Film Review: "White Noise" (2022).

"You can't hear it if it's everywhere" in White Noise. This absurdist comedy-drama film adapted and directed by Noah Baumbach, and based on the 1985 novel of the same name by Don DeLillo. At once hilarious and horrifying, lyrical and absurd, ordinary and apocalyptic, the film dramatizes a contemporary American family's attempts to deal with the mundane conflicts of everyday life while grappling with the universal mysteries of love, death, and the possibility of happiness in an uncertain world.

In late July 2004, Barry Sonnenfeld was set to direct the film adaptation of DeLillo's novel penned by Stephen Schiff. By mid October 2016, Uri Singer acquired the rights to the book and pushed the project into development with Michael Almereyda hired to write and direct the film adaptation. In mid January 2021, it was revealed that Baumbach would be adapting and directing the film for Netflix. By June 2021, Adam Driver, Greta Gerwig, Raffey Cassidy, André Benjamin, Jodie Turner-Smith, Don Cheadle, and Lars Eidinger were cast. At the same time, principal photography commenced and wrapped in January 2022. Filming took place throughout California and Ohio under the working title Wheat Germ. In August 2022, Danny Elfman was hired to compose the film's score.

The film stars Driver, Gerwig, Cassidy, Benjamin, Turner-Smith, Cheadle, and Eidinger. Driver, best known as the heartthrob star of the Star Wars sequel trilogy, will surprise many here with his intelligent ease in playing a very different sort of character.

Baumbach has not made a commercial piece of cinema overly concerned with making money here; this is a work of art whose brushstrokes are masterfully crafted, intricate, sometimes distancing, and nothing short of fascinating. Baumbach brilliantly captures DeLillo's take on the absurd amount of conflicts faced Gladney as he and his family are dealing with the end of the world. If you've read DeLillo's source material, as I have, then you have a fairly clear picture of the surreal yet extremely pointed world that DeLillo created on the page. It's exhausting trying to wade through a movie where every statement is delivered like a treatise. The universal mysteries of love, death, and the possibility of happiness in an uncertain world, what does it all mean? In the end it means nothing. The film is exhilarating in two ways. The first is that it offers up the soothing image of a contemporary American family brought to heel by the end of the world. The second is the cast, led by Driver. The film, based on the Don DeLillo novel, is less forthright and substantially less enjoyable, but the same general themes are recognizably in place. Perhaps it's a mutant that can't quite fly, but its stank movements will certainly cause pause for reflection, one that will repel as equally as it may attract. DeLillo's cold, exacting precision and emotionally removed observation may not grab all viewers, but under those perfect surfaces is a raw horror trying to claw out of the denial.

Simon says White Noise receives:

Also, see my review for Marriage Story.

Film Review: "The Lost King" (2022).

"Her story made history" with The Lost King. This British comedy-drama film directed by Stephen Frears, written by Steve Coogan and Jeff Pope, and based on the 2013 book The King's Grave: The Search for Richard III by Philippa Langley and Michael Jones. In 2012, having been lost for over five-hundred years, the remains of King Richard III were discovered beneath a carpark in Leicester. The search had been orchestrated by an amateur historian, Philippa Langley, whose unrelenting research had been met with incomprehension by her friends and family and with scepticism by experts and academics. The film is the life-affirming true story of a woman who refused to be ignored and who took on the country's most eminent historians, forcing them to think again about one of the most controversial kings in England's history.

In November 2020, a film dramatisation of Langley and Jones' 2013 book, penned by Coogan and Pope, was announced with Frears hired to direct and Coogan attached to co-star. In March 2021, it was announced that Sally Hawkins had joined the cast as Langley. By April, Harry Lloyd, Mark Addy, James Fleet, and Amanda Abbington rounded out the film's cast. At the same time, principal photography commenced and took place throughout Edinburgh, Scotland. There was some mild controversy prior to this films' UK release when several people involved in the archaeological dig gave interviews to some UK newspapers (notably The Guardian and Daily Mail) disputing the events depicted in the film and accused the scriptwriters of romanticizing and overplaying the role of Langley in the actual locating and discovery of Richard III's resting place. This criticism prompted Coogan to give an interview to the BBC defending the story-line of the film and accusing the University of Leicester of trying to discredit the role Langley played in the discovery and believing that, despite Langley being an amateur, they were embarrassed she had out-thought several of their renowned historical experts and they were not happy that this was portrayed within the film. The film alludes to Langley working out where the body was buried with very little help except by a prompt from a biographer. This is a slight distortion of the truth as there were already two published biographies at the time (that she may even have read) that theorized the same thing and in more or less the same place. However Langley was more pro-active in pushing for an architectural dig at the site than the two authors.

The film stars Hawkins, Coogan, Lloyd, Addy, Fleet, and Abbington. Hawkins gives an unwavering performance as a woman who is largely ignored in her life, with an impressive ability to have the determination to fight the system that has neglected her.

Frears overplays his hand occasionally, but the film is balanced by some fine performances, especially by Hawkins, and a delicate script by Coogan and Pope. While several dramatic liberties were taken with the actual true account, most of them help make this a good film.

Simon says The Lost King receives:

Also, see my review for Victoria & Abdul.

Film Review: "Puss in Boots: The Last Wish" (2022).

