saltburn

Saltburn is a captivating and stylish thriller that manages to remain engrossing even though it treads very familiar ground. Drawing inspiration from sociopathic classics from The Talented Mr. Ripley and You to the recent surge of satirical narratives on wealth, exemplified by Triangle of Sadness and White Lotus, this story echoes a wave of themes we’ve seen on screens of all sizes lately.

However, the standout performances keep you glued to the screen. Barry Keoghan (Banshees of Inisherin, Dunkirk) is fire as Oliver as student obsessed with fellow student and aristocrat Felix Catton (Jacob Elordi). Elordi (Euphoria, Priscilla) is equally dazzling as the posh Felix who invites Oliver to the family estate for the summer. Together, they exude undeniable star power.

Enter Rosamund Pike (Gone Girl, An Education), who shines as Felix’s mother and steals most scenes from Richard E Grant (as her husband and Felix’s father). Carey Mulligan (Promising Young Woman An Education), simply disappears into a small cameo role.

Writer-director Emerald Fennell (Promising Young Woman) stumbles a bit with noted familiar storyline, some sophomoric stunts and a fumble on when to close the show, but the Oscar winner for best original screenplay, for her first film ever, punctuates her sophomore outing and second sociopathic thriller with an unforgettable finish that Keoghan swings into with swagger.

The dialogue given to this exceptional ensemble is rich with witty banter, skillfully weaving in reflections on wealth disparity and the repercussions of obsession. Although it is hard to love this film, Saltburn undoubtedly earns a place as one of the better popcorn thrillers this year

In a nutshell: A familiar thriller peppered with some sophomoric stunts but saved by a great cast and witty script.

Where to find it: In theaters, beginning November 17, 2023.

Would it be better with Olivia Colman: Of course.

Award potential: In a year like last, Keoghan would take the Paul Mescal (Normal People, Aftersun) slot. But this year he's up against titans Cillian Murphy, DiCaprio, Bradley Cooper, Colman Domingo and Jeffery Wright — and dark thrillers rarely rise. Elordi

and Pike will and should also be on most shortlists but I don't expect this twisty tale to blow up award season.

The Ten Buck Review: Worth ten bucks

Past Lives

When Na Young, a 12-year-old from South Korea, embarks on a journey to Canada, she leaves behind her friend and initial crush, Hae Sung. After a span of twelve years, fate intervenes as they reunite through social media, rekindling their connection within the backdrop of Na Young's newfound home, New York City.

Past Lives explores a story of untapped possibilities and in-yun, the universe’s way of reuniting souls who shared a connection in previous lives. Luckily, it is quite the antidote to years of repetitive movies about multiverses.

Korean-born playwright and director Celine Song has crafted a powerful story for her exceptional feature debut. You'll notice a bar scene, featuring three characters that has more tension, emotion and commentary on humanity than most movies have in total.

In its own quiet and distinctive manner, Past Lives emerges as an emotionally resonant love story that stands out as one of the most impactful of this decade.

In a nutshell: Past Lives nails a combo of heartstring-tugging, aching romance and deep philosophical vibes. It also made me want to visit Manhattan soon.

Where to see it: In theaters.

Award potential: I would love to see a nomination for its Director, Song, the quiet-moment screenplay, its perfect score — and for Best Picture. 

Greta Lee (Russian Doll), Teo Yoo (Love to Hate You) and John Magaro (Tom Clancy's Jack Ryan) are a powerful trio — yet Lee has the best chance to stand out for award season.

The Ten Buck Review: Worth ten bucks.

Spider-Man: Across the Spider-Verse

Well past the point of watching the Spiderman origin story too many times, Spider-Man: Into the Spider-Verse (2018) blew into cinemas and told the story yet again. Not one time, but dozens as it was a running joke. With a strong story, dazzling visuals, and a running time of under two hours, it was one of the best films of its year. It even won an Oscar.

This summer we have its sequel and Spider-Man: Across the Spider-Verse falls way off the skyscraper. The film struggles with repetitiveness and is overly eager to top itself, resulting in an excess of high-octane action sequences that are hard to follow. 

There are 280 different Spider-people in this film and not one I cared about.

The art, while amazing, is also just trying to top the last film. That misguided, blaring purpose stuck with me more than the artistry involved. Also bloated, the running time. Two hours and 20 minutes built to a cliffhanger with another film to end whatever story they thought they had going. 

