Killers of the Flower Moon,’ AKA The Dusty, Bloody, Roaring ’20s

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Mmm, this one’s a killa (CREDIT: Apple/Paramount Pictures)

Starring: Leonardo DiCaprio, Lily Gladstone, Robert De Niro, Jesse Plemons, Tantoo Cardinal, John Lithgow, Brendan Fraser, Cara Jade Myers, JaNae Collins, Jillian Dion, Jason Isbell, William Belleau, Louis Cancelmi, Scott Shepherd

Director: Martin Scorsese

Running Time: 206 Minutes

Rating: R for Disturbingly Widespread and Remorseless Murder

Release Date: October 20, 2023 (Theaters)

What’s It About?: Here’s an important piece of information that is emphasized right from the get-go in Killers of the Flower Moon: at a certain point in the early 20th century, the Osage were the richest people per capita in the entire world. But where oil flows, bloodshed soon follows. And so it was during the Osage murders that plagued Oklahoma in the 1920s, as detailed in David Grann’s 2017 book Killers of the Flower Moon and now the Martin Scorsese-directed adaptation of the same name. All of the action revolves around William King Hale (Robert De Niro), a white man who’s managed to keep all of Osage County in his iron grip. In the course of the long wealth accumulation game that he’s ruthlessly playing, he directs his nephew Ernest Burkhart (Leonardo DiCaprio) to ingratiate himself with the native people. This takes the form of Ernest marrying and starting a family with a local woman named Mollie (Lily Gladstone). This could all be perfectly wholesome, if only Ernest weren’t involved with his uncle’s schemes to kill pretty much every member of Mollie’s family.

What Made an Impression?: Keeping Your Heart Afloat?: I had one major persistent question throughout Killers of the Flower Moon: could Ernest and Mollie actually be in love with each other? Of course, you don’t have to be in love to get married or to have kids together. But they do seem quite smitten with each other, despite being aware of the treachery afoot. Mollie knows that white men are just romancing the Osage to get their oil money. And Ernest surely knows that she knows. But she nevertheless still considers him as a pretty decent romantic prospect. Partly that’s because she and her sisters don’t really see many other options available for them. When Ernest eventually becomes fully culpable in William’s most murderous machinations, he’s already committed himself to his wife. And it never seems like an act. DiCaprio plays him like someone who never reckons with the moral implications of his behavior. This isn’t remorseless psychopathy. It’s more like family killing family, or friends killing friends, but with so much twisted rationalizing that it’s impossible to remain sane and/or sympathetic.
Shout, Shout, Let It All Out: Once the FBI takes an interest in all the Osage murders, we’re eventually led into a (somewhat) cathartic final act in which William is actually forced to answer for all his deeds in a court of law. Two towering performances in this section are bound to wake you up if you happen to be nodding off at this point. John Lithgow tries to keep things dignified for the prosecution, while Brendan Fraser casts up some fire and brimstone as Hale’s attorney W.S. Hamilton. I can’t help but chuckle at Lithgow whenever he’s in a courtroom, partly because it reminds me of the delightful short-lived NBC sitcom Trial & Error, and partly because his commanding voice is somehow simultaneously both so silly and so reasonable. Fraser meanwhile threatens to knock the entire proceedings off their axis. He’s just as over-the-top as he was in The Whale, but this time it affects me deeper to my core because everyone else is so modulated. These moments feel like being rumbled from a stupor, as all the crimes up to this point have been presented so matter-of-factly.
A Note on the Length: A different version of Killers of the Flower Moon could’ve been 2 hours or so, and it could’ve also been successful, but in a different way than it is now. At 3 hours and 26 minutes, you feel the full weight that goes along with reckoning with this dark chapter in American history. So if you’re planning on seeing it, get a good night’s sleep the day before and pop in some caffeine if you think it will help (but not too much!). And if you’re downing liquid while you’re watching and you don’t want to have to take a bathroom break, then pair it with something like popcorn or pretzel bites so that it won’t go straight through you.

