‘Chaos Walking’ is an Impenetrable But Fascinating Piece of Dystopian Sci-Fi

March 3, 2021

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Chaos Walking (CREDIT: Lionsgate)

Starring: Tom Holland, Daisy Ridley, Mads Mikkelsen, David Oyelowo, Demián Bichir, Cynthia Erivo, Nick Jonas, Kurt Sutter, Óscar Jaenada

Director: Doug Liman

Running Time: 109 Minutes

Rating: PG-13 for Wham-Bam Action

Release Date: March 5, 2021

Chaos Walking is one of those movies where I’m not entirely sure what’s going on, but I kind of wish I did know more, because the things that I can make sense out of really do grab my attention. It’s an apt title then. Chaos really is walking everywhere, baby! That’s most obvious in the form of its signature visual motif: a swirl of inner thoughts dancing around people’s heads known as “the Noise.” All the men on this planet are afflicted by this condition, and it’s presented so matter-of-factly and therefore so effectively. I initially found it jarring, almost overwhelming, but within ten minutes it made all the sense in the world. I wish I could say the same thing about the plot, though. It’s driven by some sort of fight to figure out the secrets underpinning society, as is the case with so much dystopian sci-fi. I can tell that Tom Holland is earnest and well-intentioned and that Daisy Ridley is probably the key to everything and that Mads Mikkelsen doesn’t want them to succeed because he’s so grumpy, but beyond that, I feel like I needed to study the novel trilogy the film is based on to really understand the specifics.

If you can’t quite follow a movie’s storyline, you can at least vibe with it a bit if you can get on the wavelength of its action energy and its stylistic approaches. From a production design standpoint, Chaos Walking‘s decor is basically Hunger Games-esque arboreal but without the whiz-bang flamboyance. On a thematic level, it clearly has something to say about religion, though who’s to say what exactly that something is, though it’s at least fun to hear characters shout things like “I am the sinner! Purify my sin!” And on the action front, director Doug Liman is a reliable pro. He can even make you absolutely compelled by a chase scene that’s clearly a ripoff of Return of the Jedi‘s speeder bike sequence. (It even features Star Wars‘ very own Daisy Ridley, to boot!)

In many ways, Chaos Walking struck me as shouty, empty, and stitched-together. But I don’t want to dismiss it entirely, because it also struck me as intriguing, unique, and unburdened by expectations. This is a movie that’s comfortable being its own damn self, almost a little too much so. But that qualification is also why I admire it. At first glance, it looks like a generic slice of dystopian YA, but sticking with it allows it time to reveal that it’s a bit of an odd beast. Chaos is  indeed walking, and it’s reigning supreme, and I can’t argue with that.

Chaos Walking is Recommended If You Like: Lots of trees, Visually loud neuroticism, Differences between boys and girls writ large

Grade: 3 out of 5 Spackle Noises

Let ‘Stray’ Introduce You to the Homeless Dogs of Turkey

March 2, 2021

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Stray (CREDIT: Magnolia Pictures)

Starring: The Homeless Dogs and People on the Streets of Istanbul

Director: Elizabeth Lo

Running Time: 72 Minutes

Rating: Unrated (But It Would Surely Be a G)

Release Date: March 5, 2021 (Theaters and On Demand)

I recently had the pleasure of watching the documentary Stray, which follows a trio of homeless dogs around the streets of Turkey (the country, not the famous answer from Family Fortunes). The runtime clocks in at a perfectly reasonable seventy-two minutes, though I would certainly be happy to spend even more time with these pooches. The three lead mutts are Zeytin, Nazar, and Kartal, who seem to be local celebrities in their neighborhoods, but alas that fame doesn’t mean that anyone is available to offer them a furever home. At least they don’t seem to mind too much; if you let a dog roam, it’s gonna roam!

If these pooches were wandering the streets of America, I imagine that they would end up in a shelter and quite possibly be euthanized. But Turkey has a no-kill, no-capture policy toward stray dogs, and that sensibility seems to have permeated the general attitude of the Turkish people. The humans that we see in this film accept the dogs as a fact of day-to-day life in much the same way that the dogs accept the humans. Director Elizabeth Lo accordingly offers a straightforward, essentially dog’s-eye view that allows viewers to simply discover this fact of life if they weren’t aware of it already.

