Mission Impossible-The Final Reckoning
Mission Impossible-The Final Reckoning kicks off with a recap of past glories—a wistful montage that turns out to be the highlight of the entire film. After that brief joyride the film nosedives into endless exposition. The real mission, should you choose to accept it, is staying awake through all the confusing conversations. As for the “famed stunts,” they’re mostly MIA aside from two uninspiring sequences. Now let’s address Tom Cruise’s status as a self-proclaimed action hero. Yes the Guinness Book of World Records recognizes that he skydived 16 times with a flaming parachute strapped on, but we all know Guinness also acknowledges the world’s longest fingernails. (Just saying…) I will concede that Cruise still runs cool but even his legendary sprint has begun to feel like a rerun. The franchise clearly peaked with Ghost Protocol and since then it’s been on a downhill sprint faster than Tom himself. Oh, and Pom Klementieff, my favourite from part one, vanishes entirely in this film much like the plot’s coherence. In conclusion, The Final Reckoning aims for excitement but ends up being the cinematic equivalent of reheated leftovers: you might appreciate the effort but it just doesn’t taste the same.
Lilo & Stitch
When Lilo & Stitch was released in 2002 I wasn’t particularly impressed. Unlike the Little Mermaid, Aladdin and Beauty and the Beast, I felt it lacked the catchy songs and refined artistry that typified the studio in the 80’s and 90’s. Consequently, I ventured into the live-action version hoping Disney might finally deliver. The actress playing Lilo ( Maia Kealoha,) is outstanding and brings an adorable spunk and authenticity throughout every scene. The retro feel and cameo by Jason Scott Lee had me leaving the theater satisfied… that is until I rewatched the cartoon. Here are my concerns: The addition of nostalgic characters played by Tia Carrere and Amy Hill was unnecessary. The transformation of the aliens into human form fell flat due to Zack Galifianakis’ inability to add the expected humour, The ending was different and completely lacked all emotion. Moreover, key items were missing—where was the iconic hula dance with Lilo & Stitch? Why was the strong Elvis Presley presence downgraded severely? Even small details, like Stitch’s ability to play music by opening his mouth, lost its charm in translation. The original Lilo & Stitch was fun, heartfelt and had a natural flow. The live-action adaptation however, feels like a watered-down version. Once again, it makes me wish Disney would focus on creating new original content rather than relying on remakes to stay relevant.
Fight or Flight
Never heard of Fight or Flight? You’re not alone but here’s the deal: while the supporting cast delivers performances as memorable as your last grocery receipt, Josh Hartnett absolutely steals the show. He’s cool, charismatic and looks like he moonlights as an action hero in his spare time. The action? Absurd, thrilling and fun but let’s be honest—you’re here for Josh and he doesn’t disappoint. Flaws? Sure but with Hartnett on screen, who’s even paying attention.
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Proof That Sinners Can Deliver At The Box Office
Sinners follows twin brothers as they return home. The goal is to host the ultimate party, however vampires disrupt their festivities. Michael B. Jordan delivers another stellar performance as both twins, seamlessly transitioning between “Smoke” and “Stack” Moore. The opening scene where he passes a cigarette to his twin self is visually perfect. As the story progresses, the twins evolve from personal goal-setters to leaders of a movement.
What makes this movie extra special is that it provides love, drama, humor and horror all in equal measure. When the vampires finally arrived, I was fully invested in the lives of each character. Delta Slim, Mary and Annie are all well-developed. Moreover, Miles Canton, as Preacher Boy, gives a musical number that is not only memorable but foreshadows a post credit scene that is totally worth it. On the flip side, Jack O’Connell stands out as Remmick, an Irish vampire, who abolishes all bloodsucker stereotypes by serving as a definitive bait-and-switch artist.
By the time the pickled garlic and stakes came out I knew I watching something fresh. The action in Sinners is thrilling but what makes it exceptional is how it cleverly combines 1932 issues with modern messiness. Consequently, as I was immersed in the action, with all its gore and exhilaration, it became apparent to me that this supernatural fight was relatable to everyone in the cinema. Sinners is a phenomenon precisely because it is a tale of resilience in the face of oppression: universal truths we can all enjoy.
