The Weekend Warrior April 21, 2023
GUY RITCHIE’S THE COVENANT, CARMEN, CHEVALIER, TO CATCH A KILLER, SOMEWHERE IN QUEENS, QUASI, and More
I’m writing this week’s column on a cramped and bumpy bus (so forgive the many more typos than usual), but before we get things going, I feel like I need to address a few things that might not have been apparent from my kvetching in past introductions to this habitually late and infrequent weekly column.
I make no money writing this column each week, and I have very little to no desire to use this column to promote studio movies that have plenty of money to grease the wheel of the “chosen” journalists/critics, who they invite to earlier screenings, but who feel all my hard work to make sure people are aware of their movies isn’t worth actually showing those movies to me in a timely manner.
If it hasn’t been made clear by my over 21 years writing about movies, I do not like games, and when studios start pulling that bullshit, thinking I won’t find out, well, let’s just say that I DO find out, and I’ve reached the point where I feel that something needs to be said and/or done.
Besides writing the Weekend Warrior, I’m writing multiple columns for other sites, including a number of previews that are easier to write if I actually get to see a movie before opening day. This is the second week in a row where a studio has decided that it’s fine to show me a movie well after I’ve written said columns, but one of these studios has had many screenings I could have been invited to before then.
Because of that, you will not be seeing a certain movie coming out this week mentioned in this week’s column. I will include its title in my box office predictions below, and you can read about it in my column for Above the Line and Gold Derby, but yeah, I owe this studio (or any studio, for that matter) absolutely nothing, and if that’s the way things will be going forward, then this will be a regular thing that happens. And eventually, I’m going to start including names and possibly even Emails. You want to play games with me, studios, well, guess what? It goes both ways.
You may have already read my review of Guy Ritchie’s THE COVENANT (STX Films/MGM), which in my opinion, is one of the best movies he’s done in a very long time, although I also liked 2021’s Wrath of Man and his take on Aladdin. Maybe I’m a Guy Ritchie apologist at this point, but he’s consistently proven that he can do anything with only a few real stumbles, so he deserves the respect he never seems to get.
That will be released nationwide into 3,300 theaters while Ari Aster’s Beau is Afraid, starring Joaquin Phoenix and which I reviewed last week, will also be released wide in around 962 theatres, so getting a similarly slow roll-out as last year’s Everything Everywhere All at Once.
Before we get to some reviews and some info about the other movies coming out this week, here are my predictions for the Top 10.
1. The Super Mario Bros. Movie (Universal) - $57.3 million -39%
2. Evil Dead Rise (Warner Bros.) - $17.8 million N/A
3. Guy Ritchie’s The Covenant (MGM) - $8.5 million N/A
4. Beau is Afraid (A24) - $5 million +1562%
5. John Wick: Chapter 4 (Lionsgate) - $4.6 million -43%
6. Air (Amazon) - $4.3 million -45%
7. The Pope’s Exorcist (Sony) - $4.1 million -55%
8. Dungeons & Dragons: Honor Among Thieves (Paramount) - $3.8 million -50%
9. Renfield (Universal) - $3.2 million -60%
10. Chevalier (Searchlight) - $2.7 million N/A
Let’s get to some reviews, including a couple for movies, which I really liked or loved. (Someone once teased me for the fact that I seemed to like a lot of bands whose names start with “C”... looking at this week’s line-up, I seem to like a lot of movies that start with “C” as well.)
But this week’s “Chosen One” would have to be…
CARMEN (Sony Pictures Classics)
Choreographer Benjamin Millepied directs his feature film, a modern-day update of Bizet’s opera, Carmen, starring recent Oscar nominee Paul Mescal and Melissa Barrera from the recent Scream movies. Barrera plays the title character, a young singer and dancer from Mexico who gets into an altercation while crossing the board but is saved by Mescal’s Aidan, a Marine soldier with PTSD who must go on the run with her when he’s forced to kill a fellow border guard.
This is another great example of a movie benefitting greatly by me knowing very little about a movie going in, though I should preface this review by mentioning that I’ve never really been a fan of the Bizet opera, though I’m generally a fan of opera and know the story. I also have a strange relationship with dance in general, where I don’t make a conscious effort to see dance performances, but it’s something I’ve generally loved when I do.