While looking over my notes for Stray, I noticed that I happened to have written down on the same page some thoughts about the most recent Puppy Bowl, and I was struck by the juxtaposition of these two very different facets of canine culture. The Puppy Bowl is a beloved annual event in which the dogs are coddled and catered to, with the promise of a permanent residence at the end of it all. Meanwhile in Stray, the pooches are just as much the star of the show, but the resources aren’t quite there for them to have regular lodging. If you’re as much of a dog lover as I am, then you’re liable to fall for both the Puppy Bowl and Stray equally hard, since they’re both about dogs being dogs. And that leads me to the conclusion that I think Elizabeth Lo would like us to draw and that I would happily co-sign, which is that dogs are eternally watching and emulating.

Stray is Recommended If You Like: The philosophy of Diogenes the Cynic, Fights over street meat, Making new friends and running around with them

Grade: 3.5 out of 5 Howls

‘Night of the Kings’ is a Visually Captivating Piece of Storytelling Emanating From a Prison in Côte d’Ivoire

February 24, 2021

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Night of the Kings (Courtesy of NEON)

Starring: Koné Bakary, Steve Tientcheu, Rasmané Ouédraogo, Issaka Sawadogo, Denis Lavant

Director: Phillipe Lacôte

Running Time: 93 Minutes

Rating: R for A Bit of Nudity and a Fairly Violent Prison Milieu

Release Date: February 26, 2021 (Theaters)/March 5, 2021 (On Demand)

I recently had the pleasure of watching Night of the Kings, Côte d’Ivoire’s official entry for Best International Feature Film at the 93rd Academy Awards. If you’re familiar with classic international literature, it will probably strike you as it struck me, i.e., as a modern Ivorian version of the Arabian Nights. The setting is the notorious MACA Prison, which is essentially run by the inmates. A new prisoner who is dubbed “Roman” (Koné Bakary) finds himself thrust into the worst of it, as he is forced to tell a story over the course of the night, and if his fellow inmates don’t like what he’s offering, the penalty is death.

Luckily for Roman, he is able to summon his inner Scherherazade without too much fuss. And luckily for us, director Phillipe Lacôte has the requisite visual craftsmanship to match his main character’s imagination. There aren’t too many other movies nowadays that feature a woman dancing in a way that turns an elephant into a hawk, after all. As a lifelong American resident who only gets bits and pieces of African news, I don’t know much about the culture of Côte d’Ivoire, and I imagine that Night of the Kings represents only a very small piece of that culture anyway. But I think it offers a fine opportunity to take your first bite to discover what Ivorian cinema is all about. Much like the MACA inmates, I found it compelling because of the enduring, worldwide appeal of just listening to someone tell a story. On a narrative and thematic level, I’m not entirely sure how to best explain Night of the Kings, but on an emotional level, I can say with confidence that it felt just right and just so.

Night of the Kings is Recommended If You Like: City of God, Framing devices of characters telling a story, Giving a chance to movies from countries you know very little about

Grade: 3.5 of 5 Microbes

‘The Vigil’ Puts a Hasidic Spin on Supernatural Horror

February 23, 2021

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The Vigil (CREDIT: IFC Midnight)

Starring: Dave Davis, Menashe Lustig, Lynn Cohen, Malky Goldman, Fred Melamed

Director: Keith Thomas

Running Time: 89 Minutes

Rating: PG-13 for Creepy Creatures Who Have No Concerns About People’s Mental Health

Release Date: February 26, 2021 (Theaters and On Demand)

The Vigil is the sort of movie that tells you exactly as much setup information as you need to know in case you’re not a member of the community where it takes place. I would pitch it as a sort of Orthodox Jewish spin on The Babadook, with a few elements of The Grudge thrown in as well. At the heart of the film is the role of a “shomer,” a person who fulfills the task of looking over the body of a recently deceased person until it’s buried. Typically, this is performed by a family member, but in cases where that’s not an option, there can be shomers hired from outside the family. That’s where Yakov Ronen’s (Dave Davis) story begins when his old rabbi (Menashe Lustig) shows up asking for a favor.

Yakov used to be a member of the Hasidic Jewish community in Brooklyn’s Borough Park neighborhood, but he’s recently opted for a less rigidly religious existence. But the community isn’t quite done with him, particularly in the form of Rabbi Reb Shulem, who offers him a few hundred bucks to be the shomer until dawn for an old man named Mr. Litvak whose widow (Lynn Cohen) lives alone and supposedly suffers from Alzheimer’s. Yakov could certainly use the cash, though he’s not sure it’s worth it since he’s been trying to cut off all contact with Reb. Ultimately, though, he takes the job, but it ends up being a lot more than he bargained for when evil spirits that had been haunting Mr. Litvak start turning their attention towards Yakov.

