Bloodshot (2020) --- “You Don't Need A Past To Have A Future”

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     Ray Garrison (Vin Diesel), an elite soldier who is murdered alongside his wife (Talulah Riley), is brought back to life by nanotechnology that turns him into a superhuman biotech killing machine. When his memories flood back and he remembers who killed his wife, or at least, who he believes killed his wife, he uses his newfound abilities to break out of the facility and get revenge. But he soon learns that there is more to the conspiracy than he thought and that not everything can be trusted. The true question is: Can he even trust himself? Directed by David Wilson, screenplay by Jeff Wadlow (Fantasy Island, True Memoirs of an International Assassin) and Eric Heisserer (Bird Box, Extinction), and based on the bestselling comic book by Valiant Comics, Bloodshot (2020) is the first installment in a superhero series set within a Valiant Comics cinematic universe. 

     Bloodshot is one of the flagship comics for Valiant Comics, an independent publisher with its own universe of heroes and villains for those tired of DC and Marvel, and despite being around for over 30 years, most of Valiant Comics’ characters and stories have yet to reach the same popularity as other comic book titans (Superman, Batman, Iron Man, Spider-Man, etc.) partially due to the fact that they have never received a film adaptation for one of their stories. Now this acts as both an advantage and a disadvantage to the film because since most people are not familiar with the story the filmmakers had a lot of wiggle room in terms of the story - even if it does sound like a mash-up of Terminator meets Iron Man meets RoboCop. The story is interesting in how it explores themes about enhanced human physiology and a person’s God-given free will. Can someone really be called a superhero when someone else is pulling their strings? Especially if it’s for their own selfish or malicious intent. There are scenes that help elevate the film beyond being just another mindless action film. For instance, there is a scene where it is suggested that the programmer who designed Ray’s memory sequence has seen way too many movies. However, the narrative tends to lack emotion and once the film lays all its cards on the table, the story starts to deflate. None of the characters have much emotional range so it makes it hard if someone is being friendly, unpleasant or just a straight-up jerk. Of course, the filmmakers try to combat this by throwing in some great action sequences and while they are incredible, they are also almost impossible to follow simply because everything happens way too quickly in such small spaces. 

     Meanwhile, CGI is possibly the most creative aspect of the film. The creativity that went into assembling Ray’s memory sequence was pretty neat, especially when they showed how they could adjust almost anything that they wanted. Almost like it was a video game still in beta testing. Additionally, the special effects help improve the action sequences by showcasing how the nanotechnology and other enhanced technology works.

     The cast performances were pretty good, although I believe that they could have been even better if the story allowed them to show the more emotional range that made it more difficult for the audience to figure out who was good and who was bad until necessary. Vin Diesel (Fast & Furious 9) is known for his deep rough voice, imposing physical presence, and possessing an emotional range that rarely goes too far in one direction. Here he does show some moments of vulnerability that are a little bit off-putting because the audience is not as invested in his character as they are with some of the other characters he has played. Nevertheless, he is still great for the role of Ray Garrison. The only issue that I had is that most of the dialogue is left to the supporting characters. Eiza González (Baby Driver) as K.T. and Guy Pearce (Mary Queen of Scots) as Dr. Harting is compelling and carries most of the film’s emotional depth which is lacking throughout. Lamorne Morris (New Girl) is wonderfully hilarious as hacker Wilfred Wigans and quite literally steals the show with his version of a British accent and comic relief. Now I am a huge fan of Sam Heughan because he plays Jamie Fraser on one of my all-time favorite shows, Outlander (Starz, Netflix). In the show, he plays an honorable guy who is unofficially called King of Men or a King among Men, so it was interesting here to see him portray someone who is the complete opposite. It was actually quite unsettling but also interesting because I got to see Heughan’s acting range. The rest of the cast do a good job with their skeleton characters.

     Overall, Bloodshot (2020) is entertaining and worth watching the film. While Bloodshot may not be a very well-known comic, the story is a mash-up of Terminator meets Iron Man meets RoboCop. The cast performances were good but could have been even better if they were given a more emotionally in-depth story. The action sequences are fast-paced and the visuals are interesting. All in all, if you were already intrigued by the premise and a dedicated fan of superhero films then I recommend that you check out this film at your earliest convenience.