Killers of the Flower Moon is Recommended If You Like: Dad books and Dad movies

Grade: 4 out of 5 Handsome Devils

‘Saw X’ Marks the Spot: Jigging Through My Personal ‘Saw’ Journey’

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He Saw you. (CREDIT: Alexandro Bolaños Escamilla)

Starring: Tobin Bell, Shawnee Smith, Synnøve Macody Lund, Steven Brand, Renata Vaca, Joshua Okamoto, Octavio Hinojoso, Paulette Herández, Jorge Briseño, Michael Beach

Director: Kevin Greutert

Running Time: 118 Minutes

Rating: R

Release Date: September 29, 2023 (Theaters)

On the occasion of reflecting upon watching Saw X and what it all means, I have decided to ponder out loud why I haven’t seen every single release in this iconic franchise.

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Jeff’s Wacky SNL Review: Pete Davidson/Ice Spice

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Ice Spice with my little Ice… (CREDIT: NBC/Screenshot)

Oh, hey there! Well, the WGA strike is over, and the SAG strike doesn’t apply to every single show on TV. So it’s time for Saturday Night Live Season 49 to commence! Fast food is the theme of the guest list for the first show, what with Pete Davidson hosting and Ice Spice providing the tunes.

And I’m still doing the wacky reviews! I’m also in the midst of marathon training, so let’s make this quick and do one-word assessments for each sketch.

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Entertainment To-Do List: Week of 10/13/23

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Poop, poop, hurray! (CREDIT: Adult Swim/Screenshot)

Every week, I list all the upcoming (or recently released) movies, TV shows, albums, podcasts, etc. that I believe are worth checking out.

Movies
Anatomy of a Fall (Theaters)

TV
Goosebumps Series Premiere (October 13 on Disney+ and Hulu) – I used to read the books back in the day, and I’ve checked out some of the other adaptations. Maybe this one will be good, too.
John Carpenter’s Suburban Screams Series Premiere (October 13 on Peacock) – An unscripted show from a master of horror.
Saturday Night Live Season 49 Premiere (October 14 on NBC) – Hosted by Taco Bell Spokesman with Musical Guest Dunkin’ Spokeswoman.
Rick and Morty Season 7 Premiere (October 15 on Adult Swim) – The premiere episode is titled “How Poopy Got His Poop Back.”
Celebrity Squares Series Premiere (October 17 on VH1) – A Black spin on tic-tac-toe.

Music
-Metric, Formentera II
-Troye Sivan, Something to Give Each Other

Entertainment To-Do List: Week of 10/6/23

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Usher! Usher! (CREDIT: Eike Schroter/Netflix)

Every week, I list all the upcoming (or recently released) movies, TV shows, albums, podcasts, etc. that I believe are worth checking out.

Movies
Dicks: The Musical (Theaters)
The Exorcist: Believer (Theaters)
The Royal Hotel (Theaters)

TV
Press Your Luck Season Premiere (October 10 on ABC)
The Fall of the House of Usher Miniseries Premiere (October 12 on Netflix) – Mike Flanagan is at it again!
Frasier Reboot Premiere (October 12 on Paramount+) – Do they still toss salad in 2023?

Music
-Reba McEntire, Not That Fancy
-Sufjan Stevens, Javelin

Sports
-WNBA Finals (Begins October 8, ABC and ESPN)

Will ‘The Exorcist: Believer’ Make a Believer Out of You, or Is It a Devil of a Time? Let’s Find Out!

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Will this movie make you a true beLIEVer? (CREDIT: Universal Studios)

Starring: Leslie Odom Jr., Ann Dowd, Jennifer Nettles, Norbert Leo Butz, Lidya Jewett, Olivia Marcum, Ellen Burstyn, Okwui Okpokwasili

Director: David Gordon Green

Running Time: 111 Minutes

Rating: R for Violent Contortions and Devilish Profanity

Release Date: October 6, 2023 (Theaters)

What’s It About?: Thirteen years after Victor Fielding’s (Leslie Odom Jr.) wife dies during childbirth, his daughter Angela (Lidya Jewett) wanders into the woods after school with her friend Katherine (Olivia Marcum). They end up missing but reemerge after three days, although they have barely any memory of what happened, as they believe that just a few hours have passed. It soon becomes clear that something otherworldly has returned with them. Their doctors have no idea how to treat their sudden personality shifts, but of course we know that this is really  the latest battle in an eternal war between good and evil. The Catholic priests in this edition are mostly feckless, so instead Victor and Katherine’s parents (Jennifer Nettles and Norbert Leo Butz) turn to a trusty nurse/neighbor (Ann Dowd) and a certain someone else (Ellen Burstyn) who famously has experience in this area.