"A new story from the fairy tales of Shrek" comes Puss in Boots: The Last Wish. This computer-animated adventure film directed by Joel Crawford and Januel Mercado, written by Paul Fisher and Tommy Swerdlow, and produced by DreamWorks Animation. It is a sequel to the 2011 film Puss in Boots; a spin-off of the Shrek franchise, and the sixth overall film in the series. Puss in Boots embarks on an epic journey into the Black Forest to find the mythical Wishing Star and restore his lost lives. But with only one life left, Puss will have to humble himself and ask for help from his former partner and nemesis: the captivating Kitty Softpaws. In their quest, Puss and Kitty will be aided—against their better judgment—by a ratty, chatty, relentlessly cheerful mutt, Perrito. Together, our trio of heroes will have to stay one step ahead of Goldi and the Three Bears Crime Family, Jack Horner and terrifying bounty hunter, the big, bad Wolf.

In April 2014, voice actor Antonio Banderas said work on the sequel had begun. In mid June 2014, the movie was titled Puss in Boots 2: Nine Lives & 40 Thieves. In March 2015, Banderas said the script was under restructuring. In February 2019, it was reported Bob Persichetti was set to direct the film. In late August 2020, it was announced that Puss in Boots: The Last Wish was the new title of the sequel, which was approved in December. In March 2021, Crawford replaced Persichetti as director, with Fisher and Mercado were hired to pen and co-direct the sequel. In March 2022, Salma Hayek was confirmed to reprise her role, with Harvey Guillén, Florence Pugh, Olivia Colman, Ray Winstone, John Mulaney, and Wagner Moura rounded out the film's voice cast as newcomers. Like DreamWorks' previous film The Bad Guys (2022), inspiration for the design of the film came from Sony Pictures Animation's Spider-Man: Into the Spider-Verse (2018), to make the film look more like storybook illustrations, from an idea suggested by production designer Nate Wragg. Using new technology, the team at DreamWorks focused more on a painterly style design, to make the film look like a fairy-tale world, different than what it was in Shrek (2001) from their defunct studio Pacific Data Images. The film was originally scheduled for a November 2, 2018 release date, and later on December 21, 2018, before it was removed from the release schedule altogether in January 2015. In March 2021, it was given a September 23, 2022 release date, but in April 2022, the release was moved to its current December 21 date.

The film stars the voice talents of Banderas, Hayek, Guillén, Pugh, Colman, Winstone, Mulaney, and Moura. All the cast are uniformly excellent in their roles.

The film is one of the best DreamWorks features and one of the best animated sequels ever made. It takes everything that made the first film a phenomenon and amplified it to create an unforgettably hilarious experience.

Simon says Puss in Boots: The Last Wish receives:

Also, see my reviews for The Croods: A New Age, Puss in Boots and The Bad Guys.

Film Review: "The Banshees of Inisherin" (2022).

"Everything was fine yesterday" in The Banshees of Inisherin. This black tragicomedy film written and directed by Martin McDonagh. Set on a remote island off the west coast of Ireland, the film follows lifelong friends Pádraic and Colm, who find themselves at an impasse when Colm unexpectedly puts an end to their friendship. A stunned Pádraic, aided by his sister Siobhán and troubled young islander Dominic, endeavours to repair the relationship, refusing to take no for an answer. But Pádraic's repeated efforts only strengthen his former friend’s resolve and when Colm delivers a desperate ultimatum, events swiftly escalate, with shocking consequences.

In February 2020, it was announced that McDonagh had set his next directorial effort up with Searchlight Pictures, and it would see him reunite with his In Bruges stars Brendan Gleeson and Colin Farrell. The film, original title The Banshees of Inisheer, was intended to be the third installment in a series of McDonagh's stage plays, dubbed the Aran Islands Trilogy, which included The Cripple of Inishmaan and The Lieutenant of Inishmore. By late August 2021, Kerry Condon, and Barry Keoghan rounded out the film's cast. At the same time, principal photography commenced and wrapped in late October. Filming took place in Inishmore, Aran Islands, County Galway and Achill Island, County Mayo, Ireland.

The film stars Farrell, Gleeson, Condon, and Keoghan. Gleeson is a delight and Farrell gives his best performance in ages, capturing both the unrepentant philistine and endearing vulnerability in Pádraic Súilleabháin.

The film is a darkly humorous one that should be seen not just for the way it subverts genre norms, but also for how it sculpts and redefines them into something better. The film is about meaningful conversations, idleness, boredom, remorse, hard laughs, stark violence, and grotesque humor—I loved it. It’s got dialogue that can cut glass, performances akin to tight-rope displays, and constantly shifting alliances that keep us guessing. McDonagh's affinity with meandering, melodically rhythmic dialogue and volcanic eruptions of profanity serves him well in this witty, wordy film. While a plot does kick in, the film is at its most fun when these two are just milling about, delivering McDonagh’s exquisite dialogue. The film is one of those "hidden gems" you don’t necessarily hear much about but, once you’ve seen it, you can’t forget it. Smart, thoughtful and multi-layered, the film is a wild vacation that any broad-minded cineaste should book themselves in for. A wonderful film that has so much going on underneath all the intelligent dark humor and hitmen premise. The cast, especially Farrell and Gleeson, are fantastic. You get the sense, now and then, that McDonagh is taking a little too much relish in his character's political incorrectness, but the writing is so scabrously funny that you'll laugh despite your best intentions. The writing is crisp and witty and full of interesting philosophical layers that gives the movie its surprising punch. McDonagh straddles that line between giving the movie just enough dramatic integrity, while also drawing attention to its postmodern machinations.

Simon says The Banshees of Inisherin receives:

Also, see my review for Three Billboards Outside Ebbing, Missouri.

Film Review: "Glass Onion: A Knives Out Mystery" (2022).

From the writer and director of Knives Out comes Glass Onion: A Knives Out Mystery. This mystery film written and directed by Rian Johnson. It is the sequel to the 2019 film Knives Out. World-famous detective Benoit Blanc heads to Greece to peel back the layers of a mystery surrounding a tech billionaire and his eclectic crew of friends.