The film opens with Rossy de Palma, long-time Almodovar muse (?), performing a mournful flamenco dance before she’s confronted and shot in an altercation with hoodlums. Her daughter Carmen goes on the run and tries to cross the border but is stopped and nearly assaulted by a border guard until she’s saved by Mescal’s character and they run off together.
Anyone who has seen Aftersun knows how talented Mescal is, and he even sings a couple songs and does a little bit of dancing, but I was even more blown away by Barrera, who is great in the Scream movies, but we’ve never seen her sing and dance* and she’s fantastic at both things. (I’ll even say that she has one of the loveliest singing voices I’ve heard from an actor who isn’t a full-time singer or recording artist.)(*Note: My friend Danielle reminded me that we have seen her sing and dance in In the Heights, which I loved, but that movie was two years ago, which seems like a lifetime at this point.)
Because I’m not a big dance aficionado, I wasn’t familiar with Millepied before seeing his film, though apparently, he’s a pretty big deal and possibly best known for his work on Darren Aronofsky’s Black Swan, for which Natalie Portman won an Oscar. Even though he’s decided to take the classic love story from Bizet, he’s created a distinctly original movie by setting the story on a border town and having undercurrents of the recent political debates in America about the situation on the border. And yet, Millepied creates such an artistic film with music by and songs co-written by Emmy-winning and Oscar-nominated composer Nicholas Britell (Succession, Moonlight) that you’re immediately drawn in by all aspects of the performance.
Thankfully, de Palma returns as a secondary character, one with so much personality that she helps keep things fairly light despite the serious nature of Carmen and Aidan’s predicament. There’s also a fantastic third act scene where Aidan takes part in a bare-knuckle boxing tournament (MC’ed by rapper/producer “The D.O.C.,” who is also apparently a big deal, apparently), and that, while not my favorite moment in the movie, shows how Millepied’s skills as a choreographer combines with the film’s distinctive soundtrack to create something original.
Sure, there are other filmmakers who have tried things like Carmen, most notably the great Baz Luhrmann, but for Millepied to create a film like Carmen, which is gorgeous in every aspect of filmmaking, and for this to be his feature debut shows Millepied to have a definitive vision we’ll want to keep tabs of.
Rating: 8.5/10
I’ll have an interview with Millepied and Britell over on Above and Below the Line, respectively.
CHEVALIER (Searchlight)
Another movie I loved which I got to see at the Toronto International Film Festival (TIFF) in Stephen Williams’ feature film directorial debut of sorts, but like Millepied, he’s directed a ton of other things, mostly television like Watchmen and Westworld and others. This one stars Kelvin Harrison Jr. from Waves and Luce as Joseph Bologne, the illegitimate son of a French plantation owner and a Caribbean slave woman, who turns out to be a violin prodigy who is sent to a prestigious academy where he masters composing and other arts, including fencing. Joseph is soon appointed with the title of “Chevalier” by then-Queen, Marie Antoinette (Lucy Boynton from Sing Street). Being one of the only Black people accepted into high society, Bologne is allowed quite a bit of leeway but when he gets into a tryst with a married opera singer (Samara Weaving), he has to contend with her powerful (and quite racist) husband (Marton Czokas) and his efforts to take down the Queen and her favored artist.
Chevalier opens with a performance by one Wolfgang Amadeus Mozart, who is clearly quite pompous and arrogant, but that’s before he meets Joseph, who challenges Mozart to a violin duel of sorts. We then learn more about Joseph’s past, being dropped off by the academy by his father who just wants the best for the boy, but knowing that he’s going to struggle in all aspects of his life even as he masters so many skills.
I’m a pretty fan of Harrison’s acting in pretty much everything he’s done, but this is a particularly revelatory performance, because he is practically in every scene other than the ones where a young actor plays the younger Bologne. I remember the first time I saw this at TIFF, not being able to recognize either Weaving or Boynton, because that’s kind of what happens when an actor I know quite well puts on a big wig and period makeup
I wasn’t particularly familiar with Williams’ television work (since I don’t watch nearly enough television – who has time?) but he’s quite a skilled filmmaker who works with some of the best in the biz to recreate 17th Century France, including production designer Karen Murphy (Elvis) and costume designer Oliver Garcia (The Favourite). Sure, I can understand the cynicism some of my colleagues might have about these costume dramas, because there has been a lot of them.