Final Vote --- 7 of 10 stars

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Emma (2020) --- "Handsome, Clever, and Rich. She Love Knows Best?”

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     Directed by Autumn de Wilde and screenplay by Eleanor Catton (Luminaries), Emma (2020) is a comedy-drama based on Jane Austen's 1815 novel of the same name. Emma Woodhouse (Anya Taylor-Joy) is a handsome, rich, and privileged young woman looking after her elderly and quirky father (Bill Nighy) in her family’s stately home. Despite the constant presence of 'family friend' George Knightley (Johnny Flynn), Emma has never fallen in love and yet finds it entertaining to meddle in the romantic lives of her fellow friends and peers by playing matchmaker. After successfully orchestrating the marriage of Mr. (Rupert Graves) and Mrs. Weston (Gemma Whelan), Emma’s next target is her somewhat lower-class friend Harriet Smith (Mia Goth), whom she plans to match with Mr. Elton (Josh O’Connor), a man far above Ms. Smith’s social status. For herself, Emma has set her sights on Mr. Weston’s son, the dreamy and mysterious Mr. Frank Churchill (Callum Turner) whom she has never met. Her tasks seem easy enough to achieve but soon Emma’s meddling creates a difficult situation that puts her and her friend’s feelings in jeopardy. Can she figure out a way to untangle it in order to ensure she and her friends find love and happiness? Or did she go too far?

     Matchmaking is tricky and requires a certain level of finesse that should be left to the professionals otherwise it will lead to heartbreak when it is left in the hands of enthusiastic amateurs. Jane Austen understood this all too well. While writing the film’s novel, Austen stated “I am going to take a heroine whom no one but myself will like,” and she does exactly that. In Emma she brings us an irrepressible, confident, and incompetent match-maker who thinks she knows best, but when in reality she wreaks havoc on the lives of those around her. In contrast to the majority of Austen’s heroines, Emma has her own fortune, and therefore feels no pressing need to marry and even seems totally uninterested in the subject for herself, except of course when it comes to the mysterious Mr. Churchill. This is director de Wilde’s first feature film - the fourth film adaptation - and her vision is an uproarious comedy of manners that doubles as a heartwarming romance that leans into the protagonist’s unlikeable qualities while nevertheless making her an empathetic character. Her approach to this classic tale of frenzied and complicated social activity is both elegant and comedically awkward. And while the pace can be a bit frenzied, the script gives us quick glances into each character and their relationships with one another. There is nothing subtle about Emma’s opinions about everyone, the trivialities of her peers become the energy she feeds off of, especially since the society that the characters inhabit requires constant maintenance of one’s appearance.

     De Wilde clearly understands that comedy often comes at the expanse of other people and in Emma. that is very much the case. There are a number of visual gags, many of which come from Emma’s father Mr. Woodhouse played by Bill Nighy (Castlevania), who strikes a delicate balance between being a caring father and an aloof goof bag. Close-ups are used for comedic effect and a quick cut to a facial reaction allows the audience insight into the characters’ feelings.