Before the release of Knives Out, Johnson had teased the possibility of a sequel revolving around the lead character, Detective Benoit Blanc. In early 2020, the sequel was officially greenlit by Lionsgate. In March 2021, Netflix outbid Amazon and Apple at an auction to acquire the rights to the film and another sequel to Knives Out for $469 million, with Johnson returning as director, Daniel Craig set to reprise his role as Blanc, and a budget of at least $40 million for the first installment. By late June 2021, Edward Norton, Janelle Monáe, Kathryn Hahn, Leslie Odom Jr., Kate Hudson, Dave Bautista, Jessica Henwick, Madelyn Cline, Noah Segan, and Dallas Roberts rounded out the film's ensemble cast. Additionally, the title was officially announced as Glass Onion: A Knives Out Mystery. Craig worked with a dialect coach to regain familiarity with Blanc's Southern accent. At the same time, principal photography commenced and wrapped in mid September. Filming took place in Spetses, Greece and Belgrade, Serbia. 

The film stars an ensemble cast that includes Craig, Norton, Monáe, Hahn, Odom Jr., Hudson, Bautista, Henwick, Cline, Segan, and Roberts. It has good performances and brushes of originality and freshness. Yet it tries so hard for the audience's approval and validation it becomes somewhat bugging. Good movie nonetheless. The all-star cast takes turns chewing the scenery. Craig again steals the film as Blanc. If film fans are wondering if there is still life after James Bond for Craig, the answer is still a resounding YES. We are absolutely going to miss Craig as Bond, but perhaps he's trying out a new franchise under the unlikely name of Blanc. I certainly don't mind.

The sequel is another very good silly-funny satirical comedy, with a super all-star cast cavorting as recognizable pulp fiction detectives gathered at the home of Norton's Miles Bron, a manipulative yet idiotic billionaire throwing an unnecessarily lavish weekend getaway for his closest "friends". It's worth seeing for some delicious character acting by major stars and, especially, for the gay sub-theme winding through it. If parody, in this occasion, reaches a superior level, it is due to the effective cast and the irony with which the story is told. So it all doesn't amount to much, and -- some knuckle-dragging 'their stupid'/'no I'm not' humor aside -- it's more Scooby Doo than Alfred Hitchcock Presents. Still, it's an amusing tea-cozy of a spoof with an enjoyable cast. A funny modern satire on the old murder-mystery detective series of the 1930s and '40s. Some jokes hit, while others really hit. The film pokes fun at every type of wealthy elite you can think of and every clich you've ever wanted to red pencil out of a script.

Simon says Glass Onion: A Knives Out Mystery receives:

Also, see my review for Knives Out.

Film Review: "The Volcano: Rescue from Whakaari" (2022).

From the director of Downfall: The Case Against Boeing comes The Volcano: Rescue from Whakaari. This documentary film directed by Rory Kennedy. A minute-by-minute account of tourists caught in a tragic volcanic eruption while sightseeing on an island off New Zealand in 2019, the film celebrates the survivors, as well as the everyday people who courageously came to their rescue.

Whakaari / White Island (Te Puia Whakaari, "the dramatic volcano"), also known as White Island or Whakaari, is an active andesite stratovolcano situated forty-eight km (thirty mi) from the east coast of the North Island of New Zealand, in the Bay of Plenty. The island covers an area of approximately three hundred and twenty-five ha (eight hundred acres), which is just the peak of a much larger submarine volcano. The island is New Zealand's most active cone volcano, and has been built up by continuous volcanic activity over the past one hundred and fifty thousand years. The nearest mainland towns are Whakatane and Tauranga. The island has been in a nearly continuous stage of releasing volcanic gas at least since it was sighted by James Cook in 1769. Whakaari erupted continually from December 1975 until September 2000, and also erupted in 2012, 2016, and 2019. Sulphur was mined on the island until the 1930s. Ten miners were killed in 1914 when part of the crater wall collapsed. The main activities on the island now include guided tours and scientific research. Access to the island is allowed only as a member of a tour run by a registered tour operator.

On 9 December 2019, the island explosively erupted, and forty-seven people were on the island at the time. Twenty-two people died, either in the explosion or from injuries sustained, including two whose bodies were never found and were later declared dead. A further twenty-five people suffered injuries, with the majority needing intensive care for severe burns. The ongoing seismic and volcanic activity in the area as well as heavy rainfall, low visibility and toxic gases hampered recovery efforts over the week following the incident. Experts identified the event as a phreatic eruption: a release of steam and volcanic gases that caused an explosion, launching rock and ash into the air. Following the eruption, investigations resulted in WorkSafe New Zealand charging multiple tour operators, government and scientific agencies under the Health and Safety at Work Act for failing to ensure the health and safety of workers and others. The latest hearing was held in June 2021.

Kennedy's gut-wrenching film is must-see viewing to learn about a senseless chapter in the history of Whakaari / White Island. An unfortunate reminder of the destructive power of nature. Infuriating to witness this event specially when it came to the official death toll that climbed to twenty-two souls. However, Kennedy focuses the film to a fault, trapping itself in a redundant exploration of the history of the island and its previous eruptions, its lack of foresight and the event that destroyed Whakatāne's tourism image.

Simon says The Volcano: Rescue from Whakaari receives:

Also, see my review for Downfall: The Case Against Boeing.

Film Review: "Bardo, False Chronicle of a Handful of Truths" ("Bardo, falsa crónica de unas cuantas verdades") (2022).