Even so, Chevalier takes a brilliant and singular look at a piece of history very few people – practically no one, I’d imagine – will know about. For that alone, huge kudos must be given to Williams and writer/producer Stefanie Robinson and everyone else involved with creating a nearly pitch-perfect costume drama that still finds new ground to cover.
Rating: 8.5/10
I have an interview with Kelvin Harrison Jr. over at Above the Line and another interview with Williams coming soon. Searchlight is opening this 1,350 theaters this weekend, so it could in theory creep into the top 10.
TO CATCH A KILLER (Vertical)
I was a big fan of Argentine filmmaker Damián Szifron directorial debut, Wild Tales, which I believe, got an Oscar nomination in the Foreign Language category a number of years ago. It stars Shailene Woodley as a Baltimore police officer who is investigating the work of a serial killer on New Year’s Eve when she’s approached by an FBI agent (the always-great Ben Mendelsohn) to help with his profiling in hopes of catching the killer before he strikes again.
I quite liked this movie, but I really wanted to watch it again before writing a formal review, so maybe look out for that sometime next week. Apparently, Vertical is giving this a moderately wide release this weekend, and if you like movies like Se7en and the like, this is a great entry into the thriller sub-genre. (I haven’t read other reviews, but it feels very much like a movie where it’s good to avoid spoilers.)
SOMEWHERE IN QUEENS (Roadside Attractions)
Ray Romano makes his directorial debut (this seems to be a running theme of this week’s movies, huh?), in which he plays Leo Russo, who lives in Queens with Angela (Oscar nominee Laurie Metcalf) with their son “Sticks” (Jacob Ward), surrounded by their network of Italian-American relatives. Leo works at his family business with his father (Tony Lo Bianco) and younger brother (Sebastian Maniscalco, who seems to be everywhere!) but always taking time off to watch his son “Sticks” play basketball, which he’s hoping might lead to play ball in college, getting him out of his family’s madness. I haven’t had a chance to watch this yet, though it probably can go either way. Roadside is releasing this into 602 theaters which probably won’t be enough to get into the top 10, but will be competing with To Catch a Killer in the under a million category.
PLAN 75 (KimStim)
Opening at the IFC Center in New York on Friday and at the Laemmle Glendale in L.A. on May 5 is Japan’s submission for the 95th Oscars from filmmaker Chie Hayakawa, set in a dystopian future in which the Japanese government launches a program called Plan 75, which offers the elder assisted suicide, to lessen their burden on society. It stars Japanese actress Chieko Baishō stars as 78-year-old Michi, who considers signing up for the program after losing her meager but fulfilling hotel job and the means to live independently. The film shows her interactions with a young Plan 75 salesman (Hayato Isomura) and her Filipino careworker Maria (Stephanie Arianne). (Note: Hayakawa will be doing some QnAs at the IFC Center this weekend, and you can find out what times and who is moderating each here.)
THE TANK (Well Go USA)
Scott Walker’s horror-thriller which hits theaters on Friday and digital on Tuesday, April 25, is a ‘70s set movie about a family who inherits a coastal property in Oregon under which are a bunch of “ferocious and deadly creatures” designed by legendary special effects supervisor Richard Taylor from Weta Workshop! I’m definitely going to have to try to watch this one ‘cause it sounds cool, and I’m a big fan of Taylor’s work.
OTHER PEOPLE’S CHILDREN (Music Box Films)
Rebecca Zlotowski’s French dramedy, which premiered at Venice and TIFF last year will open in New York (Film at Lincoln Center, IFC Film Center), L.A. (Laemmle Royal) and Chicago (Music Box Theater) on Friday. It stars César Awards-winning Belgian actress Virginie Efira as schoolteacher Rachel, who wants to have children but learns from her gynecologist that it won’t happen. When she starts darting Roschdy Zem’s Ali, she learns that his single father with a daughter, Leila (Callie Ferreira-Goncalves), who she comes to love.
Two docs that I really enjoyed out of Sundance (and reviewed thence) are getting some form of theatrical release. Hitting Prime Video on Friday and playing at New York’s IFC Center and Laemmle’s Royal in L.A. is Davina Pardo and Leah Wolchok’s JUDY BLUME FOREVER (Prime Video), a documentary about the amazing young adult author who has been writing books since the late ‘60s, but her most famous book is probably Are You There, God? It’s Me, Margaret from 1970, which whether coincidentally or not, has been adapted into a movie which comes out next week.