     Thanks to de Wilde’s background in photography, Christopher Blauvelt (Certain Women) cinematography, Alexandra Byrne (Mary Queen of Scots) costume designs, and Kave Quinn (Judy) production designs, Emma is a colorful, bold, and stunningly visual masterpiece. Cinematographer Blauvelt utilizes unusual angles for the characters, almost painting them as a Renaissance painting with his camera lens. With his help the film is shot through Emma’s eyes and is confined solely to her world, showcasing how those she looks down upon are looked at with annoyance and disdain. For instance, she treats the Woodhouse servants like furniture, Robert Martin (Connor Swindells) is completely ignored until the end of the film, and even the exuberant and the kind-hearted gossiper Ms. Bates (Miranda Hart) is treated like an incompetent ninny. For the most part, cinematography brings the audience into the aristocratic mindset, and yet that is not all the film has to go for it. After an earth-shattering exchange at a picnic, de Wilde and Blauvelt pull back the camera lens to reveal the consequences of Emma’s cruel and shallow behavior. And while the audience may deny ever partaking in the same thoughts as Emma, there is no doubt that the film tries to trick the audience into being just as cruel and shallow too. This way when the film’s point-of-view changes we realize how easy it is to have such callous disregard for other humans, especially those we view as a laughing stock. Byrne's costume design features unusual period details and specific hair and makeup styles that better accentuate the social differences of each character. The music by David Schweitzer (The Crown, White Princess) and Isobel Waller-Bridge (Fleabag) is playfully upbeat, while art director Alice Sutton (Bohemian Rhapsody) and set decorator Stella Fox (Judy) take full advantage of the existing mansions and landscapes.

The cast performances are even better than the 1996 version. Anya Taylor-Joy (Split, Glass, New Mutants) is perfect as the film’s titular character and manages to personify the character’s polarising nuances. She relishes in playing the role and there is a certain level of cheekiness when Emma is being mischievous or misbehaving, yet there is also an equal measure of compassion when a misadventure backfires on her. Johnny Flynn (Stardust, Vanity Fair mini-series) plays Emma’s family friend Mr. George Knightley, who is the Georgian-era version of the hot guy next door. He is both fashionable and rugged, and he is all too willing to settle next Emma at every social event so as to share their dismissals of the people around them, scenes in which Flynn brings some much-needed warmth to the film. Mia Goth's (Mayday) well-rounded performance as Harriet Smith was one of my favorite performances in the film, aside from Miranda Hart (Spy, Call the Midwife), who brought the perfect mix of ridiculous and sweet pitiable to Ms. Bates’ character. The rest of the supporting cast - Callum Turner as Frank Churchill, Rupert Graves as Mr. Weston, Gemma Whelan as Mrs. Weston, Amber Anderson as Jane Fairfax, and Connor Swindells as Robert Martin - also did good in their own way. If Josh O’Connor () was intending to convey Mr. Elton was being awkward and smarmy then he nailed it, and Tanya Reynolds as Mrs. Elton was a great source of comedic relief towards the end.

    Overall, Emma. (2020) is a colorful and melodramatic comedy that is sure to entertain fans of Jane Austen. While it was not something that I found enjoyable or funny but rather found it to be quite boring and awkward, I cannot help but appreciate the amount of work that went into this film. It is a visual masterpiece, unlike anything I have seen before. All in all, if Jane Austen can create a character that no one will like then  Autumn de Wilde has created a film where those unlikable qualities are ones that anyone is capable of possessing.

Final Vote --- 7 of 10 stars

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Movies Similar

Becoming Jane (2007)
Emma (1996)
Emma (2009)
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Downhill (2020) --- “A Different Kind of Disaster Movie.”

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     The Stanton family - Pete (Will Ferrell), Billie (Julia Louis-Dreyfus), and their sons(Julian Grey, Ammon Jacob Ford) - take a much-needed break in an Austrian Alpine ski resort town to reconnect as a family, especially with busy dad Pete, who is also still mourning the death of his father 8 months earlier. But when a controlled avalanche looks as if it’s about to consume the restaurant patio where the family is lunching, Pete’s fight or flight mode kicks in and he abandons his family to face apparent certain death. When the snow cloud dissipates and everyone appears to be unharmed, the fun family vacation quickly goes downhill as Pete and Billie are forced to reevaluate their lives and how they feel about each other. Directed by Nat Faxon (The Way, Way Back) and Jim Rash (The Way, Way Back), and co-written alongside Jesse Armstrong (Fresh Meat), Downhill (2020) is a dark comedy-drama inspired by the film Swedish director Ruben Östlund’s (The Force) 2014 award-winning film, Force Majeure. 