"Experience a state of mind" with Bardo, False Chronicle of a Handful of Truths (Bardo, falsa crónica de unas cuantas verdades). This Mexican epic black comedy drama film directed by Alejandro G. Iñárritu and written by Iñárritu and Nicolás Giacobone. The film is an epic, visually stunning and immersive experience set against the intimate and moving journey of Silverio, a renowned Mexican journalist and documentary filmmaker living in Los Angeles, who, after being named the recipient of a prestigious international award, is compelled to return to his native country, unaware that this simple trip will push him to an existential limit. The folly of his memories and fears have decided to pierce through the present, filling his everyday life with a sense of bewilderment and wonder. With both emotion and abundant laughter, Silverio grapples with universal yet intimate questions about identity, success, mortality, the history of Mexico and the deeply emotional familial bonds he shares with his wife and children. Indeed, what it means to be human in these very peculiar times.

In late March 2020, it was reported that Iñárritu would write, direct and produce a new film, to be shot in Mexico. Iñárritu returned to shoot and produce a film entirely in Mexico for the first time since Amores perros (2000) over twenty years ago. By early March 2021, Daniel Giménez Cacho, Griselda Siciliani, Ximena Lamadrid, Jay O. Sanders, and Fabiola Guajardo were cast. At the same time, principal photography commenced and wrapped in September. Filming took place throughout Mexico City. With the confirmation that the movie is shot on 65mm film, this will mark Iñárritu's first film shot on film stock since Biutiful (2010). However, allegations were made over social media by several figures in the Mexican film industry that Iñárritu constantly breached COVID safety protocols, resulting in hazardous working conditions and even the deaths of a number of crew members, with further talk of a class action suit against Iñárritu to follow. As of the film's announced premiere at the Venice Film Festival, no announcement or follow-up has occurred. In late April 2022, Netflix announced that in addition to acquiring the distribution rights and being available on the streaming platform, the film would be its first wide theatrical release, as opposed to limited theatrical showings. It also was confirmed to be shot on 65mm film, a rarity for streaming services in general. Iñárritu continued editing the film after its premiere. The version screened at the 70th San Sebastián International Film Festival in late September 2022 runs a hundred and fifty two minutes without credits, twenty-two minutes shorter than the one screened at Venice and Telluride. The final runtime was set at a hundred and sixty minutes (including credits). Iñárritu edited the film himself for the first time since his debut feature, Amores Perros.

The film stars Cacho, Siciliani, Lamadrid, Sanders, and Guajardo. Here not a single performance falters.

Despite its lack of clarity, conflicting thematic messages and indecipherable tone, the film is the rarest of oddities: accidental genius.

Simon says Bardo, False Chronicle of a Handful of Truths (Bardo, falsa crónica de unas cuantas verdades) receives:

Also, see my review for The Revenant.

Series Review: "Don't Pick Up the Phone" (2022).

From the director of Dr. Death: The Undoctored Story comes Don't Pick Up the Phone. This crime documentary series directed by Sara Mast. This docuseries follows the investigation into a hoax caller who talked managers into strip-searching employees at fast food businesses across the US.

In 1994, a series of incidents, mostly occurring in rural areas of the United States, that extended over a period of at least ten years, began and was known as The Strip Search Phone Call Scam. There were numerous prior incidents in many states which followed the pattern of the fraudulent call to a McDonald's restaurant in Mount Washington, Kentucky. The majority of the calls were made to fast-food chain restaurants, but some were made to grocery stores and video rental stores. With every hoax, a male caller who identified himself as a police officer or other authority figure would contact a manager or supervisor and would solicit their help in detaining an employee or customer who was suspected of a crime, such as theft or drug possession. He would then provide a generic description of the suspect (typically a young female employee, but a few victims have been male or older) which the manager would recognize, and he would then ask the manager to search the suspected person. The tasks would initially start as strip searches before gradually becoming more invasive and sexual in nature as the "investigation" continued. Eventually, the caller would have groomed the manager to the point where they would do almost anything asked by the caller, such as spanking, kissing, inappropriate touching, oral sex, and even sexual assault and rape. Many of the incidents would last hours before either the participants of the strip search realized the call is a hoax or by the intervention of a bystander. The calls were most often placed to fast-food restaurants in small towns. More than seventy such phone calls were reported in thirty U.S. states, until a 2004 incident in Mount Washington, Kentucky led to the arrest of David Richard Stewart. Stewart was acquitted of all charges in the Mount Washington case. He was suspected of, but never charged with, having made other, similar scam calls. Police reported that the scam calls ended after Stewart's arrest. Louise Ogborn, the Mount Washington victim, underwent therapy and medication to address post-traumatic stress disorder and depression. She abandoned her plans to attend the University of Louisville, where she had anticipated becoming a pre-med student. Three years after the incident, still undergoing therapy, Louise Ogborn sued McDonald's for $200 million for failing to protect her during her ordeal. The civil trial began September 10, 2007, and ended on October 5, 2007, when a jury awarded Ogborn $5 million in punitive damages and $1.1 million in compensatory damages and expenses.

As admirable it was that Stump and Flaherty’s investigation went in innovative directions in order to even find someone to arrest in this case, the effect on the people who were victimized by the calls is likely the more interesting story.

Simon says Don't Pick Up the Phone receives:

Film Review: "Avatar: The Way of Water" (2022).

"Return to Pandora" with Avatar: The Way of Water. This science fiction epic directed by James Cameron and written by Cameron and Rick Jaffa & Amanda Silver. It is the sequel to Avatar and the second installment in the Avatar film series. Set more than a decade after the events of the first film, this installment begins to tell the story of the Sully family, the trouble that follows them, the lengths they go to keep each other safe, the battles they fight to stay alive, and the tragedies they endure.

