faced excited German students enlist and head to the front and quickly discover war is not in any way romantic. Though it does a good job of showing the banality and brutality of being a soldier in wartime, it doesn't do a better job than dozens of films that have gone before.

Also, the soundtrack was ridiculously distracting.

C

To Leslie (2022)

Small-town single mother Leslie wins almost $200,000 in the lottery and the whole town is happy for her. But the story truly starts six years later, after the money's been drunk and Leslie's calling in favors she's not owed in order to sleep indoors.

I don't think this is a particularly enjoyable film and it might not even be very good, but it's been interesting to reflect on its message due to coincidental events in my own family. I do believe in second chances, but third, fourth, and twelfth ones are useless (and maybe even harmful) before an addict wants to put in the work to change.

That said, my crush on Marc Maron just continues to grow.

B-

Aftersun (2022)

Sophie (11) is with her father Calum for their annual holiday. Though Calum and Sophie's mother aren't together and it's clear they had her very young, it's also obvious that Calum and Sophie have a good relationship. He's caring and goofy and their dynamic is easy.

But it's in their solo moments that we catch glimpses of what's going on beneath the surface. Sophie is on the cusp of puberty, interested in watching the teens flirt and kiss as well as embarking on her own young romance. Calum is often sad, sometimes behaves dangerously (e.g. diving without a license, balancing on a balcony railing), and has a strong yearning for beauty.

The entire story is also told in flashback, which we know because there are scenes of adult Sophie viewing videos of their holiday. There are also flashes of a rave wherein Calum -- looking no older than he did on holiday -- appears to interact with adult Sophie. Though I'm still somewhat unsure of the meaning, I've spent a lot of time reflecting on this duo and I have thoughts. Most of them center on the fact that we can never completely know anyone... and that having great love for someone isn't always enough reason to stay.

It's beautiful work.

A-

Top Gun: Maverick (2022)

Smartly leans hard into nostalgia, but trades in the jets and love interest for newer models. The action scenes are undeniably exciting.

C+

Smile (2022)

One of those curse-that-hops-from-one-person-to-the-next deals. The first death is the only one that shocks. After that, it's just a terrified woman unraveling, which is more frustrating than scary.

C-

Cinderella (1950)

The songs hold up, the mice are funny, and it's lovely to look at. But the characterizations are broad and the misogyny rampant. 

One thing I hadn't caught as a child is that Cinderella is more relatable than I'd thought. She's not all "sunshine and light" doormat, she's got opinions about her abusers and is sassy under her breath. She's simply learned that it's practical to express those feelings only in private.

B

She Said (2022)

This is the true story of two female New York Times reporters who broke the Harvey Weinstein story. It's well-told and well-acted and deals with heartbreaking accounts of women in crisis who have had their lives shattered. 

In theory, this is a really good movie, but the events are a little too recent for it to have any real impact. It feels very much like Bombshell did a few years back. Like "I just heard this story. Give me a minute to forget so I can be surprised and moved anew about what happened." That said, I'm glad this story is being told because, honestly, I was under the impression that Ronan Farrow was first to press.

B

Windfall (2022)

A man breaks into a billionaire's vacation home but, before he can leave, the owner and his wife arrive for a last-minute getaway. Though it wasn't his intent, he's soon holding them hostage overnight and waiting on a cash payoff to be delivered.

I was intrigued by the spare set-up and tiny cast. Also rich with promise was the idea of a tech guy being held accountable for the way in which his work has been utilized. But this script just didn't have anything to say. The intruder was an ineffective cipher who needed help at every turn. The billionaire was self-assured with his overriding attitude being one of annoyance. And the wife was just kind of there in fugly shoes.

Watchable, but not recommendable.

C-

The Vanishing (2019)

A team of three men arrive at an island lighthouse to serve their weeks-long shift as keepers. Their isolation is increased due to the fact that their "outbound" calls can't be heard from their broken radio. When they discover a damaged lifeboat with a body and locked trunk nearby, they disagree about how to handle things -- a stress that is only increased when other men come searching for their missing crewmate and the trunk.

Though it's extremely well-acted (I seriously had no idea that Gerard Butler had any chops), it did seem like the descent into madness happened far too quickly for one of them. But, what do I know. Between this and "The Lighthouse," maybe the truth is that keepers are on the brink of madness always? 

C+

The Lost City (2022)

Bullock plays a romance writer who doesn't much care for her profession nor the model (Tatum) who has become famous for portraying the handsome love interest Dash on several of her book covers. But, when a bratty billionaire notices that her latest novel contains information about an actual missing treasure, it's the model who chases after her in hopes of being part of a daring rescue.

I did not expect to have such a great time with this! It's so silly and broad and yet, that's exactly what we were after. We laughed a lot and, when we weren't laughing we were giggling. Terrific fun.

B

Enola Holmes 2 (2022)

With the success of her first case behind her, Enola decides to open her own private investigation business. The problem is that no one's interested in hiring a lesser Holmes to dig into their cases. No one, that is, except for an orphan match girl looking for her older "sister."

The first installment was a lot of fun, full of action, and enjoyed breaking the fourth wall. Luckily, the sequel goes for a "more of the same" approach. These are characters that could be around for several more films.

B

The Discovery (2017)

Once the existence of an afterlife has been proven, instances of suicide jump dramatically. The man behind the revelation has fashioned a kind of commune for those interested in continuing the research. And, though he has long been estranged from the family, the man's elder son is coming home.

Even if it wasn't dreary and slow as molasses, this was never going to work for me because I simply didn't get the premise. Why would people kill themselves just because there's an afterlife? No one's saying that the afterlife is a happy one. They didn't prove the existence of heaven -- just something else. To me it was absolutely bizarre that the collective assumption would be "it's gotta be better than this."

C-

The Unforgivable (2021)

Bullock plays a woman recently released after 20 years in prison and obsessed with finding any information she can about her sister who was only 5 the last time she saw her.

The story is told as a bit of a mystery, with intermittent flashbacks to the incident that put her in jail. Though I see that it was necessary for the way they wanted the story to unfold, it became frustrating to know that things were being deliberately obfuscated. That said, it was undeniably effective if also in desperate need of more moments of joy.

B-

Delicious (2022)

A gifted chef is fired from his position on a Duke's estate for his refusal to apologize for serving potatoes. Nursing his wounded pride, he retreats to the countryside where he is eventually tracked down by a woman insistent on being his apprentice.

I really loved this -- not only for the gorgeous shots of beautiful food, but for the deliberate telling. The story is both intimate and part of a bigger history. Worth seeking out.

B+

Glass Onion (2022)

Detective Benoit Blanc joins a group of long-time friends for a "murder mystery" weekend on a private island. All is not as it seems and Benoit is soon applying his skills to a very real mystery. 

Though not a very challenging film, this was sure enjoyable. Gary especially had a good time and said he's hoping for more in this series as Blanc has the potential to be our generation's Poirot. Great observation.

B

Underwater (2020)

A huge impact compromises an underwater drilling facility and the small group of remaining crew has to come up with a plan to survive. It's pretty much go-go-go from the first minutes here and that's not a bad thing since this is all about the action with very little consideration given to plot.

C+

Emily the Criminal (2022)

Emily has had several tough breaks over the last few years. She now finds herself struggling to pay her bills, working a low-wage job, with a half-finished college degree, and sharing a small apartment with a couple of other people. When one of her co-workers hooks her up with a number she can call to make $200 for an hour of work, it's a no-brainer for Emily to dial.

The scariest thing about this is that I probably would've called the number too, especially back in my late 20s/early 30s. The best thing about this is that Plaza had me rooting for her challenging character.

B