Drop Hits Hard and Doesn’t Let Up
As a fan of Christopher Landon (Happy Death Day,) I was practically vibrating with anticipation to see his latest creation. Spoiler alert: he doesn’t disappoint. The plot is simple: a widowed mother on a first date finds herself blackmailed into killing her date. Because nothing says “romantic evening” like murder. It’s like Hitchcock took a detour through Agatha Christie’s mind and they decided to have a dinner atop a skyscraper.
Drop is fun from start to finish, delivering an 80's vibe, complete with a chic velour jumpsuit and glitzy locale. Meghann Fahy and Brandon Sklenar bring depth and authenticity to their roles, which is crucial, given that much of the supporting cast leans towards over-the-top performances. Nevertheless, these “eccentric” characters add a layer of suspicion and tension which kept me guessing at every turn. The cinematography also stood out, particularly the innovative use of blending digital elements with the physical environment. This technique enhanced the storytelling by visually integrating crucial information without disrupting the narrative flow.
Drop’s impact on the thriller genre lies in its ability to blend classic suspense with modern storytelling. Landon’s approach kept me on edge as I navigated each unexpected twist. Moral of the movie: social media is a killer waste of time.
Novocaine is No Pain but All Gain
Centered around Assistant Bank Manager “Nate” (Jack Quaid,) we meet a man incapable of feeling pain. Numbed both literally and figuratively: Nate avoids eating solid food for fear of biting his own tongue off and avoids heartbreak by being socially aloof. The plot takes a turn when Nate sets off to rescue his dream girl.
This film is not for the faint of heart. It's a very squeamish watch but it is notable in its portrayal of a character who cannot perceive injury by showcasing it in all of its visceral glory. In Nate’s world, fourth-degree burns are a means to an end while exposed bones become unexpected shanks. Consequently, creating a video game-like quality in which obstacles bring new challenges and leveling up is achieved with a shot of adrenaline.
Novocaine relies on two actors with famous parents to propel this unconventional story. Never a big fan of Jack Quaid, I now find myself enamored by his boyish charm and comic timing. I especially enjoyed the delightful stammer he evoked with each confrontation. This kept me smiling even when wincing was more appropriate. Ray Nicholson on the other hand lacks the acting chops to pull off a convincing baddie (or even goodie for that matter.) Nicholson has an inability to emote and continually kills all tension with each line he sputters… and eventually over delivers. Nevertheless, whether you’re a fan of gritty action, considerable blood or even romance, Novocaine has it all. The cherry on top is watching Jack Quaid give his first commanding performance.
Black Bag Is A Mixed Bag
Black Bag revolves around the story of a traitor within British Intelligence and the man, George Woodhouse (Michael Fassbender.) charged with hunting them down. The plot gets tricky when we learn the traitor might be Woodhouse’s own wife.
Soderbergh's direction in Black Bag showcases his ability to reinvent and surprise his audience. Focusing on limited locations and intimate storytelling, Soderbergh attempts to prove that sometimes less is more. With a distinct stage play quality, the driving force of this film is the dialogue. While at times too complex, the intellectual battles and psychological warfare amongst characters keeps it interesting. It is during two dinner scenes in particular that I witnessed top-tier acting all around. Kudos to both Marisa Abela (Back To Black) and Tom Burke (Furiosa) for being more than just pawns and leaving the audience gobsmacked at their true motives.
While enjoyable in regards to character development, I must admit I was expecting some James Bond-style action. Since this story is about spies would it have been so hard to add some close-quarters combat or even Kraft Maga? Moreover, be prepared to be habitually confused by the plot, but it’s Soderbergh, so at least it will be stylishly perplexing.
Love Cuts Deep In Heart Eyes
Heart Eyes combines the excitement of the most romantic day of year with the intensity of homicidal madness. Set against a seemingly idyllic Valentine’s Day, “The Heart Eyes Killer" targets and hunts down couples.
By far my favourite part of this movie is Mason Gooding (yup Cuba’s son.) Gooding delivers a standout performance in Heart Eyes, marked by a spectacular smile and natural charisma. His on-screen presence oozes magnetism as he adeptly navigates through the quintessential slasher flick tropes. Moreover, the chemistry between Gooding and Olivia Holt adds a delightful layer of romantic banter rarely seen within the genre. Nevertheless, Heart Eyes is not limited to sentimental exchanges and chiseled abs, there is a whole lot of blood designed to gross you out from start to finish.