     Unfortunately, I have not had the opportunity to see the original film so I cannot give a good comparison based on the two films. However, I will say that every remake, in fact every film, deserves to be viewed on its own merits. Nevertheless, it is sad to see the kind of talent that had a hand in making this film deliver something that is a bit lackluster and one-dimensional and I will explain why. After the first 30 minutes, it becomes clear that Pete is having a midlife crisis because he’s booked the family in a singles resort instead of the family one 20 minutes away and is obsessed with his younger co-worker Zach (Zack Woods), who is living his best life all over his Instagram page. When it comes to their "near-death" experience the story shifts from a situation that suddenly goes from having the world at their fingertips to seeing the glaring cracks in their once-perfect life. From there much of the film is filled with meaningless and over-the-top dramatic banter that is either improvised or laugh-free and struggles to maintain a delicate tone throughout. It’s as if the filmmakers don’t trust the audience to know when a scene is intended to be funny, serious, or a bit of both. The “comedic parts” are awkward and not actually funny, while the “serious parts” are more like watching children throwing a tantrum over having to share. All in all, this 86-minute film seems to drag on at an awkward pace and an awkward tone.

     The cast performances were okay. I have never been a huge fan of Julia Louis-Dreyfus’s (Veep) style of acting and I am still not one even after seeing this film. While I found her to be a good fit for the role, she was also very annoying and bitchy, a character that I easily disliked. It is clear very early on that Billie is a controlling and judgemental person who must always be right and can’t accept seeing things from someone’s point of view. She babies her boys and even treats Pete as if he’s an imbecile who needs to be told what to do. When Pete leaves her and the kids during the incident she immediately determines that she knows everything that happened - knows what Pete felt, what he thought, what his survival instincts forced him to do - and didn’t leave any room to consider anyone else’s opinion or viewpoint. When Pete tries to apologize and explain how he’s felt since the incident - even though it’s days later - she shuts him down and scolds him for his efforts in trying to make amends. Her only consensus for forgiving Pete is if he molds himself to fit into her view of who he should be. As for Will Ferrell (The Prince of Fashion), I have always enjoyed his films but here I felt like he was wasted. This is definitely a Billie show, while Pete is pushed to the background and made to be out to be the bad guy. Now don’t get me wrong, Ferrell does a good job with the role he is given but I think someone like Sam Rockwell to have been a stronger choice to delve into Pete’s themes rather than Ferrell’s surreal attempt. The rest of the characters are good but since the main characters are lackluster and focus only on themselves, the supporting cast is both given the chance to fully shine in their scenes. Miranda Otto (The Chilling Adventures of Sabrina) was supposed to be used as a source of comic relief but her “humor” was annoying, awkward, and not very funny, while the sons were underused as well and looked as if they would rather be anywhere else.

     Overall, Downhill (2020) is a good film that will entertain audiences but it just wasn’t the one meant for me. The story and characters were lackluster, one-dimensional, and quite annoying most of the time. Billie was the most self-centered and controlling one while Pete was undercast. According to other reviews the original source material, Force Majeure, was a lot better than this film. Nevertheless, as I stated before, every film deserves the chance to be viewed on its own merits and I encourage you to watch this film and come to your own opinion. Will they agree with mine? Or will they offer a different point of view?

Final Vote --- 6 of 10 stars

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The Invisible Man (2020) --- “What You Can't See Can Hurt You”

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     Directed and written by Leigh Whannell (Insidious: Chapter 3, Upgrade), The Invisible Man (2020) is a science fiction horror film and a contemporary adaptation of H.G. Wells’ (Time Machine, War of the Worlds) 19th-century novel of the same name. Trapped in an abusive and controlling marriage with wealthy and brilliant tech scientist Adrian (Oliver Jackson-Cohen), Cecilia (Elizabeth Moss) escapes in the dead of night and disappears into hiding with the aid of her sister (Harriet Dyer), their childhood friend James (Aldis Hodge) and his teenage daughter Sydney (Storm Reid). Two weeks after escaping Cecilia learns that Adrian has committed suicide and left her a generous portion of his vast fortune but soon Cecilia suspects Adrian’s ‘death’ was an elaborate hoax to torture her beyond the grave. As a series of eerie coincidences turn lethal, threatening the lives of those she loves, Cecilia's sanity begins to unravel as she desperately tries to prove that she is being hunted by someone nobody can see. Will she be able to prove her discovery and save those she loves before the Invisible Man destroys everything 

