Posts by Jeremy Butler

The title is an obvious nod to the popular tabletop game, and while Hungry doesn't reinvent the wheel, it is a mid-tier thriller. The narrative centers around a diverse group of holidaymakers who book a routine alligator-watching flatboat tour through the Louisiana bayou. There were some familiar faces amongst the cast, such as Madison Davenport, who I haven’t seen since the television version of From Dusk Till Dawn, as well as Joaquim de Almeida, who serves as the primary human catalyst for the film's deadly events. Following watching the film, I did find myself having to research the overall likelihood of an African hippopotamus in the Louisiana bayou. Not so much because I consider the idea a legitimate threat, but more so because I wanted to identify just how out-of-left-field the premise of the film was overall. Based on my research, I was correct to surmise that the idea was out of left field, but not quite as much as I thought it was. Because on the one had there are no wild hippos in the bayous of Louisiana or anywhere else in the United States, but the idea of hippos in the bayou does comes from a real historical proposal.

So, I’m usually a huge fan of dialog. That's normally my jam. I love some good wordplay. However, in the case of Exit 8, the minimalism of the dialog worked in my favor given my inability to understand Japanese. And when there are subtitles, I find my focus split between paying attention and reading. However, fortunately, Exit 8 Director Genki Kawamura intentionally constructed the film with a sparse script to replicate the isolation and quiet focus of the original video game. That’s right, it is based on a video game, and based on my research it is a pretty good likeness of the game in terms of story mechanics, visual and environmental continuity, as well as overlapping anomalies and non-playable characters (a.k.a NPCs). Inspired by the concept of liminal spaces such as the fictional Backrooms 4chain imageboard thread, the game, as well as the movie, is set in a passageway of the Japanese metro. Within this setting, the main character, an unnamed man (dubbed “The Lost Man”) is caught in a looping subway corridor and must spot possible anomalies in each loop to escape.

“Careful with vengeance. You never know where the blood will land.”

Well, this was a revenge story if I’ve ever seen one, and a top-tier cast to sell it. Based on an award-winning play from playwright Aleshea Harris, who also penned and directed this adaptation. Apparently, Harris only initially intended to write the script, but through the encouragement of the film’s producers she decided to direct it as well. I like that. After all, who would be better equipped to direct the silver-screen adaptation than the playwright responsible for the play that received three Obie awards (Off-Broadway Theater Awards)? I’ve long been a proponent of the idea that the creator should be involved in any adaptation of their work when possible. And while I can’t speak to any deviation between the film and the play (because I’ve never seen the play), I’m confident that those changes were minimal. Additionally, just as it is important to have the right storyteller, it is equally important to have the right people to bring that story to life.

“Not to me. Just … unheard. Unseen. A respectable person, disrespected in a place where murder is easy.”

I would say that this was a pretty faithful adaptation of the popular Agatha Christie novel, albeit with a few instances of poetic license being taken. And I do mean that this novel is popular. This addition marks the sixth adaptation of this novel, with the previous incarnations being for film, theater, radio, and television, with the previous TV version being adapted for a Miss Marple episode which famously featured Benedict Cumberbatch. This two-episode version features David Jonsson of Alien: Romulus and The Long Walk fame, Morfydd Clark of Rings of Power fame, and Dame Penelope Wilton. And while the series does exercise that poetic license, these changes actually add a degree of depth to the overall adaptation in my opinion. Such as the reinvention of Jonsson’s Fitzwilliam as a Nigerian attaché arriving in 1954 Britain. When done right, these deviations from the source material can act as a fresh commentary on a beloved piece of fiction.

Been seeing a lot of Josh O’Connor lately, and I’m glad to see it. Prior to his performance in Challengers, I had only a mild awareness of him, but since then, it’s been impossible to escape his presence. Speaking of presence, I feel like O’Connor brings something different with every role. In the case of The Mastermind, O’Connor deadpans comedic irony, quiet domestic desperation, and a deeply flawed, delusional masculinity. Given how the situation works out for his character, the title is more than a bit ironic. I’d go so far as to consider this an anti-heist movie if it weren’t for the fact that bumbling thieves managed to accomplish the task. The heart of the film resides in the aftermath of the heist and the hijinks that transpire. Rounding out of the cast were Hope Davis, Bill Camp, Alana Haim (One Battle After Another), and John Magaro (The Bride!). The film is a bit of a slow burn, but the character performances are the driving force of the film, as the plots debunks the idea of a smooth-talking American criminal in favor of an everyman, or better yet, an amateur trying to head up an art theft.

Set in a sedate Massachusetts suburb in 1970, the film follows O’Connor’s James Blaine “J.B.” Mooney, an unemployed family man and failed architect who concocts a plan to rob a local art museum. Alongside a couple of amateur accomplices, he manages to successfully steal four Arthur Dove paintings. Rather than lingering on the suspense of the theft, film director Kelly Reichardt sped through the heist itself and focused primarily on the fallout. As previously mentioned, the ironic title becomes clear as J.B. proves to be anything but a mastermind; he is an inept, privileged oaf who spends his time floundering on the run, hiding canvases in barns, and testing the patience of those around him.

There are definitely notes of the bard in this film. Adopting the star-crossed lovers’ motif, Lovelines hinges on the rivalry that peaked at an annual Battle of the Bands contest, where Rick (Greg Bradford), the lead singer of the rock band Racer, fell for Piper (Mary Beth Evans), the frontwoman for the rival group The Firecats. To keep their forbidden romance alive against the wishes of friends, rival musicians, and Piper's massive, protective brother, the pair relied on "Lovelines". This specialized local dial-in telephone party line served as a 1980s analog precursor to modern internet dating. As I met my wife via modern internet dating, I was intrigued by the premise, which highlighted this old school predecessor, and its use as a covert communication mechanism for the lead characters. There weren’t a lot of recognizable faces for me in this one or remarkable performances, outside of Miguel Ferrer who played a punk rocker named Dragon. However, on the plus side, the film does feature a prank war, and I do love a good prank war.