If there’s one thing that could use improving in this film however, it would have to be the villain. The glowing mask looked great but we never become privy to all the juicy details regarding the killer’s motivations. A more detailed backstory, akin to Billie Loomis' in Scream, would have elevated this murderer to cult-like status. While Heart Eyes does not give us the killer payoff we deserve it is still a fun flick. The pace will keep you on your toes and Mason Gooding will win you over.
Heretic is a cerebral puzzle wrapped in a cinematic enigma
Heretic kicks off smartly with a premise involving two young female Mormons trying to recruit new members to their church. Their journey leads them to the doorstep of Hugh Grant just as the heavens open up.
Grant, in a delightful twist, ditches his charming stammer and delivers a performance that is as creepily good as it is unsettling. In his 60’s, he still possesses that coolness that can’t be bottled therefore making the scene with the “freshly baked blueberry pie” even more wicked. Up to this point I’m loving this movie and then it takes a sharp left turn into bizarro land. The rest of Heretic is a confusing jumble on religion and faith. It aspires to delve into profound themes and tries to shock us in the end, meanwhile the story loses complete coherence and meanders for well over an hour. It’s comparable to a first date where your companion is trying to impress you with all their knowledge until you finally realize it's all filler; they really are just a loser and not very smart to boot.
While the film aspires to investigate philosophical ideals, the initial spark is extinguished quickly. Consequently, leaving the viewer with more questions than answers. The divine timing is entirely off with Heretic leaving only emaciated celluloid in its wake.
Presence is all chill without the thrill
I recently watched Steven Soderbergh’s Presence and I was prepared to be impressed, especially with David Koepp (Jurassic Park, Panic Room, Spider-Man) as the screenwriter. Impressed… not quite, but I was let down.
Firstly, the acting was incredibly weak. In the first few moments alone I half-expected the entire cast to start asking for directions to the nearest acting school. Secondly, there was a lot of talk in the pre-show clip about the special camera technique Soderbergh used in Presence. While the camera floated between rooms like a “ghost,” it was as groundbreaking as a new flavour of vanilla ice cream. A younger Soderbergh had a flair for seamlessly combining storytelling with sleek cinematography, sadly both are missing in this film. Thirdly, while the film introduces a mysterious element it never achieves Poltergeist levels of intensity. The ending does manage to sprinkle in some excitement with a second story nose-dive but it was all too little too late.
Presence does not redefine cinema and it does not redefine the supernatural genre. Instead it putters about the house being more of a annoyance then fearful entity. I wonder why both Koepp or Soderbergh have resigned themselves to taking fewer risks and creating subpar work. Meanwhile, iconic filmmakers like Martin Scorsese continue to have the same passion for their recent movies that they had in their earlier works.
Love Hurts-the cinematic equivalent of a root canal without the novocaine
I typically like to begin my reviews with a synopsis of the film that I have just watched, Nevertheless, in lieu of the fact that Love Hurts is plagued by a plot that is non-existent, I am left desperately trying to come to terms with wasting $5 on this movie (cheapie Tuesday.)
To put it bluntly Love Hurts is a letdown on many levels. With two Academy Award-winning actors in the leads (Ke Huy Quan and Ariana DeBose,) it’s hard to fathom any talented actors being involved in this project. The storyline lacks cohesion and depth making Love Hurts a complete disaster. The production quality feels low-budget and the action scenes, which should have been thrilling (since Ke Huy Quan holds a second-degree black belt in taekwondo,) only serve to slow the film to a snails pace. Despite its brief run time of 1h 24m, Love Hurts seemed to drag on forever and no amount of buttered popcorn seemed to aid in my despair.
There are two microscopic bright spots in the film: Firstly, Marshawn Lynch, who showcases that can’t be taught humor that made him a fan favourite on Murderville. Secondly, the closing credits which feature the song Love Hurts by Nazareth, which offers a fleeting moment of enjoyment in an otherwise listless nightmare.
Sing Sing intertwines real-life woes with make believe
Sing Sing is the real-life drama of a group of inmates who trade in their cell blocks for stage blocks, as they perform plays behind bars.