As in The Babadook, the supernatural forces in The Vigil also work metaphorically as a manifestation of the main character’s psychological state. The specifics of who or what these spooky beings really are is never specified, but ultimately that’s beside the point. I can imagine that Jewish folkloric creatures like dybbuks and the ghosts of the Holocaust served as inspiration. But what is most important here is the anxiety that Yakov is experiencing as a young man riddled by memories of guilt and trauma who’s also attempting to move forward in his life by learning fairly common but frequently challenging behaviors like learning how to talk to girls. Serving as a shomer on this particular night is like an hours-long panic attack manifesting as his worst nightmares come to life. It’s a gauntlet that could potentially lead to hospitalization or even a descent into Hell, or it could instead make him the strongest Yakov he’s ever been if he manages to somehow get through it. And those of us watching are liable to experience some secondhand catharsis.

The Vigil is Recommended If You Like: The Babadook, Spirits sneaking into technology, Cathartic horror

Grade: 4 out of 5 Shomers

The Writers of ‘Bridesmaids’ Ramp Up the Delightful Absurdity in ‘Barb and Star Go to Vista Del Mar’

February 11, 2021

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Barb and Star Go to Vista Del Mar (CREDIT: Lionsgate/YouTube Screenshot)

Starring: Kristen Wiig, Annie Mumolo, Jamie Dornan, Damon Wayans Jr., Michael Hitchock, Reyn Doi, Kwame Patterson, Vanessa Bayer, Fortune Feimster, Rose Abdoo, Phyllis Smith, Wendi McClendon-Covey, Richard Cheese

Director: Josh Greenbaum

Running Time: 107 Minutes

Rating: PG-13 for Very Playful (and Kind of Explicit) Sexual Dialogue

Release Date: February 12, 2021 (On Demand)

A young boy in a canary yellow hat rides his bike down a picturesque suburban street while delivering newspapers and singing along to “Guilty,” the 1980 Barbra Streisand/Barry Gibb smooth jazz duet. Encountering a robot owl, he heads purposefully underground into a world of intrigue. A super-secret, super-important mission appears to be afoot. And that’s when we meet Barb and Star (Annie Mumolo and Kristen Wiig, respectively), two fortysomething best friends who appear to have absolutely nothing to do with everything we’ve seen up to this point. Instead, they spend their days gabbing away about whatever absurd notions pop into their heads while sitting on one of the showroom couches at the furniture store where they work. But alas, horror of horrors: the store is closing forever, and Barb and Star have no idea what to do with all their newfound free time! They could hang out at their rigidly regimented friend group gabfest (run by a fantastically tightly wound Vanessa Bayer), but then an opportunity comes knocking in the form of a vacation to the resort town of Vista Del Mar. They’ve never been the type to venture outside their hometowns, but heckfire, what better time than now to throw caution to the wind and spread their wings!

Often when reviewing movies, I like to ask myself, “Does this film make me want to do the thing it says in its title?” So with that in mind, does Barb and Star Go to Vista Del Mar make me want to go to Vista Del Mar? And the answer is … heck yeah! It’s a beachside town full of bright colors, romance, magic, and Mark Jonathan Davis as his lounge act persona Richard Cheese singing naughty songs in a hotel lobby, after all. And if I could spend my stay there right alongside Barb and Star and their versatile culottes, oh wow, would I be in hog heaven. The world has made no effort to stop them from being who they really are, and their conversations reflect that, as Wiig and Mumolo bring an astounding improvisatory yes-and energy to every single one of their interactions.

There’s also so many more elements in this movie that I haven’t mentioned yet, mostly because I don’t want to mention them, as this is the most satisfyingly unpredictable comedy I have seen in quite some time. Wiig and Mumolo co-wrote the screenplay, and it feels like a passion project of two best friends daring each other to indulge in their most outré excesses. Playing straight(-ish) man to their whirligig of whimsy is Jamie Dornan, who seems to have found his perfect niche as a lovelorn hopeless romantic agent of espionage. Also of note: Wiig pulls double duty as a supervillian best left unremarked upon, Damon Wayans Jr. shows up for a running gag of very silly inadvertent secret-revealing, and Barb and Star’s conversations about a hypothetical woman named “Trish” eventually pay off handsomely. In conclusion, this is one of those funny flicks that delights me immediately and endlessly, but I’m not quite sure how to fully put into words why it makes me feel that way (the last few paragraphs notwithstanding). But I hope to continually revisit it and think about it much more in the coming years and then explain it as best I can when the proper time comes along.