In 2006, Cameron stated that if Avatar was successful, he hoped to make two sequels to the film. In 2010, he said the film's widespread success confirmed that he would do so. The sequels were originally scheduled for a December 2014 and 2015 release dates. Cameron planned to shoot the sequels back-to-back and to begin work "once the novel is nailed down". In 2011, Cameron stated that he was just starting to design the ocean ecosystem of Pandora and the other worlds to be included in the story. In December 2009, the sequels were confirmed as continuing to follow the characters of Jake and Neytiri. Cameron implied that the humans would return as the antagonists of the story. In 2011, Cameron stated his intention to film the sequels at a higher frame rate than the industry standard 24 frames per second, in order to add a heightened sense of reality. However, he later opted out of this route, stating that as groundbreaking as the format is for cinema, moviegoers have always been used to a specific way to view films and altering that in any way would simply take the audience out of that experience. Instead, only certain scenes will utilize HFR technology. In 2012, Cameron mentioned a possible third sequel for the first time; and was officially confirmed in 2013. Cameron was then looking to release the sequel in December 2015, but later that year, production was rescheduled for 2014, with the film to be released in December 2016, and to be followed by the two other sequels in 2017 and 2018. Additionally, Cameron stated that the sequels were being written as "separate stories that have an overall arc inclusive of the first film", with the second having a clear conclusion instead of a cliffhanger to the next film. Jaffa & Silver, Josh Friedman, and Shane Salerno were hired to write the sequels as they were such a massive undertaking that Cameron divided the four scripts. In 2013, Cameron announced that the sequels would be filmed in New Zealand, with performance capture to take place in 2014. In April 2014, Cameron expected to finish the (then) three scripts within six weeks, stating that all three sequels would be in production simultaneously and were still slated for December 2016 to 2018 releases. He stated that although Friedman, Jaffa & Silver, and Salerno are each co-writing one sequel with him, they at first worked together on all three scripts. The writing took longer than expected, forcing Cameron to delay the release of the films further in 2015. By 2015, the scheduled release dates for the sequels were each delayed by another year, with the first sequel expected to be released in December 2017; this was due to the writing process, which Cameron called "a complex job". In November, Landau stated that the sequel would have a number of major technological improvements since the first movie. A lot more of the lighting work on the virtual production stage could be done during production instead of post-production, and like Alita: Battle Angel (2019), the crew can use two lightweight HD head cams to record the actors' facial performance. In addition they also used two digital puppets instead of just one; one that is an accurate copy of the real actor, and another that is the actor's character, allowing the team to re-target one onto the other to make it as accurate as possible. In January 2016, Fox announced a further release delay. In February, production of the sequels was scheduled to begin in April 2016 in New Zealand. In April 2016, Cameron announced at CinemaCon that there will be four sequels, all of which will be filmed simultaneously. The four sequels share a $1 billion budget ($250 million each film). Additionally, Cameron announced the four sequels which would be released in December 2018, 2020, 2022 and 2023. In early February 2017, Cameron announced that the writing of all four sequels was complete. 

In March, he stated that this film would not be released in 2018, due to extensive production and the visual effects process. In April, a new December 18, 2020 release date was announced, with all the other sequels having December 17, 2021, December 20, 2024, and December 19, 2025 release dates, respectively. In late July, Wētā FX had commenced work on the sequels. The film will heavily feature underwater scenes, actually filmed underwater with the cast in performance capture. Blending underwater filming and performance capture being a feature never accomplished before, it took the team a year and a half to develop a new motion capture system. By late September, Sam Worthington, Zoe Saldaña, Stephen Lang, Joel David Moore, CCH Pounder, Giovanni Ribisi, Dileep Rao, and Matt Gerald were confirmed to reprise their roles. Sigourney Weaver was confirmed to return in a different role. Kate Winslet, Cliff Curtis, Edie Falco, Jemaine Clement, and Brendan Cowell rounded out the film's cast as newcomers. At the same time, principal photography commenced and wrapped in September 2020. Filming took place in Manhattan Beach, California and Wellington, New Zealand. The film was shot on the new Sony Venice Camera (built by Sony at Cameron's request) with the digital 3-D Fusion Camera System, developed by Cameron and Vince Pace. In late March 2020, filming of the Avatar sequel films in New Zealand had been postponed indefinitely in response to the COVID-19 pandemic. However, in mid June, filming resumed. In May 2019, the sequels were delayed another two years, with this film being scheduled for a December 17, 2021 release date. James Horner was originally reported to score music for the franchise, before his death in a plane crash in June 2015. In December 2019, Simon Franglen, who had previously worked with Horner as a record producer and arranger since Titanic (1997) and completing Horner's score for The Magnificent Seven (2016) after his passing, was hired to replace Horner. In August 2021, Landau confirmed his involvement, while also associating with the forthcoming sequels. Horner's score will be reused in the film, in addition to the original themes produced by Franglen. In August 2020, the release date was again deferred due to the COVID-19 pandemic, and a new December 16, 2022 release date was announced. In late July, the scoring for the film officially began. In late November 2022, the film was completed.

The film stars Worthington, Saldaña, Lang, Moore, Pounder, Ribisi, Rao, and Gerald (reprising their roles), Weaver (returning in a different role), Winslet, Curtis, Falco, Clement, and Cowell as newcomers. The returning cast gets so little due respect over the years for how much of the previous film's characterisations rides on them. The returning cast turn in another terrific round of performances as the fiercely committed characters who put a necessary human face on Cameron's high-decibel action and environmentally-centric bravura. Worthington is more comfortable and assured here than the first time around, reprising a role so perfectly suited to the voice and physique that have established him as a simple yet relatable archetype. Lang is pretty much at his best here, combining badass villain with some human depths that are meticulously added in the right places. Winsley and Curtis are merely terrific when they gather their weapons at hand to do battle with the human antagonists, they kind of make Jake and Neytiri look like a pipsqueaks at times.