One of the best parts of Sing Sing is how it flips the script on our usual views of inmates, choosing to highlight their growth while they’re doing time. Enter the ever-enthralling Coleman Domingo. Whether he’s dodging zombies in Fear the Walking Dead or losing his mind in The Madness, Domingo has a knack for pulling you in and making any narrative come alive. Every emotion from exasperation to sadness to a good ol’ fashioned “meh,” is delivered with such zeal that you can practically feel it emanating into your own soul.
While the concept has all the makings of a commercial success, I must confess the film felt a bit stagnant. The inclusion of real inmates, like Clarence Maclin, was astute but I was hoping for a bit more action and depth to keep things moving. More backstory on each inmate’s struggles would have given us a much needed glimpse into their pasts and personal battles. Not only would it have kept us mentally enthralled but it would have exemplified the full spectrum of each prisoner’s transformation. While Sing Sing could have used more pizzazz in the storyline, the performances are so strong that it’s still a worthwhile watch.
Conclave is a rollercoaster ride through the Vatican’s VIP lounge
My initial thought going into Conclave was “Who wants to watch a film about Cardinals shuffling papers?” l will admit Angels and Demons was enjoyable but it also benefited from Tom Hanks and Dan Brown’s popularity at the time. Conclave on the other hand sounded beyond dull… boy did I misjudge.
I watched Conclave with my mother, who had already figured out the shocking ending in the first half hour. Meanwhile, I was trying to remember which Cardinal was which, like a game of Where’s Waldo? with a mitre. As the stream of twists emerged it became increasingly clear these “holy men” were filled with the same vices and lust for power as everyone else. Tasked with deciphering these human foibles is the formidable Ralph Fiennes. Fiennes is authentic and intense serving as the bedrock of this film. The persistent close-ups on Fiennes drawn-out face illustrate the stress of an outdated Church. The supporting cast is equally impressive with Isabella Rossellini’s brief but powerful turn as Sister Agnes. Rossellini’s’ smirk in the cafeteria says everything you need to know about the treatment of women by their counterparts. One can even say that Sister Agnes is invited to the Conclave but only gets to stay for the hors d’oeuvres.
The finale of Conclave leaves a tense revelation that would make Agatha Christie proud. Despite the solemn subject matter this movie is so much fun. Thought provoking and carefully crafted, I eagerly awaited each revelation and I was never disappointed. Playing with a holier than thou attitude Conclave will surprise you by how much you will enjoy it.
The Damned showcases a winter wonderland: minus the hot cocoa and toasty memories
The Damned revolves around a group of fishermen battling the elements for a good catch. Their routine is altered when they see a ship capsizing. This incident ignites a moral conundrum: risk their lives to save the mysterious passengers or save their own skin?
The beauty of The Damned lies in its depiction of bleakness and isolation. The literally washed out characters contrast effortlessly with the cinematography's pristine white snow. Thus creating a palpable tension that increases with each drop of spilt blood. As I watched the big screen I was captivated by Eva, portrayed by Odessa Young. Despite the horror surrounding her, Eva’s face serves as a canvas of emotions that rival any Picasso. In turn, allowing Young to expertly jump between terror and strength in equal measure.
Although at times a bit slow moving you quickly realize there in lies the genius of this film. Each moment on screen is precise in its depiction of solitude and hunger. Moreover, just when I thought I had it all figured out the ending became an ambiguous "choose your own finale" experience. I felt as if I was a co-creator within an interactive experience. Overall, "The Damned" stands out for its atmospheric storytelling and thought-provoking climax. Mark my words, Odessa Young is one to watch.
The Substance proves that the quest for eternal youth always ends badly
Picture this: an opening sequence focusing on Elisabeth Sparkle’s (Demi Moore) star on the Hollywood Walk of Fame. The star goes from being newly minted and adored, to having food splattered on it and cracking in the middle. This bittersweet imagery leads to the introduction of a mysterious drug called “the substance.”
The Substance is two movies in one… and I much preferred the first part. Moore begins with a performance that is both intense and risqué. Perhaps drawing from her own personal experience, Moore captures the pressure to stay young forever as she continuously gazes at herself in the mirror. Coupled with an intense pulsing soundtrack it’s like the movie is giving you a musical earworm, but with an ominous undertone. It’s been a long time since I’ve seen Moore take on such a taxing role and she truly delivers. The movie is sleek, artsy… and sadly undone in the second half.
