Thriller

Review by David Baldwin

When I pitched watching Velvet Buzzsaw to my wife, I mentioned that Dan Gilroy had written and directed two other films: Nightcrawler, which I love, cherish and still to this day remain devastated did not land Jake Gyllenhaal a Best Actor Oscar nomination; and Roman J. Israel, Esq., a total mess of a movie that landed Denzel Washington a Best Actor Oscar nomination, despite featuring the single worst performance Denzel has ever given. The film was better used as a punchline in a Weekend Update sketch involving Bill Hader’s Stefon which still makes me laugh just thinking about it.

So needless to say, it was a 50/50 shot going into Velvet Buzzsaw. I refused to watch the trailer (and you should too) and tried my very best to stay away from any and all of the Sundance reviews. But even after seeing Gilroy’s mash up of satire and horror set in the world of art dealers, creators and critics, I am still sort of confused about what a Velvet Buzzsaw is. But I would be lying if I said I didn’t enjoy the hell out of whatever Gilroy thought he was making here.

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Review by David Baldwin

I watch a lot of movies, so it seems to shock friends and co-workers any time I have not seen the popular movie of the moment as quickly as they have. I usually have the standard excuse of “It’s on the list” or “I’m waiting for Netflix”, but as must-see content continues to pile up on an almost hourly basis, I find myself consistently behind the curve. Quitting my full time job is not an option (especially when you’ve only recently become a full-time homeowner), so I’m constantly playing catch-up.

I say all of this, because the last few weeks have been dominated by discussions about Christmas, New Year’s, whether or not Die Hard is a Christmas movie (spoiler alert: It is), and Bird Box. The film premiered with little fanfare at AFI Fest in November (mostly because they cancelled their Red Carpet coverage out of respect for on-going wildfires terrorizing California at the time), but has since become one of the most watched original Netflix films, has inspired conspiracy theories about the veracity of the memes about the film being posted on Twitter, and now has inspired its own social media challenge related to activities being performed while blindfolded.

So yes, it makes sense that someone would be surprised I had not watched the film just yet. I made a point of fixing as soon as I possibly could.

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After multiple release date changes and some troubling rumours, Netflix finally cleared up any and all confusion about The Cloverfield Paradox tonight. Once called God Particle, once called Cloverfield Station, we finally have the third entry in the loosely connected Cloverfield series. And despite some excitement earlier this evening with Netflix’s bold decision to drop a teaser during the Super Bowl — for a film that would start streaming immediately following the big game — the long awaited film is not all that great.

Rather than type up a full review (it is almost 2 AM after all), I figured I would just deliver a few thoughts on the film, and do my very best to avoid some of the more spoilerish elements. Continue Reading

thegiftposterThe Gift got lost in the shuffle before TIFF earlier this year. I had heard increasingly great things about the average-looking thriller, and finally found some time to see it at the end of the summer. And now I regret not encouraging more people to check it out too. From the moment the film starts, it is anything but average.

Joel Edgerton (who was terrific in the under appreciated Black Mass) writes, directs and stars in this suspenseful gem that starts off akin to Fatal Attraction, before becoming its own scary thing entirely. It is easily one of the most unsettling films I have seen all year. It is the rare film that feels creepy and leaves you disturbed long after its twisty finale. The camera lingers too long on some moments, and adds some genuine horror to others. You expect some flaws from a first-time director, but Edgerton is a pro and makes you feel every range of emotion possible over the course of The Gift‘s lean 110-minute running time. Not one moment feels wasted, and it never really slows down. Edgerton is great in his supporting role, and Rebecca Hall is even better.

But the real standout is Jason Bateman. He plays the slimy prick character he has nearly perfected since Arrested Development, but he is completely devoid of all comedy here. And Edgerton taps into that archetype and turns it on its head, giving us what might be the best performance of Bateman’s career (Teen Wolf Too notwithstanding). It just feels so natural and brings a dramatic gravitas that you would have never expected from him. What easily could have been phoned in turns into a perception altering game changer. I have long waited for him to try something different, and hope he continues to be more daring in his future roles.