What Made an Impression?: A Healthy Dose of Skepticism: When I hear people who were alive at the time talk about the release of the original Exorcist in 1973, they often emphasize how moviegoers really believed in the presence of the devil on Earth. 2023 America, by contrast, is a more skeptical era, or at least it’s a time when much fewer people belong to organized religions. The Exorcist: Believer leans into that fact, or at least attempts to, by acknowledging the value of skepticism. The scope is further broadened by making it clear that exorcism isn’t strictly a Catholic ritual. Katherine’s family are Baptists, and there’s also a woman (Okwui Okpokwasili) assisting in the rite who appears to be practicing voodoo. It’s an intriguing hodgepodge, but one that could maybe have benefited from a little more rigor to figure out what it’s trying to say.
Here Comes the Exposition: As was the case with director David Gordon Green’s Halloween films, Believer serves as a direct sequel to the original that basically ignores all previous follow-ups. Although I kind of wish that Green instead employed the Fast & Furious technique of somehow incorporating every ridiculous plot twist into the main continuity. But in the case of The Exorcist, that concern doesn’t matter too much, since each entry mostly stands on its own. Still, the return of Burstyn as Chris MacNeil demonstrates both the potentials and the pitfalls of this fresh approach. It’s invigorating to have her impose some wisdom after her own daughter was possessed all those decades ago. But in an effort to explain what she’s been up to in the meantime, we get a huge exposition dump that also pretty much spells out all the themes of this movie. It kind of made me just want to have an Adventures of Chris MacNeil spinoff instead.
Effects vs. Special Effects: There’s something about the look and feel of movies from the past. In our era of digital cinematography and standard post-production VFX cleanup, everything just looks a little too polished. I’m fine with 2023 being 2023 and having its own visual style, but in the case of a possession flick, that means that the devil’s tricks feel like the work of a rather earthbound magician. The illusion is just too illusory.
Believing in Humanity: While a good chunk of Believer represents a missed opportunity, sometimes someone arrives to make you, well, believe. Maybe the cinematic devil isn’t quite as viscerally powerful as he used to be, but if you can’t accept religion, you can still put your faith in people. And with that in mind, thank God for Ann Dowd as the nurse who was almost a nun but might still be the secret weapon to end this possession. When she speaks, she commands the room like nobody else. And when she insists that God put her in these girls’ lives for a reason, it could sound hokey coming from anyone else, but out of her mouth, it’s the most powerful statement I’ve heard in quite some time. I don’t know if a new possession movie can ever be 1/666th the phenomenon that the original Exorcist was, but I can at least have faith that small miracles like Dowd’s performance are still possible.

The Exorcist: Believer is Recommended If: You can cut through the rust and find the devil in the details

Grade: 3 out of 5 Descents Into Hell

‘Foe’ Attempts to Upload an Artificial Consciousness Into a Dusty Dystopia

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Foe! Foe! Foe! (CREDIT: Amazon Studios)

Starring: Saoirse Ronan, Paul Mescal, Aaron Pierre

Director: Garth Davis

Running Time: 110 Minutes

Rating: R for An Intimate Relationship on Full Display

Release Date: October 6, 2023 (Theaters)

What’s It About?: It’s the future! We’ve already seen plenty of cinematic visions of the years to come, and the version in Foe is of the dystopian variety ravaged by climate change. Henrietta (Saoirse Ronan) and Junior (Paul Mescal) are living in a remote farmhouse in some vague portion of The Midwest in 2065. The whole area looks like a tinderbox that could be swallowed up in flames at any moment. They’re just muddling through, but then one day a stranger (Aaron Pierre) arrives with a mysterious offer. It turns out that Junior has been recruited to launch up into an orbiting space station for some important mission, and in the meantime, Hen will be kept company by a synthetic version of Junior built by artificial intelligence to replicate his consciousness.