The Substance’s transition into a gory hell was both surprising and not entirely successful. One could analyze this film to death and say that the shift in tone symbolizes how the first half of life is filled with energy and beauty, while the latter can feel somewhat lackluster. Despite what might be an intentional juxtaposition, I did not love this. The Carrie-like blood bath at the end was disgusting to watch and ultimately degraded the overall experience. Moreover, the genre shift midway took a thought provoking storyline and imploded it in nightmare fashion. Nevertheless, I must concede that The Substance is worth watching due to its daring performances regarding our obsession with juvenility
Wicked will take you on a spellbinding journey
There will never be a duo as strong as Idina Menzel and Kristen Chenoweth, the original Elphaba and Glinda. Each woman had a recognizable voice, and when they harmonized, both shined in equal measure without ever overshadowing the other. Thus creating a remarkable partnership. Consequently, when the big screen adaptation was first announced I was tentative.
As I got comfy in my seat during the first hour of Wicked I began to swing between two emotions. I hated the clumsy CGI especially the fish, birds and foliage which was unnecessary and felt very much like a Disney live action. On the flip side I loved the casting. Johnathan Bailey as Fiyero, Jeff Goldblum as The Wizard of Oz and Michelle Yeoh as Madame Morrible were all sheer perfection, but what of the leading ladies? Cynthia Erivo creates an Elphaba that is bold and unflappable. Never trying to copy Menzel, Erivo’s voice may not be as sweet but reverberates with a guttural strength that will make your jaw drop. From her clever glasses to ornate black garb, Erivo will leave you transfixed. Ariana Grande on the other hand is the only disappointment of this film. Every line Grande gives and every word she accentuates comes across as a poor facsimile of Chenoweth. While Grande has a beautiful voice she is unable to create an apparent Glinda that is all her own. This is most notable during the songs Popular and Defying Gravity which come across as a regrettable impersonation of someone else’s brilliance.
The latter half of Wicked is where the magic truly happens. While the first hour serves as an introduction to the characters, the second fleshes out the important themes of the novel. Wicked is about identity and the need to harness one’s inner power. The ramifications of that power however can be manipulated and twisted. At this point I found myself completely invested in the movie, so much so, that my disappointment with Grande’s performance dissipated. As Elphaba and Glinda embark on their newly acquired friendship the film gains significant momentum. They dance, (visions of Wednesday,) they hop on a cool train and they finally reach The Emerald City. Every minute in The Emerald City is exciting from Goldblum’s Carousel of Progress-like number to the impressive transformation of the Winged Monkeys. The stakes are set high and everything comes together perfectly for Erivo’s huge onscreen moment. When Erivo hit that final note I actually got the shivers. Wicked is beautiful, powerful and relevant.
Sadly, we have to wait a whole year for the conclusion of Wicked, which for lack of a better term sucks big time. However, another musical just came out this weekend. They sing, they dance…and they live in a bunker underground because pollution has completely destroyed their world. Has your curiosity been adequately peaked yet…. My review of The End coming soon.
Dear Reader,
I know it has been over a month since you last gazed upon a new review. The thought crossed my mind that I might not be missed. The opposite happened however. In the last couple of weeks I have been inundated with messages from devotees asking “Has the Mademoiselle given up? and “I need your help on deciding which streaming service is worth it for the holidays, ASAP? Firstly, the Mademoiselle never gives up! Secondly, I have been doing all the things one would expect from a modern renaissance woman... Okay the truth is, there wasn’t anything good to watch and you couldn’t pay me to see Red One. Consequently, I focused my attention on a steady diet of Hallmark Christmas movies while anticipating the release of Wicked.
21 years ago on Christmas Day I received a book from a friend. I remember her saying that the cover art and clever tagline typified my personal style. Throughout my life there have been only a handful of books that have taken me two days to read. Notably Stephen King’s 11/22/63 and Gregory Maguire’s Wicked. Wicked was so unexpected that I immediately converted to team Elphaba while promptly purchasing tickets for the musical over a year in advance. I will admit as the book series continued I started to get bored and and forgot about poor Elphie, that is until Cynthia Erivo was cast in the titular role.
To be continued…
Smile 2 Will Have You Avoiding All Social Cues… Indefinitely
Tis the season for thrills, chills and strange cinema. Every October I go through the ritual of re-watching Halloween classics, and every year I am on the lookout for new films to enrich my growing list. Beetlejuice Beetlejuice was an immediate add on, but after watching it back in September I still ached for more. Enter Smile 2.