     Throughout the years there haven’t been many adaptations of H. G. Wells’ novels. Most of them transpired between the 1930s - 1950s, with only a few actually making it to the 21st-Century. The most famous or most well-known of his book-to-film adaptations are Time Machine (1960 & 2002), War of the Worlds (1953 & 2005), and our very own The Invisible Man (1933 & 2020). What makes this version different than the 1933 version is Whannell flips the script’s point of view to that of the titular villain’s victim while also exploring an age-old issue that is currently making headlines - to believe victims of sexual harassment and psychological abuse even when the evidence of the crime is awfully hard to come by most of the time. The film is produced under Blumhouse Productions - the same house that helped in the creation of other notable films such as The Purge series, The Happy Death Day series, Upgrade (2018), Truth or Dare (2018), Fantasy Island (2020), and The Hunt (2020) - and is delivered in a way that gives it a 90’s thriller feel complete with an Alfred Hitchcock style score. The film is very ingenious in how it takes a familiar story about a hero/heroine trying to convince those around them that something sinister and unexplainable is afoot. The story modernizes Well’s text by bringing awareness to how toxic men try to control and emotionally manipulate women because it gives them satisfaction and a sense of power. The invisible man represents the shadow of an abusive relationship - whether it was one between friends or lovers - clinging to the victim psyche even after the relationship has long since ended. It shows how even when the physical abuse has stopped, the psychological abuse goes much deeper, deep enough to affect those around the victim. Of course, while the story is great in how it pits everything against the heroine, it is also great in how it shows her gaining strength and courage to face her tormentor, seeing it through until the very end. 

     The production design and visual effects are incredible. The clean lines and angles of Adrian’s home and the mental institution are a stark contrast to the warmth of James’ modest family home. Cinematographer Stefan Duscio (Upgrade, Jungle) is sharply edited with elegant and clever camera moves that highlight Cecilia’s isolation and make otherwise simple set pieces look terrifying. The music score by Benjamin Wallfisch (Hidden Figures, It 1 & 2) only manages to intensify all the points that the cinematography hits. 

     The cast performances were solid throughout. Who better to play Cecilia then the certified contemporary queen of unhinged screen heroines - Her Smell, The Handmaid’s Tale, and Us - Elisabeth Moss. Portraying a woman who is being tormented and manipulated into thinking she’s losing her mind is something that Moss accomplishes with great ability. She manages to deliver what audiences crave for in a female heroine and the script gives her room to stretch some complex elements while also casually winking at an empowered girl in the end. Oliver Jackson-Cohen (The Haunting of Hill House) as Adrian is only actually scened a few times throughout the film, and yet he easily mixes charm and menace into an unhinged sociopath that makes your skin crawl, especially when he appears calm. Michael Dorman (Daybreakers, Patriot) delivers a stand-out performance as Adrian's brother/attorney. He easily makes you hate him for picking his brother’s side but you also sympathize with him because he was most likely Adrian’s first victim and is possibly suffering from Stockholm-syndrome. Supportive performances by Harriet Dyer (The Other Guy, The InBetween) as Cecilia's sister Emily, Aldis Hodge (What Men Want, City on a Hill) as the Cop James Lanier, and Storm Reid (A Wrinkle in Time, Euphoria) as his daughter Sydney are a great dramatic trio to the story and offer great support/contrast to Cecilia.

     Overall, The Invisible Man (2020) is an entertaining sci-fi horror film that didn’t lack in jump scares or tension. The film keeps an even pace of suspense and thrill thanks to some nice cinematography, sharp editing, and the music score. The cast performances were solid throughout and could not have been chosen better. This is a very entertaining film that is sure to audiences from beginning to end, and if you're like me and you’re not a fan of horror films like Insidious or Annabell, then The Invisible Man is the perfect option for you.

Final Vote --- 9 of 10 stars

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