What Made an Impression?: Where’s the Technology?: Sometimes dystopian movies feel like they take place in the past, as a catastrophic event has wiped out our most advanced forms of modern technology. That kind of seems to be what’s going on in Foe, which is weird because its premise is about a particularly timely technological breakthrough. A.I. is leaps beyond ChatGPT at this point, and yet TVs, computers, and cell phones are nowhere to be seen. It’s possible, I suppose, that Hen and Junior are choosing to live a life off the grid without modern amenities. But if that were the case, it would presumably be worth emphasizing, but it never is. And because that gap is never remarked upon, Foe is likely to give you a baseline feeling of cognitive dissonance.
Taking a While to Get There: The ending of Foe might make you want to go back and watch the whole thing again … if you have the patience for it. That conclusion assuaged some concerns I had, but it didn’t really make the ride any more thrilling in retrospect. For most of the movie, I lamented how it wasn’t taking full advantage of its premise, or quite frankly taking any advantage of its premise. And this is a story that’s been told more compellingly before, especially in the Black Mirror episode “Be Right Back.” And when you get right down to it, the A.I. element doesn’t add much of anything. Sci-fi has been grappling with the ethics of cloning for decades now, and that aspect goes about how you would expect this time as well. Maybe that’s why this future looks so much like the past!

Foe is Recommended: Only for the pretty people being horny and passionate

Grade: 2 out of 5 Consciousnesses

‘The Royal Hotel’ Shows What It Takes to Survive in the Outback

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Will they ever be Royals? (CREDIT: Neon/Screenshot)

Starring: Julia Garner, Jessica Henwick, Hugo Weaving, Toby Wallace, Ursula Yovich, Daniel Henshall, James Frecheville

Director: Kitty Green

Running Time: 91 Minutes

Rating: R for Maximum Drunken Boorishness

Release Date: October 6, 2023 (Theaters)

What’s It About?: If there’s one major lesson to be learned from The Royal Hotel, it’s that planning ahead is essential. Hanna (Julia Garner) and Liv (Jessica Henwick) would certainly agree after everything they go through. They’re vacationing in Australia, but then the cash runs out and they need to find a job. Alas, the only gig they can land on such short notice is bartending at the titular watering hole, which is located in the remotest part of the Outback. The owner (an unrecognizable Hugo Weaving) is an alcoholic nightmare, while the patrons have a bit too much of a knack for misogyny and violence. The girls do have at least one ally in the form of Carol (Ursula Yovich), the bar’s gruff second-in-command. But it soon becomes clear that they really only have themselves to rely on if they want to make it out of this place alive.

What Made an Impression?: A Descent Into Hell: The realism of The Royal Hotel can lull you into a false sense of security. The joint isn’t exactly inviting, or even really pleasant at all. But if you’re working there, it feels like any old awful job that you just have to survive, and at least Hanna and Liv can count on a preordained end point. But they’re like those proverbial frogs in burning water. Because soon enough, the folks who seemed friendly have revealed their Hyde-like alter egos, while the run-of-the-mill jerks have turned into psychopaths, and everyone genuinely on their side has disappeared. The normal rules of society don’t apply in a place this isolated. Nothing particularly supernatural happens, but it’s like a waking nightmare that feels like it couldn’t possibly be real when you reckon with it after the fact.
Killer Ending: Downbeat thrillers like this one can be a tough sell if you’re someone who likes to have fun when you go to the movies. I was certainly prepared to leave The Royal Hotel with a pit in my stomach, especially since Kitty Green and Julia Garner’s last collaboration didn’t exactly offer much in the way of relief. But this time around, they opt for a much more cathartic conclusion. It’s outrageous in its own way, and fittingly so considering the taste of hell that the leads have to swallow. The last line is one for the ages, and if you check into The Royal Hotel, chances are you’ll be pumping your fist or raising a toast in solidarity on the way out.

The Royal Hotel is Recommended If You Like: Thelma and Louise, That one GIF from Waiting to Exhale, Discovering resilience that you never knew you had

Grade: 4 out of 5 Broken Glasses

jmunney’s Top Cinematic Choices for October 2023

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Daaaaaaa Bears! (CREDIT: Universal Studios)

They keep making new movies, and some of them are even worth watching. Here’s what’s at the top of the slate for October 2023:

The Exorcist: Believer: I kinda wish that the horror legacyquels directed by David Gordon Green attempted to incorporate the continuity of all the previous sequels instead of just being direct sequels to the originals. But I can’t deny that the “I don’t want to go to hell!” line from the trailer has really grabbed me by the collar.

You will believe that The Exorcist: Believer is in theaters beginning on October 6.

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