Barb and Star Go to Vista Del Mar is Recommended If You Like: Zoolander, Hot Rod, AM Radio hits of the 70s

Grade: 4 out of 5 Seafood Jams

‘The Mauritanian’ Gives Guantánamo Bay Detainee Mohamedou Ould Salahi the Legal Thriller Treatment

February 10, 2021

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The Mauritanian (CREDIT: STX Films)

Starring: Tahar Rahim, Jodie Foster, Shailene Woodley, Benedict Cumberbatch, Zachary Levi, Saamer Usmani

Director: Kevin Macdonald

Running Time: 129 Minutes

Rating: R, Mainly for a Scene of Intense Torture

Release Date: February 12, 2021

In the 2000s and early 2010s, films that grappled with 9/11 and its aftermath tended to be combat thrillers, reaching an apotheosis in terms of cultural impact with 2012’s Zero Dark Thirty. Now the focus has turned toward the War on Terror’s legal repercussions. 2019’s The Report took a deep dive into the massive amount of paperwork detailing the CIA’s use of post-9/11 torture, and now The Mauritanian comes along to narrow its attention on the particular case of Mohamedou Ould Salahi, who was detained at Guantánamo Bay withou charge for more than a decade. His story has been told before via the likes of 60 Minutes and Salahi’s own memoir, but even if you come in to this movie completely cold (as I more or less did), it’s immediately obvious that we are witnessing a miscarriage of justice.

There’s essentially zero doubt at any point in The Mauritanian about Salahi’s innocence. We’re not exactly told this outright, but we might as well be. With the guarded way that Tahar Rahim plays Salahi, there is a sense that he might be susceptible to being tricked into thinking that he has abetted terrorist activity. But these are merely survival tactics, as he mostly keeps his head down and says what is demanded of him when he absolutely has to so as to stay alive and sane enough to get by. The main source of the movie’s tension then is how much our patience is tested: just how long – in real time and movie time – will Salahi be detained? Because if you know anything about Guantánamo Bay, you know it’s probably going to take a while. Luckily, he has a couple of competent lawyers on his case in the form of Nancy Hollander (Jodie Foster) and Teri Duncan (Shailene Woodley), and with Foster giving off Hall of Fame-level tenacity vibes, we can feel confident that there will be a happy ending eventually.

Salahi’s story is undoubtedly compelling, but in terms of how it works as cinema, it’s not an automatic slam dunk. It mostly avoids indulging in the shoutiest excesses of miscarriage-of-justice legal procedurals, but it perhaps swings too far in the opposite direction, opting for a low-key approach that’s content to mostly just hum along. Then there are the torture scenes, which is something I would happily never see re-created on screen ever again. That’s not to say that it’s always absolutely wrong to portray torture; the ethics of doing so are certainly debatable. But aesthetically, it tends to be jarring and unnecessary, very much so in this case. Still, despite my misgivings, I’m glad that movies like The Mauritanian exist. The value they offer by getting these stories out to a wide audience generally outweigh my trepidations.

The Mauritanian is Recommended If You Like: The due process of law, Un-redacting the redactions

Grade: 3 out of 5 Forced Confessions

‘The Map of Tiny Perfect Things’ is Here to Fulfill the Time Loop Movie Quota

February 9, 2021

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The Map of Tiny Perfect Things (CREDIT: Dan Anderson/Amazon Studios)

Starring: Kyle Allen, Kathryn Newton, Jermaine Harris, Josh Hamilton, Jorja Fox, Cleo Fraser, Anna Mikami, Al Madrigal

Director: Ian Samuels

Running Time: 99 Minutes

Rating: PG-13 for Random, Mostly Harmless Teenage Shenanigans

Release Date: February 12, 2021 (Amazon Prime Video)

Oh wow, another time loop movie already? Is Hollyweird required to release at least one of these per year? (Or does it just feel that way because it seems like all the days in the real world are just reruns?) This time around, the romantic story takes special prominence, as was also the case in the loopy likes of Groundhog Day, Palm Springs, and even Happy Death Day. As with Palm Springs, the main guy and gal in The Map of Tiny Perfect Things are both re-doing the same day, and it’s that commonality from whence their sparks fly (at least initially). And I mean, hey, why not! That’s a pretty significant similarity. If you’re living through a time loop, it’s hard to fully relate to anyone else unless they’re also living through that loop.