I enjoyed the first Smile but I felt more immersed in Smile 2 and the reason is simple: Naomi Scott. The sequel about a virus that makes you go crazy, smile and kill yourself gets a complete upgrade in this film. Scott plays Skye Riley, a Lady Gaga-esque singer who after surviving a horrific car accident that killed her boyfriend (played by Jack Nicholson’s son,) comes in contact with a “smiler.” Instantaneously we are drawn into the counterfeit world of celebrity life and with it a protagonist on the verge. Much gorier than the original, Smile 2 is focused entirely on Skye Riley. The film even has a killer soundtrack with six pop songs performed by Naomi Scott as Skye, with my personal favourite being Death of Me. As atrocious as this film gets, and trust me it gets ridiculously gross, you won’t be tempted to cover your eyes solely due to Naomi Scott. After being neglected in Aladdin and Charlie’s Angels, Scott finally has a breakout performance which allows her to dominate with every tantrum, reaction and blood curdling scream. Moreover, the final shot of Skye on stage with a microphone in her hand is guaranteed to haunt your dreams…at least for a few nights.
The ending of Smile 2 has me wondering what the franchise’s future holds. It did make me think of John Wick 2 and all the wildness that it prophesied in its final few moments, a similarity that Smile 2 directly evoked. It’s worth noting that as I walked out of the theatre I caught someone smiling at me and I will admit it did disturb me. Will I be avoiding all polite smiles in the near future? Well I do understand that Smile 2 is just a movie but it’s realism, heightened scare factor and relevance in light of the The Eras Tour pandemonium has me rethinking my public expressions. Perhaps a scowl is the way go… until Halloween is over that is.
Happy Haunting
Mademoiselle Movie
Joker: Folie à Deux Deserves The Last Laugh
By now you’ve heard the news: Joker: Folie à Deux is a box office flop and Warner Bros. disaster. While the expectations were high after the original Joker’s success (11 Oscar Nominations and a best actor win for Joaquin Phoenix,) the sequel was not triumphant. Here’s the rub though, I thoroughly loved Joker: Folie à Deux.
The foolishness of Joker: Folie à Deux is that it was a marketed as a grisly continuation rather than the musical hallucination that it is. I enjoyed the original Joker which had exceptional acting and a genuine depiction of mental illness. Phoenix’s Joker isn’t jovial like Nicholson or sadistic like Ledger. Instead this Joker is the product of a man who had been abused and slowly unhinged by an unforgiving society. I am glad however that the sequel did not continue on that same trajectory by lifting the Joker to Icon status. Instead the new film clearly portrays him as a killer who pays for his sins while being devoid of all criminal mastery. While there isn’t much to report plot-wise, the artistry in this film makes it memorable.
The first few minutes of Joker: Folie à Deux begins like a vintage Looney Tunes Cartoon in which Bugs Bunny is replaced by the Joker. The cartoon Joker is striking as he sings on stage while struggling with his animated duality. Quickly that vibrancy is replaced with despondency as the human Joker sits in his jail cell alone. This clever balance sees the Joker inhabit two worlds made ever more meaningful with the introduction of Lady Gaga as Lee Quinzel. Lady Gaga elevates the film while commanding the screen as she applies her clownish makeup and commits each high note. Consequently, a mind trip begins as the film alternates between musical numbers and dramatic interludes. Part Moulin Rouge and part One Flew Over The Cuckoo's Nest (with a little Sonny and Cher thrown in for effect,) make each minute entrancing.
Director Todd Phillips must be commended for going against type. Firstly, for making two Joker films in stark contrast to his Hangover glory days. Secondly, for removing the tropes associated with a comic book origin story. Panned by seemingly everyone this film softly arrived in theatres and will quickly become available on Home Premiere. Sadly, the lacklustre success of this sequel might suggest that comic book readers are not interested in pretentious displays of art. I don’t believe that, instead I see Phillips as a forward thinker. I have always believed that people don’t know how ahead someone else is until they catch up themselves. With a jaw dropping ending and twist that will have you rethinking everything, Joker is skillful and creative. Although ridiculed now I guarantee it will be lauded in years to come, and rightfully so.