Ladies and Gentlemen, never bet against James Cameron! Amazing things happen in Avatar: The Way of Water, things you've never seen in movies -- things you didn't know the movies could do. While bigger isn't always better, writer/director James Cameron's follow-up is genuinely bigger and better in nearly every way. An extremely ambitious sequel that took a pretty sacred first film and built upon it in the most satisfying way. It’s a fantastic sci-fi movie. It’s a fantastic action movie. It’s a fantastic James Cameron movie. It is a far more traditional exercise in immersing the moviegoer; essentially, it re-constitutes the family epic, and in so soing marries alien Godfather to Star Wars. Cameron’s epic return to Pandora can enthral and thrill the audience with breathtaking set pieces, bring them to tears with moving moments, and amaze people willing to explore a fantasy land like no other. Thirteen years after the release of its predecessor, this installment, like its predecessor, proves to be an exceptional blockbuster that makes the most of a simple and predictable story, to further develop a visually awesome and emotional experience that must be had in the cinema.

Simon says Avatar: The Way of Water receives:

Series Review: "Crime Scene: The Texas Killing Fields" (2022).

From the director of Without and The Pearl comes Crime Scene: The Texas Killing Fields. This crime documentary series directed by Jessica Dimmock. An overgrown field and a stretch of highway connect a series of grisly murders spanning several decades as grieving families search for answers.

Situated a mile from Interstate Highway 45 and approximately twenty-six miles southeast of Houston, the Texas Killing Fields is a twenty-five-acre patch of land in League City, Texas. Since the early 1970s, thirty-three bodies of murder victims have been found along the I-45 area. They were mainly the bodies of girls or young women. Furthermore, many additional young girls have disappeared from this area; these girls' bodies are still missing. It is believed that many of the murders are the work of multiple serial killers. Most of the victims were aged twelve–twenty-five years. Some shared similar physical features, such as similar hairstyles. However, efforts by the League City, Texas police, along with the assistance of the FBI, very few of these murders have been solved, and those that have been solved were predicated on confessions given by prisoners, or confessions given under duress from the police. The fields have been described as "a perfect place [for] killing somebody and getting away with it". Also, despite the fact that many popular true crime podcasts have grouped the murders of Dean and Tina Clouse with these victims, Dean and Tina Clouse were actually found in Houston off Interstate 10 in the thirteen-thousand block of Wallisville Road, not League City (the location of the Texas Killing Fields).

Jessica Dimmock's methodical approach means the film is sometimes plodding; then again, they deserve credit for honing in on each police failing even when they become repetitive. What's smart and sensitive about the film, directed by Dimmock, is that its focus isn't on . With an evocative mix of archival material and testimony from many who were involved in aspects of the case, the narrative reveals both monstrous crimes and an ineffective response. The whole "true crime documentary" genre is a minefield of the very good, mixed in with the tasteless, the exploitive and the crass. The series of killings featured in The Ripper may have been fascinating at the time, but the series lacks a point-of-view that makes them feel relevant today. The film could stand to have a tighter sense of chronology, with some temporal deviations that don't do it any favors. It becomes as challenging for the viewer to distinguish between the victims as it did for investigators. But the series nimbly shows how economic despair caused by a rapid rise of neglected American women into the streets. The film is persistently captivating as a crime-story, riveting in its investigative mode, and stimulating in its commentary mode. It is everything true-crime fans ask for. Fascinating to us because it will examine the underlying factors that slowed down the investigation, instead of talking about the killer himself.

Simon says Crime Scene: The Texas Killing Fields receives:

Also, see my review for Captive Audience.

Film Review: "Bones and All" (2022).

From the director of Suspiria (2018) comes Bones and All. This coming-of-age romantic cannibal road film directed by Luca Guadagnino, adapted by David Kajganich, and based on the 2015 novel of the same name by Camille DeAngelis. A story of first love between Maren, a young woman learning how to survive on the margins of society, and Lee, an intense and disenfranchised drifter, as they meet and join together for a thousand-mile odyssey which takes them through the back roads, hidden passages and trap doors of Ronald Reagan's America. But despite their best efforts, all roads lead back to their terrifying pasts and to a final stand that will determine whether their love can survive their otherness.

In early April 2019, it was announced that Kajganich would adapt DeAngelis's 2015 novel for the screen, and that the film would be directed by Antonio Campos. In late January 2021, it was announced that Timothée Chalamet and Taylor Russell were attached to star in the film now to be directed by Guadagnino. By late May, Mark Rylance, Michael Stuhlbarg, André Holland, Chloë Sevigny, David Gordon Green, and Jessica Harper rounded out the film's cast. At the same time, principal photography commenced and wrapped in late July. Filming took place in Aberdeen, Chillicothe, Cincinnati, Columbus, and Lebanon, Ohio, as well as Maysville, Kentucky.

The film stars an ensemble cast that includes Russell, Chalamet, Rylance, Stuhlbarg, Holland, Sevigny, Green, and Harper. The superb performances from Russell and Chalamet are as memorable as Guadagnino's vision of something akin to hell. Russell works an abundance of meaning into a very small space, so we at least recognize this doomed, erstwhile teenager as all too human, and appropriately dangerous.