When we first meet Mark (Kyle Allen) and Margaret (Kathryn Newton), they appear to be at least dozens – if not hundreds (or thousands) – of loops deep. And quite frankly, they’re totally OVER it all. That’s not to say they’re in Despair Mode, but rather that they have a roll-with-the-punches attitude of teenagers privileged enough to not yet be crushed by the weight of adult responsibilities. In a typical time loop movie, breaking out of the loop requires (or is at least accompanied by) discovering how to be a better person. As for Mark and Margaret, sure, they learn some lessons, but that aspect feels more or less beside the point. Instead, they spend their time experiencing all the titular “tiny perfect things” (like the sunset or a cute lost dog reappearing) that occur in their town on this particular day, because what the heck else are they going to do with all this infinity?

Eventually, we do get an explanation about why this loop started and how it shall end, and your chances of finding it emotionally satisfying will probably depend on whether or not you’re a teenager or if you can at least tap into your inner teen. But before we get there, Tiny Perfect Things is more interested in the minutiae of making the most minute changes while repeating a process over and over. There’s a runner in which Mark explains everything that’s going on to his friend Henry (Jermaine Harris) while Henry plays video games. It’s in these moments when the movie is at its most comfortable, as it posits: what if life were like a video game in which you keep making it to the same point and try something different each time to survive or successfully complete a task? Depending on your inclination, the result would either be mind-numbing or endlessly fascinating (or perhaps both).

The Map of Tiny Perfect Things is Recommended If You Like: Twitch video game streaming, AB testing, Discovering postmodernism for the first time

Grade: 2.5 out of 5 Lost Dogs

‘Minari’ Features One of the Greatest Cinematic Grandmother-Grandson Stories of All Time

February 8, 2021

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Minari (CREDIT: Josh Ethan Johnson/A24)

Starring: Steven Yeun, Han Ye-ri, Alan Kim, Noel Kate Cho, Youn Yuh-jung, Will Patton

Director: Lee Isaac Chung

Running Time: 115 Minutes

Rating: PG-13 for Some Hilariously Surprising Potty Humor

Release Date: February 12, 2021 (Theaters)/February 26, 2021 (On Demand)

Minari is the heartwarming tale of a boy and his kooky grandma, who at first don’t get along very well. She’s not your typical grandma, and he only wants her around if she’ll bake cookies and offer hugs freely. But alas, she has zero culinary skills and would much rather dish out zingers than physical affection. I suppose I should also mention the tension between the boys’ parents, but I’d really prefer to focus my review pretty much exclusively on the grandma stuff. The title “Minari” refers to a wort plant native to East Asia, but if I had been in charge of naming this movie, I would have christened it “Mountain Water,” which is what the soda-guzzling grandma calls her beloved Mountain Dew. And that’s very important information, because the most memorable scene involves a new way of, shall we say, “doing the Dew.”

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Viggo Mortensen Confronts Abusive Parenting in His Directorial Debut ‘Falling’

February 3, 2021

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Falling (CREDIT: Brendan Adam-Zwelling/Quiver Distribution)

Starring: Viggo Mortensen, Lance Henriksen, Sverrir Gudnason, Laura Linney, Terry Chen, Hannah Gross, Gabby Velis

Director: Viggo Mortensen

Running Time: 112 Minutes

Rating: R for Just About Every Ethnic and Gendered Slur You Can Think Of (and Brief Nudity)

Release Date: February 5, 2021 (Theaters and On Demand)

I’m generally not terribly excited to watch movies about emotionally abusive parents, whereas I am generally excited to watch the directorial debuts of actors whose work I consistently enjoy. So I find myself internally conflicted at the prospect of Falling, in which Viggo Mortensen directs himself as John Peterson, a family man attempting to deal with his profoundly irascible father Willis (Lance Henriksen). Surprisingly enough, while watching I didn’t find myself entirely anxiety-ridden by all the familial strife on display. Perhaps my mood just happened to be in enough of a state of equilibrium to handle it, and quite possibly I wouldn’t have reacted as keenly on a more stressful day. Or maybe it had something to do with the variety of ways (frustration, gritted teeth, amusement, insults, etc.) that Willis’ kids and grandkids employ to respond to his provocations and declining mental health.

