Reviews of the Bosch

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The Intriguing, Scandalous Tension of Verity

It’s hard to talk about Verity without comparing it to The Housemaid from last year. Both erotic thrillers based on bestselling novels in which a young woman comes into the household of a married couple, flaring up some sexual tension with the husband while tormented by the wife; and to top it off, both are directed by filmmakers previously known for comedies. In such a situation the one that comes after will always look more than a little derivative (even though Colleen Hoover’s novel Verity predates Freida McFadden’s The Housemaid by four years). It’s an unfortunate hand, but one that probably should be disregarded. In the literary world this subgenre of thriller is thriving -it is certainly not the last of these kind of movies we are going to see. And besides all that, Verity is ever so slightly the better film. Perhaps that is feint praise, the movie is still very contrived and trashy (a feature, not a bug), but it has a few more compelling layers than its elder cousin film -ev...

Digger, or How I Learned to Wallow in Dread Against the Futility of Satire

I'll say this for Alejandro G. Iñárritu -he comes closer to the mark of Dr. Strangelove than Adam McKay did . Feint praise, but it's not nothing. We are living through times that defy satire. There is very little in the main narrative of Iñárritu's new film Digger that feels legitimately outrageous. Its premise, its characters, and even their bluntness about their own amoral priorities feels substantially less shocking or scandalous than they might have even twenty years ago. Mocking the clowns in power and how they will destroy the world is an exercise that has lost its sting. It's not that it is too close to home, it's that it lacks sufficient hyperbole. Perhaps that is why Digger tries so hard to cultivate humour in broader ways, ways that Iñárritu is not particularly adept at. The actions at play themselves don't feel ludicrous enough, so colouring them in overblown performances and gross-out comedy may be the way to accentuate them. A trigger-happy U.S P...

Futurama Reviews: S11E10 -"Final Ending: The Last Conclusion"

Futurama is over once again. Well not quite. In the last week it was confirmed what I and others suspected given the lack of a renewal announcement: after four short seasons Futurama has been canceled at Hulu. This isn’t fully the end of the series there as it is producing three more movie-length specials to come out sometime next year, but once those are complete the show will be yet again gone in the ether. Matt Groening and David X. Cohen have made the usual remarks about looking for a new home again, and after this happening three times before I’m not going to say they won’t find one and Futurama won’t somehow come back again. But I also feel they are running out of options -they went from a major network to a cable network and now to streaming, where even could they end up next? It is worth taking at least some stock in those upcoming specials being the real finale to the show -as such the title to this episode is both premature and starkly accurate (and it might have been a ta...

The Tangible Fuel of Heart of the Beast

The star power of Heart of the Beast comes not from Brad Pitt’s rather bland special forces army veteran, but from the film’s true protagonist -his loyal German Shepherd Odin. And the big reason for that is that Odin actually has screen presence and charisma because Odin is real. In this time when most movie animals (including the rest of the wildlife that appears in this) are rendered digitally , thus feel ing spatially and tangibly removed from the human actors they interact with, Odin is a real dog -or rather several (Uber, Seeka, Ryker, and Hondo are credited as his actors) and that carries weight especially when he is the character the movie’s premise rests on. And whatever else, he is compelling to follow here. The movie is directed by David Ayer, fresh off a pair Jason Statham vehicles, and it would appear to be a bit of an effort to diversify his directorial image, if still occasionally touched by his particular tiresome masculine tropes and dim characterization. But it is ...

Down the Twisted Rabbit-Hole of Primetime

To Catch a Predator was such a distinctly 2000s artefact that people not around for it might be puzzled by its very conceit. A show that made a spectacle out of “catching” sexual predators, it was part of that initial reality TV boom of the 2000s -even as it was billed sometimes as an investigat ive journalism program. It got a lot of attention off of that public desire to watch bad people humiliated and punished (even though very few of the subjects from the show ever saw substantial prison time), and a little bit of a flare for vigilante justice. The show opined to be a bastion of justice, yet there was something just kind of seedy and gross about it. At that time and even more so now, Americans have an unusual preoccupation with pedophilia, and it was something that Chris Hansen, the creator of To Catch a Predator , was clearly aware of and keen to exploit. And as the man who always came around the corner to confront the would-be child molesters, he set himself up quite well to be...

Not a Daredevil: The Intriguing Story of The Stunt Driver

The Stunt Driver is a movie that rides or dies on conveying a certain charmed veneration of its subject, Canadian stuntman Ken Carter. His personality and his ambitions, ridiculous and frankly idiotic though they may have been, are coloured by the film with gusto even if his motivations don’t entirely hold water. It is also impossible to separate this tone of the movie and its subject with star Jay Baruchel’s intense patriotism for anything Canadian. Baruchel really has come home in a way that few other Canadian celebrity expats have, dedicating much of his work to uplifting the Canadian film industry (he hasn’t appeared in an American movie since the last How to Train Your Dragon film in 2019). And even though he isn’t a producer, writer, or director her e, it feels entirely of that Canadiana spirit he’s been folding into his brand. The story of this plucky Canadian daredevil -known by the moniker “the Mad Canadian”- always in the shadow of Evel Knieval down south is right up his al...

Back to the Feature: The Asphalt Jungle (1950)

In The Asphalt Jungle , everybody is corrupt except for the criminals. They are at least honest about what they are and what they want, and have a nobility to them that the cops and seemingly upstanding figures in their orbit don’t. John Huston began his career with The Maltese Falcon , one of the essential film noirs -but it is not until this movie nearly a decade later that he carves out a more complex image of the cops and robbers dynamic that made film noir an interesting genre to contend with. These are not shifty, unsettling figures like Sidney Greenstreet or Edward G. Robinson. They are more nuanced and motivated and in their way more moral. They are the ones with families -or in the case of Sterling Hayden’s Dix, a committed girlfriend. While the indebted, incompetent lawyer weaseling in on their scheme ignores his ill wife for a creepy affair with a much younger woman. It was a touch contentious in 1950. Louis B. Mayer, whose studio produced the picture, vehemently disliked it...