Hotel Artemis could have, and should have, and probably was, better than what came out and so I’m going to say I liked it based on what I speculate was cut.
Hotel Artemis felt like it had all the substance cut from it, and had its B&C plots tossed in a blender with the main plot to cut down running time. Perhaps it was an exercise in efficiency, but my hope is that a director’s or uncut version will eventually be released to streaming or home video as this was a movie that was way too short…in my humble opinion. To that point, it was the product of Drew Pearce, a really talented writer who cleared earned the right to direct a movie based on his previous body of work. Hotel Artemis’ production design is gorgeous, everyone turns in great, if short performances (again it seems like so much was cut), and of course, I love the fact that it was shot in LA, and just as importantly, felt like LA. In many films now, Atlanta is doubling as LA, which is just silly and dumb and you can pretty much tell every time.
I don’t want to give away the ending, but the final shot just got me in the feels and I loved the notion that a franchise could come out of that one scene that, sure, maybe nobody but me (and every other intelligent moviegoer) would go to see. But it probably won’t and that makes me sad.
Anyway, a good movie with all the good stuff cut out. That’s The Hotel Artemis.
Welp Wannell’s done it again with Upgrade. Upgrade is just exquisite storytelling and you can tell this movie was made for [relative]pennies but comes out looking like a big budget film. I love Wannell’s work. It’s easy to follow, there are no plot holes, only justifiable ambiguities that persevere the suspension of disbelief, and Wannell’s endings are, unlike Shamylan’s sham twists, AWE-SOME. Don’t worry, no spoilers.
I also love that Upgrade, like Saw, didn’t rely at all on big name talent. Logan Marshall-Green, a very talented actor in his own right, but not a house-hold name (yet…), is the biggest star in the film, and it doesn’t matter because the story carries everyone (as does Wannell’s direction).
Seeing Upgrade makes me wonder what Wannell could do with a Disney tentpole budget, the possibilities abound, but I believe its fair to say that he deserves a spot next to James Cameron, if not for behavioral style, then at least chutzpah and energy in seeing his vision realized.
The ending though. Gosh what a great ending. No, no spoilers here.
My mother saw Red Sparrow, and didn’t like it. A lot of critics saw Red Sparrow, and didn’t like it. I saw Red Sparrow, and I liked it. Which means I know more about movies than any of the people mentioned above.
Annihilation is a movie that should allow you to switch off, but it’s so cerebral you can’t help but switching on to 11, you become highly receptive to everything that is going on in this stunning picture, both good and bad.
Of course it’s also beautiful and brilliant and the premise is wonderfully cerebral, but much like the surface layer of the movie itself, my personal view of the movie is unfortunately dark.
I Saw Call Me By Your Name and the theater was full of guys who clearly couldn’t get their girlfriends to see it with them. Weird, right?
This movie was stunning on so many levels. I don’t even know where to begin: The film is technically flawless, the story just as much. Timothy Chalamet absolutely deserves an Oscar nomination as does Armie Hammer and even Michael Stuhlbarg in his small but incredibly important role, delivering a speech for the ages that every child deserves to hear from their father as they struggle to come to terms with their sexuality and humanity.