If there is one major takeaway above all others to Falling, it is the Power of Patience. John appears to be genuinely happy that his dad is spending the weekend at his house with his husband Eric (Terry Chen) and daughter Monica (Gabby Velis), but we know that his feelings can’t possibly be all (or even mostly) positive, as childhood flashbacks present a father-son relationship in which Willis browbeats his son over every single major or minor decision that he makes. And yet for all the decades of turmoil he’s endured, John is still conscientious enough to honor his own internal sense of familial loyalty. I wouldn’t judge him if he were to instead decide that the healthiest choice would be to cut his father off, but I’m glad that he tries to keep the peace with him long enough so that we have a family dinner scene in which John’s sister (Laura Linney) and her kids show up so that everyone can have a chance to declare what they really think about Grandpa.

The final act of Falling is a little more slow going, as it departs from John’s place on the West Coast back to Willis’ farm in Upstate New York. John is helping to put the property on the market, but Willis is deeply connected to his horses and intent on spending more time with them. At least that’s what I think is going on. Frankly, the story becomes significantly less dynamic when John and Willis are away from the rest of the extended Peterson clan, and I must admit that my sense of connection to what I was watching started to drift during the farm scenes. But overall, this is still a fairly compelling piece about how intergenerational trauma has a long tail but also about how it can be digested and rejected for a different approach.

Falling is Recommended If You Like: Angsty family dinner scenes, White horses

Grade: 2.5 out of 5 Pathological Insults

The Hysterical ‘Bliss’ is Here to Warn Us That Reality Isn’t Real, and I Cannot Look Away

February 2, 2021

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Bliss (CREDIT: Hilary Bronwyn Gayle/Amazon Studios)

Starring: Owen Wilson, Salma Hayek, Nesta Cooper, Bill Nye

Director: Mike Cahill

Running Time: 103 Minutes

Rating: R for Some Very Kooky Violence, Profanity, and Sexuality

Release Date: February 5, 2021 (Amazon Prime Video)

Man, how are we so lucky as to get a movie like Bliss? It stars a totally wigged-out Salma Hayek trying to convince Owen Wilson that they’re living in a simulation. And quite frankly, the evidence is immediately pretty convincing, as they seem to be the only people in the world with telekinetic powers, which manifests by them popping their hands out with authority, Bruce Almighty-style. Seriously, there’s an entire scene in which they go to a roller rink and make everyone fall on their asses just for the hell of it. And on top of all that, Bill Nye has a pretty significant part, not as himself, but as a very Bill Nye-type who keeps strong-arming Wilson with some important information. And for all you hardcore perverted philosophy geeks, Slavoj Žižek shows up just long enough for anyone who recognizes him to go, “Oh snap! Slavoj’s in this, too?!”

The only other film directed by Mike Cahill that I’ve seen besides Bliss was 2011’s similarly mindbendy-wendy Another Earth, which I found infuriatingly pretentious. Honestly, Bliss isn’t necessarily any less pretentious in its eagerness to dive into a trendy sci-fi premise in its own vaguely intellectual way. So what’s the difference? Has my cinematic tolerance level just increased significantly in the past ten years? Perhaps, but there’s also the fact that Hayek and Wilson are such inspired left-field casting choices. She is always indefatigably dynamic; give her something to rant about, and you’re not going to be able to keep your eyes off her. As for Wilson, I don’t think he ever utters his signature “Wow,” but that low-key sense of being perpetually stunned is indeed the vibe he gives off the whole time. This is a “two-very-different-tastes-that-go-great-together” situation that we never could have expected would work out as beautifully as it did.

Overall, though, I’m not sure if the ideas of Bliss really come together into anything substantial, and that’s partly because I’m not entirely sure what Cahill is trying to say.  But – and this is important – I don’t particularly care. This is an incorrigible movie, and I’m such a sucker for that sort of energy. While watching, I said to myself, “What is going on?!” a healthy number of times, and I must admit that is a feeling I enjoy experiencing. It’s too often in short supply, but it most certainly is not when Salma Hayek and Owen Wilson are questioning reality, creating their own realities, buying into fake realities, and just generally enjoying free rein to do whatever the hell they want to do.

Bliss is Recommended If You Like: The Matrix but wish it had less kung fu and more makeshift homes on the side of a highway, The “Downtime” episode of the recent Twilight Zone revival, The parts of the X-Men movies where they wave their hands around

Grade: 3.5 out of 5 Blue Crystals

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