It’s a well written tale of two lost souls dancing between idyllic naiveté and sociopathic violence. I couldn’t take my eyes off of it. Guadagnino's love and respect for the natural world as it frames and moves characters is palpable and on full display, the film heightened by superb performances and Guadagnino's incredible direction. If a portion of American cinema is going to remain devoted to violence, it could learn a lot by revisiting Guadagnino's thoughtfulness. The movie is just as free, experimental, and unsure of itself as its main characters are, and thus fits like a glove. One of Guadagnino's most resonant notions in the film is that everyone confronts mortality in his or her own way. Incredibly beautiful, of course (you may have heard that Guadagnino movies are famous for their landscapes), but it's not "just" beautiful. Guadagnino's film, full of striking cutaways to the burning-sun horizon and the harsh landscape's solitary creatures, comes to operate at an overpoweringly chilling remove. Achingly evocative of a time when American independent cinema had the courage to continue investing in complex and morally ambiguous films and an indisputable masterpiece of American independent cinema. The film is an arena for apathy, both in regard to the characters' depictions and their subjective emotions.

Simon says Bones and All receives:

Also, see my reviews for Suspiria (2018) and I Am Love (Io sono l'amore).

Film Review: "Ghislaine Maxwell: Filthy Rich" (2022).

"Discover the monster behind the monster" with Ghislaine Maxwell: Filthy Rich. This crime documentary series directed by Maiken Baird and Lisa Bryant. From filmmakers behind Jeffrey Epstein: Filthy Rich go beyond the headlines of the Ghislaine Maxwell case to tell the definitive story of Epstein's mysterious accomplice, illuminating how her class and privilege concealed her predatory nature.

On December 25, 1961, British convicted sex offender and former socialite, Ghislaine Noelle Marion Maxwell, was born. Maxwell was raised in Oxford. In the 1980s she attended Balliol College, Oxford, and then became a prominent member of London's social scene. Maxwell worked for her father, Robert Maxwell, until his death in 1991; she then moved to New York City, where she continued living as a socialite and had a relationship with Epstein. In 2012, Maxwell founded a non-profit group for the protection of oceans. Following sex trafficking allegations being brought by prosecutors against Epstein in July 2019, the organisation announced cessation of operations the same month. Maxwell is a naturalised US citizen and retains both French and British citizenship. On 2 July 2020, Maxwell was arrested and charged by the federal government of the United States with the crimes of enticement of minors and sex trafficking of underage girls, related to her association with Epstein. She was denied bail as a flight risk, with the judge expressing concerns regarding her "completely opaque" finances, her skill at living in hiding, and the fact that France does not extradite its citizens. On 29 December 2021, she was convicted on five out of six counts, including one of sex trafficking of a minor. She faces a second criminal trial for two charges of lying under oath about Epstein's abuse of underage girls. On 28 June 2022, she was sentenced in a New York court to twenty years imprisonment.

It seems the events are too recent for the documentary to do an excruciating journalistic job. But it serves as a much needed platform for the victims. These types of documentaries make everything unsurprising. They tell their stories boldly and more, but what truly resonates throughout the four-part documentary is the complicity of government agencies and officials. The film is an extremely important testament to one of the most sinister sexual predators in history. While we watch it, it is impossible not to experience a roller coaster of emotions: disgust. The film, which documents the crimes of alleged Jeffrey Epstein accomplice, is a one-hundred-minute nightmare that will probably be aggravating if not triggering for a lot of people. Maxwell's horrible acts are fit for the 'true crime' formula by Netflix. And this series guarantees a full exposure, even when we realize it could have been better. The bravery of the dozen or so young women going before the camera to tell their horrifying stories is remarkable and obviously not very easy, even now, ten to fifteen years after the fact. The film is eminently watchable, and enraging. But it comes no closer to unraveling Maxwell than any previous reportorial attempts have managed.

Simon says Ghislaine Maxwell: Filthy Rich receives:

Also, see my review for Jeffrey Epstein: Filthy Rich.

Film Review: "Guillermo del Toro's Pinocchio" (2022).

"From the visionary director of Pan's Labyrinth and The Shape of Water" comes Guillermo del Toro's Pinocchio. This stop-motion animated musical fantasy comedy-drama film directed by Guillermo del Toro and Mark Gustafson, adapted by del Toro, Matthew Robbins, and Patrick McHale, and based on Gris Grimly's 2002 edition of the 1883 Italian novel The Adventures of Pinocchio by Carlo Collodi. Oscar-winning filmmaker Guillermo del Toro reinvents the classic story of a wooden puppet brought to life in this stunning stop-motion musical tale.

In 2008, del Toro announced that his next project, a darker adaptation of Collodi's 1883 Italian novel was in development. He has called Pinocchio his passion project, stating that: "no art form has influenced my life and my work more than animation and no single character in history has had as deep of a personal connection to me as Pinocchio", and "I've wanted to make this movie for as long as I can remember". Unlike most versions, which take place in an unspecified time in the 1800s, del Toro has said this version will take place in 1930s Italy under the rule of Benito Mussolini and the National Fascist Party. In mid February 2011, it was announced that Gris Grimly and Mark Gustafson would co-direct a stop-motion animated Pinocchio film adapted by del Toro, his long-time collaborator, Matthew Robbins, and Grimly based by Grimly's 2002 edition of the novel, with del Toro producing along with The Jim Henson Company and Pathé. In mid May 2012, del Toro took over for Grimly. In February 2012, Del Toro released some concept arts with the designs of Pinocchio, Geppetto, the Talking Cricket, Mangiafuoco and the Fox and the Cat. In late July, it was announced that the film would be produced and animated by ShadowMachine. In August 2012, Nick Cave was originally attached to compose the score for the film. However, in early January 2020, Alexandre Desplat ultimately replaced Cave and started composing the film's score, as well as writing original songs for the film. The film was originally scheduled for a 2013 or 2014 release date, but the project went into development hell, with no further informations for years. In late January 2017, McHale was hired to write the script with del Toro. In August, at the 74th Venice International Film Festival, del Toro said that the film will need a budget increase of $35 million more dollars or it would be cancelled. In early November, he reported that the project was not happening, because no studios were willing to finance it. At one point, Robbins considered making the film as a 2D-animated film with French artist Joann Sfar to bring the costs down, but del Toro eventually decided that it had to be stop-motion, even if the higher budget made it harder to get greenlit. However, in late October 2018, it was announced that the film had been revived, with Netflix acquiring it. By late August 2020, Ewan McGregor, David Bradley, Christoph Waltz, Tilda Swinton, Ron Perlman, Finn Wolfhard, Cate Blanchett, Burn Gorman, Tim Blake Nelson, John Turturro and Gregory Mann were cast. At the same time, principal photography commenced and took place in Guadalajara, Mexico and Portland, Oregon. The visual effects for the film was provided by the Moving Picture Company.