Maybe someone out there is willing to wait a year or more to see how "Spot" is defeated, but after this long session I'm the one who feels defeated.

In a nutshell: Too long. Too much. Too little to care about.

Where to see it: In your friendly, neighborhood theater.

Award potential: My spider-sense says it's a sure nominee for Best Animated Film.

The Ten Buck Review: Not worth ten bucks, not two and a half hours.

Oppenheimer

Christopher Nolan's Oppenheimer is a masterful and intellectually charged thriller that seamlessly weaves elements of character study, courtroom drama, and historical lessons into a gripping three-hour cinematic (IMAX-worthy) experience.

Cillian Murphy's (Peaky Blinders) Oscar-worthy portrayal of Julius Robert Oppenheimer, the father of the atomic bomb, is nothing short of exceptional. From the very first scene, where a poisoned apple sets the urgent tone, to the haunting moments of the atomic bombings of Hiroshima and Nagasaki, the film keeps audiences on the edge of their seats for two and a half hours. Unfortunately, the film goes on for almost another hour.

Nolan's decision to cast half of Hollywood proves to be a wise choice, considering the complexity of the story, the physical similarity of these 1940s men and the time span it covers in flashbacks. He's said its to help the audience follow who's who. It can't hurt for box office success either.

Oppenheimer reminded me of Oliver Stone's JFK (1991) with its large cast, courtroom scenes, and study of a turning point in American history. The cast includes Robert Downey Jr., Emily Blunt, Kenneth Branagh, Florence Pugh, Casey Affleck, Rami Malek, Josh Harnett, Tony Goldwyn, Matt Damon, Matthew Modine, Tom Conti and (whew!) Gary Oldman. Each sinking into almost identifiable roles. Except perhaps Matt Damon, who seems to think he was acting in The Monuments Men (2014) or one of the Ocean's movies.

From its seamlessly dizzy flow of flashbacks to its weighted introspection, every second of Oppenheimer is definitely a Nolan film. And one of his best. Telling a historical story, with accuracy respected, gives Nolan some restraint in storytelling that reduces his head-scratching tendencies (Tenet, Interstellar, Inception). Oppenheimer sits on the shelf with Nolan's Dunkirk, Memento and The Dark Knight.

Nolan manages to make complex subjects such as quantum mechanics accessible to the audience, pulling them into a gripping tale. However, the film falters slightly in its third act, shying away from a potentially more impactful climax, leading to a less riveting courtroom finale.

In a nutshell: Riveting and important, until it pulls back. Two and a half hours of truly great cinema stuck in a three-hour film.

Where to see it: In theatres now. Oppenheimer was shot in IMAX and should be seen that way.

Oscar Potential: Expect a sweep of nominations across Picture, Director, Cinematography, Screenplay, Acting and Technical categories. 

Wins could fall on Cillian Murphy. Florence Pugh (wow) does powerful emotional work in a thankless role and Emily Blunt is relegated to a wife role leaving more focus on others.

Cillian Murphy, in almost every scene of the film, is excellent and riveting. A nearly unrecognizable Robert Downey Jr. is a solid contender for Best Supporting Actor.

With its exceptional quiet-to-explosive sound design and Ludwigh Göransson's emotive score, Oppenheimer's best chances for Oscar wins lie in these categories.

The Ten Buck Review: Worth twenty bucks. See it in IMAX.

Barbie

First of all, doll hand high fives are in order. High five to the marketing campaign that created urgency for every demographic to get to the cinema. Another to director Greta Gerwig (Little Bird, Little Women) who didn't deliver a toy movie, but a fun, funny summer film with a universal message. Props to whoever convinced Mattel to take this risk. 

And thumbs up to Margot Robbie and Ryan Gosling for never letting us down.

That said, I enjoyed and appreciated this movie but didn't love it. I laughed a lot, but it could have been funnier. And its exploration of patriarchy, while often quite brilliant, was repeated every minute with every character and it became exhaustingly repetitive. Some variety would have helped this project reach a higher level.

However, did I mention that I laughed out loud, at a toy movie? Once it hits the small screen I won't see it twice, but it's totally worth a ticket this summer.

In a nutshell: It's the moment movie of the year so you might as well go; you'll laugh. Parents, do your homework on the right age for kid viewers.

Where to see it: In theaters now.

Award Potential: Some Golden Globe nominations will surely fill the Comedy/Musical categories. As far as Oscar, The Academy wants to reward female directors but Greta's achievements here will likely fade too much by drama season January to reward her for a Mattel movie. She'll have other chances.

