Reviews of the Bosch

I don’t know if anybody was asking what The Blue Lagoon  would look like in the hands of Sam Raimi, but we’re quite fortunate that he decided to show us anyway. It’s been a long time since Raimi has directed outside of the typical Hollywood franchise bubble -the last movie to truly be called his own was 2009’s Drag Me to Hell . In fairness, he did have a hiatus of about a decade before Dr. Strange in the Multiverse of Madness  in 2022, during which he time he produced a fair number of weird genre projects for other directors. And maybe something rubbed off on him, to a small degree on his Marvel film -which is at least aesthetically more weird and compelling than a lot of its cohorts- but especially so on his latest movie, which seems to prove he doesn’t just have superhero films to offer anymore. And Send Help  is refreshingly free and loose and twisted in a way that we both haven’t seen from him in a while and has just in general been missing from mainstream c...

“It was not Hitler or Himmler who deported me, beat me, and shot my family. It was the shoemaker, the milkman, the neighbour who were given a uniform and then believed they were the master race.” -Karl Stojka, Holocaust survivor For some reason I’ve been thinking a lot about Nuremberg lately. And it has nothing to do with the film last fall of the same name , though that of course too came to mind watching Stanley Kramer’s seminal courtroom drama about Holocaust accountability, Judgment at Nuremberg . The lessons that the world took away from that episode of history and indeed the themes relayed in this film feel only too relevant in this moment of history that with any luck will end on its own repeat of Nuremberg levels of accountability. That being said, Kramer’s film is a bit of an odd beast where the subject of Nuremberg is concerned. It is not in fact a biographical retelling of the Judges’ Trial of 1947 -the context of the war, the Holocaust, and the Nazis all remain in place, bu...

Mercy  is a movie constructed of shameless copaganda and gross A.I. apologia. It’s no wonder that Jeff Bezos -whose Amazon owns MGM- is ultimately behind it. It is also little surprise that Chris Pratt, whose personal conservative proclivities have come out more and more frequently in recent years, is its central star, though spending much of the movie sat in a chair. The film is directed by Timur Bekmambetov, of Wanted  and more appropriately last year’s disastrous War of the Worlds adaptation and uses a similar dependence on storytelling through screens here -a gimmick that was once neat and interesting when something like   Searching was a one-off, but has become increasingly dull and repetitive a conceit. How many times do we need to zoom in on a new tab or window opening? At least this one lets us see into Pratt’s immediate surroundings. Extremely faint praise though and about all that this movie deserves as it seems to exist as the Devil’s Advocate for artificial i...

Train Dreams  is the kind of movie that only makes you more frustrated with Netflix. The film had the smallest of theatrical runs before dropping on the streaming service to no fanfare until some people started noticing it and it gained some awards season traction. But it is the kind of movie in visuals and narrative scale that is made for the theatrical experience -it’s setting and atmosphere would resonate so well in that context, its power of immersion would be stronger. It’s a good movie to watch in any case, but at home it is just clearly the inferior version. That said I wouldn’t quite compare its natural cinematography by Adolpho Veloso to the work of Terence Malick, as has been stated by some, though the tone of the piece is certainly similar. Directed by Clint Bentley and written by him and Greg Kwedar (the two collaborated previously on Sing Sing  -with Kwedar directing from a script by him and Bentley), the storytelling of Train Dreams  is fairly minimalis...

The critical thematic point of Danny Boyle’s 28 Days Later is when the small group of heroes, who have been evading the zombie hordes that have overtaken Great Britain, are rescued by a surviving human military outfit, only to soon discover this collective -free of oversight or consequence in their myopic and violently sexual delusions about rebuilding society- is just as dangerous if not more-so than the rage-infected automatons. It’s really the chief thing about Alex Garland’s script that makes it so potent -that damning conception of human nature under pressure.  And it is the same thing that he and director Nia DaCosta bring back to 28 Years Later: The Bone Temple , which adds an additional layer of bringing a little more nuance to the zombies. There are two visceral violent sequences in the movie that stand out -one in which one of the infected tears off a human’s head and then cannibalizes it, and another in which a human gang ties up a group of fellow survivors and flays the...

Gus Van Sant has a certain creative affinity for, and a mild, sometimes cautious sympathy with eccentric real characters. In the extreme it applies to each of the subjects of his ‘Death Trilogy’, though also to a degree his portraits of the eponymous gay rights icon in Milk  and niche underground cartoonist John Callahan in Don’t Worry, He Won’t Get Far on Foot . Tony Kiritsis is another one of these figures, whom Van Sant is clearly fascinated by and whose grievance he relates with in broad terms if not perhaps the specifics of his personal issues, actions, and mindset -a man framed as right and wrong in equal measure. Dead Man’s Wire  is an extremely detailed recounting of a hostage situation that took place in Indianapolis in 1977. Kiritsis, played by Bill Skarsgård, went to the Meridian Mortgage firm for an appointment with its wealthy founding broker M.L. Hall (Al Pacino), instead getting his son Richard (Dacre Montgomery) filling in for his vacationing father. Feeling ch...