Also playing at the IFC Center is Lisa Cortes’ LITTLE RICHARD: I AM EVERYTHING (Magnolia), a portrait of the legendary ground-breaking rock ‘n’ roll pioneer, who not only had to deal with being black in America at a time when civil rights weren’t yet a thing, but also being gay and only somewhat in the closet. (There’s something quite ironic about this being released in the same weekend as Chevalier.)
In fact, there are many things hitting streaming this week, but the one I’m most excited for people to see is Broken Lizard’s new movie QUASI, which will hit Hulu on Thursday (today!!!), exactly five years after the release of the comedy group’s last movie, Super Troopers 2. This is their take on Victor Hugo’s The Hunchback of Notre Dame with Steve Lemme playing Quasimodo, and the other guys in the group playing various characters around him, as we watch the hunched-back torturer get caught up in a feud between the Pope and the King with Adrianne Palicki as Queen Catherine, who takes a liking to “Quasi.”
And here’s a fun interview I did with Broken Lizard over at Above the Line!
ADDENDUM!!! I somehow did not have this next movie on my release list for this week, so it got missed, but also hitting Apple TV+ this Friday is…
GHOSTED, the new rom-com action comedy starring Chris Evans and Ana de Armas, in which he plays a mild-mannered DC florist Cole who ends up having an encounter with de Armas’ Sadie, who turns out to be a secret agent. I really enjoyed this, and I have an interview with director Dexter Fletcher (Rocketman) running next week over on Above the Line, that I’m kind of shocked with myself that I somehow forgot to add it to my release date calendar!
Other new streaming series include THE DIPLOMAT, starring Keri Russell on Netflix, Peacock’s MRS. DAVIS, which I’ve heard good things. A new series based on Cronenberg’s DEAD RINGERS (Prime Video), starring Rachel Weisz. The extremely talented Zoe Lister-Jones (who can be seen in Zac Braff’s A Good Person and Ari Aster’s Beau is Afraid) also has a new Roku original series called SLIP, and there’s a new prequel series, AMITYVILLE: AN ORIGIN STORY on MGM+. So lots of streaming series, though I would prefer you try to seek out some of the great theatrical releases mentioned above.
Or check out some repertory movies at the following New York City theaters:
(One of these days I’ll start covering L.A. again, but one of these days is not today.)
I’m pretty excited that on Friday, the Metrograph and Subway Cinema are presenting the “10th Annual Old School Kung Fu Fest - Swordfighting Heroes Edition,” which will include the New York premiere of Lin JIng-jie’s doc, The King of Wuxia, a three-and-a-half hour spotlight on martial arts master, King Hu, who has directed some absolute classics, many between 1966 and 1979. Other movies screening this weekend (which I’ll be at a lot of these up in my usual balcony seat) Vengeance of the Phoenix Sisters and The Swordsman of All Swordsmen from 1968 (the latter the first part of a trilogy), The Ghost Hill (1971), 1975’s The Valiant Ones (from King Hu), and A City Called Dragon (1970). Most of these are getting single screenings, although King of Wuxia and a few others will be available to watch on Metrograph’s digital platform. (Note: Many if not most of the above will be screened via DCP rather than 35mm.)
It’s already sold out, but Paul Schrader will be at the Metrograph on Sunday to screen and talk about his movie, First Reformed, which will have its screenplay released by Archway Editions which will be on hand for Schrader to sign.
Martin Scorsese’s Raging Bull will continue, although Bertolucci’s The Conformist will end on Thursday. The Film Forum continues its Harold Lloyd series with 1922’s Grandma’s Boy being part of Sunday’s Film Forum Jr. program.
This weekend will continue the Roxy’s “Shoot Me Like You Love Me” series which includes Barbarella (1968) starring Jane Fonda, Harmony Korine’s Spring Breakers (2012), Paul W.S. Anderson’s Resident Evil (2002) and The Terminator (1984) shown scattered throughout the weekend. Also, the Showtime Martin Scorsese/David Tedeschi concert performance doc, Personality Crisis: One Night Only about New York Dolls frontman David Johansen will get a one night only free screening on Sunday night.
A few movies I didn’t get to this week…
SWEETHURT (Gravitas Ventures)
DOSED: TRIP OF A LIFETIME
TRENQUE LAUREN (Cinema Tropical)
THE BEST MAN (Saban Films)
Next week, Lionsgate releases Are You There, God? It’s Me, Margaret