The Ten Buck Review: Worth ten bucks.

Asteroid City

If you squirmed through Wes Anderson's French Dispatch, wishing for the whole thing to end quickly, you'll be happy to know that Asteroid City is a delightful outing. It's not on the upper shelf with Wes' Royal Tenebaums and Rushmore, mind you, but there will be no squirming for an hour and forty-four minutes. Well, maybe some at the very end.

The idiosyncratic director returns with a collection of idiots, "Braniacs" and his usual cast of players (sans Bill Murray). The story takes us on Route 66 to 1950s Asteroid City, a town famous for a famed meteor crater — and one that is about to receive a special visitor.

It's all breezy fun to take in. The gorgeous sets and visual take on 1950s Americana. The screwball comic pacing of Scarlett Johansson and Jason Schwatzman's characters. The vibrant colors. An talented cast of kids. And some inspired, wry comedy. I was thrilled to see it in a full theater as we found ourselves laughing together at all the right, awkward moments.

For most of the film, there is a plot that builds and keeps the interest going beyond the stylings. An indulgent, play-within-the-play diversion featuring Bryan Cranston, Edward Norton and Adrien Brody removes the viewer from the main story — not in a good way — and derails any story momentum. Unfortunately, the whole thing ends pretty flat by the end without a cohesive story or much of a point to make about love, death or life on earth, but at least it's not a collection of vignettes like the last film. When it's over, it's over.

In a nutshell: Style wins over substance in most of Anderson's films and it's true here. Asteroid City didn't quite land the ending but the kid stories are great as are the unforgettable Johansson and Schwartzman bits.

Where to see it: In theaters now.

Award potential: Seems like a lock for a nomination for Oscar's Best Production Design (retitled Art Direction). For Golden Globes, Johansson could see a nod for her roles as an actress and an actress in character. Tom Hanks, Steve Carell and Tilda Swifton's talents are wasted here.

The Ten Buck Review: See it in a theater with all your friends. Worth ten bucks.

Indiana Jones and the Dial of Destiny

It's not the years, it's the mileage

The first and third Indy films, Raiders of the Lost Ark (1981) and Indiana Jones and the Last Crusade (1989), are two perfect films on my short list of favorite films of all time. Let's start there.

Temple of Doom, the second film, is only memorable as the film that forced PG-13 into the rating system, introduced Speilberg to his wife and us to Ke Hu Quan as Short Round. The fourth and previous film, Kingdom of the Crystal Skull (2008), was not only the most disappointing sequel of all time, but it is also the worst Shia LeBeof film of all time. A grand title indeed.

Luckily, the fifth and final Harrison Ford film is a return to form.

It's a distant third, but a lively fun time at the movies with realistic action, bites of comedy, globe-trotting chases and an appropriately aged main character. A visually-weathered Ford matches the cynical, rugged, grumpy, wise-cracking character we love and he never seems out of place in any of the action that ensues. And it works well in a couple of soft moments that push extra, needed emotion into the series.

Whip-smart Phoebe Walker Bridge (Fleabag) and menacing Mads Milkensen (Another Round, Hannibal) expertly sink into the series as naturally as one could ever hope. I mean, Mads was always going to be a Bond villain or an Indiana Jones Nazi, so this is a treat realized. However, fully realized chemistry is displayed most in scenes between Indy and John Rhys-Davies, returning as Sallah.

The plot is centered around a real-life relic, the Antikythera, which promises legendary powers over time. While the "Dial of Destiny" is certainly an allegory here to the aging Ford and series, it is a useful device to propel a globe-trotting race to the finish.

Unfortunately, the finish includes an eye-roller climax common to every failed superhero film this decade. Hollywood, if your film doesn't have a Terminator, Doc Brown or Bill Nighy, leave time travel out of your plotline, please. 

The opening sequence, featuring a digitally de-aged Ford, is stellar as craftwork but is still not at a level that passes for authenticity. What a great idea to give us one last ride with a young Indiana Jones in action, but it didn't work. I was thrilled when we moved on to the real thing.

In a nutshell: Harrison Ford hangs up his hat with a respectable thrill ride worth a one-time watch. See it in the theater and enjoy these characters along with John Williams’ fanfare at theater-quality volume.

Where to find it: In theaters beginning June 30.

Award potential. Not that kind of film. Sentimental possibility for score.

The Ten Buck Review: Worth ten bucks.