To Live and Die in L.A. (1985): One of Friedkin’s referential films, this police thriller is an unusual movie, with an unlikable protagonist and generally ambiguous morality all around. It’s strange that William Petersen hasn’t done any other important movies, because his presence here is a memorable one. Sure, Willem Defoe in one of his first major roles is equally enticing, alongside a nice turn from John Turturro, but it’s the way that the movie surprises us which has ensured its long-standing appreciation. A trademark Friedkin car chase is the most important action sequence here, in an all-around solid film of the 80s. 8
Blackberry (2023): In the pantheon of ITC biopics, Blackberry establishes itself as a fun, exciting and somewhat loose retelling of one of the marquee brands of the 2000s. Matt Johnson directed, co-wrote and starred in it, with Jay Baruchel and Glenn Howerton (especially the latter) doing the heavy lifting. It’s your usual story of promethean success and the hubris that led to the company’s downfall and in the movie’s structure, the first part, chronicling the rise, is considerably better put together than the latter, which spreads itself thin with a lot to cover. Nonetheless, it all goes by in a flash and makes you wonder why we ever left the world of phones with physical keyboards. 7
Influencer (2022): There’s a lot going for this slick thriller – sexy looks, a charismatic “villain” and some nerve-racking moments. Director Kurtis David Harder didn’t have too much success with his previous films (of which I’ve seen none, but Spiral does look intriguing), yet he handles the action of Influencer smoothly. I’m not sure if the substance of it all and the commentary on influencer fame hit very hard, even if we can all agree that there’s something profoundly off in the dynamic of an influencer’s career. Cassandra Naud leads the film with panache and even when the plot challenges our suspension of disbelief, there’s something flashy to take our minds off it. The finale is a predictable let-down, which should however not detract from the fun package. 7
Shin Gojira (2016): One wild ride, this Godzilla movie is more about politics and administration than what we’ve come to expect from the Hollywood adaptations of past years. With special effects that range from impressive to ludicrous, dialogue and characters that are about as camp as they come, Gojira is bound to be a cult favourite. It’s easy to see what the story is really about, just a few years out after the Fukushima reactor failure, with some interesting commentary on the politicking that goes with disaster management. Sure, it’s not Aaron Sorkin, but it stands out as a movie with personality. 7
The Nun II (2023): I’m not sure there is too much to say about the sequel to this Conjuring spin-off. Taking a memorable scary character and building a franchise around it (while supposedly ripping off the actress who portrayed said character, good job Warner Brothers) is a pretty cheap trick and I don’t think it pays off here. This movie’s semblance of a plot does little to keep the viewer engaged, but more interestingly it turns out that this nun has few ambitions in terms of scaring the beejesus out of you. It’s at best atmospheric and some nifty scenes in the outdrawn final act make it less of a slog, but I don’t see how this justifies a trip to the cinema. 5
tributary stu 