The film stars the voice talents of McGregor, Bradley, Waltz, Swinton, Perlman, Wolfhard, Blanchett, Gorman, Nelson, Turturro and Mann. Thanks to the performances of the talented voice cast, especially Bradley and Mann, Pinocchio's relationship with Geppetto is lovely, even when the wooden boy is nothing like his dead son, continuously disobeys and does not change at all.

The film is a personal look into del Toro as an artist (something that's been said by almost every critic so far, bear with me) as well as a look into the genre and medium that he loves. There's no question that in venturing into the world of stop motion animation, del Toro has lovingly tipped his hat to to old school stop motion animation flicks. It shows not only a reverence for the Italian literary classic, but also feels to at least this animation lover that del Toro is making a statement about the viability and value of animation as a classic genre of film capable of the highest level of artistry. The puppetry is simply superb as is texture; it's excellent attention to detail from The Jim Henson Company. The film, which made me cry almost as much as the audibly sobbing kids in the theater, is a big-hearted optimist's tale beautifully warped through del Toro's trademark vision. The film is inventive and fun. Del Toro fans will likely love it. Others will take pleasure from specific qualities and moments within the production, but also have as much feel for the film as a whole. This film is a complete package that maintains a good pace and tells a captivating story through stunning animation. Even better, the story of the wooden boy with the borrowed soul shows that del Toro has still got plenty of wonderful heart and soul to bring to the big screen. The sheer number of warm-hearted but soulful winks to various iterations of Pinocchio both entertains and impresses. Del Toro, known for his dark yet thoughtful movies, has created a fantastical tale of imperfect fathers and imperfect sons that is fun and touching. The film is a surprisingly heartwarming one that is perhaps del Toro's most touching film since The Shape of Water. It ranks among del Toro's most personal films, encompassing familiar themes of choice and an insatiable drive for disobedience. The film beautifully merges the old with the new as it also celebrates filmmaking both literally and fictionally with its relatable protagonist. The film embodies the excitement, innocence, awkwardness and imagination of childhood. Disney should've had more faith in the original source material's darker elements back in 1940, when it mattered, instead of allowing del Toro to utilise the novel's darker elements and make a masterpiece that is superior to the Disney version.

Simon says Guillermo del Toro's Pinocchio receives:

Also, see my review for Nightmare Alley.

Film Review: "Slumberland" (2022).

"Every Adventure Begins with a Dream" in Slumberland. This fantasy adventure film directed by Francis Lawrence, written by David Guion and Michael Handelman, and based on the comic strip, Little Nemo in Slumberland, by Winsor McCay. The film takes audiences to a magical new place, a dreamworld where precocious Nemo and her eccentric companion Flip embark on the adventure of a lifetime. After her father Peter is unexpectedly lost at sea, young Nemo's idyllic Pacific Northwest existence is completely upended when she is sent to live in the city with her well-meaning but deeply awkward uncle Phillip. Her new school and new routine are challenging by day but at night, a secret map to the fantastical world of Slumberland connects Nemo to Flip, a rough-around-the-edges but lovable outlaw who quickly becomes her partner and guide. She and Flip soon find themselves on an incredible journey traversing dreams and fleeing nightmares, where Nemo begins to hope that she will be reunited with her father once again.

In January 2020, it was announced that a new live-action film adaptation of McCay's comic strip series will be made exclusively for Netflix and production starting in the summer of that same year. Lawrence was hired to direct and will feature a gender-swapped version of the title character named Nema. Jason Momoa will star as a radically altered version of Flip who is described as a "nine-foot tall creature that is half-man, half-beast, has shaggy fur and long curved tusks". The plot will center on Nemo and Flip traveling Slumberland in search of the former's father. However, due to the COVID-19 pandemic, filming for the project was postponed. By early November 2020, Kyle Chandler, Chris O'Dowd, and Marlow Barkley rounded out the film's cast. At the same time, principal photography commenced and wrapped in early February 2021. Filming took place in Toronto, Ontario, Canada.

The film stars Momoa, Chandler, O'Dowd, and Barkley. Momoa and Barkley, as well as the rest of the cast, cannot save Lawrence's vacuous fantasy adventure. Momoa and Barkley have zero banter. Momoa and Barkley tried their best in their performances. That paid off in places, but the rest of the film just did not hold water.

A almost two-hour slog through poor storytelling, boring characters, laughably bad dialogue, and CGI overload. The outcome here is uneven: admirable for its ambition and mindless entertainment value, unable to hold up under close scrutiny, and often dazzlingly beautiful. The film leaves much to be desired. Yes, it has all the eye-popping visual candy of a typical summer blockbuster but it lacks an original story line. There are a few amusing sci-fi concoctions running around, but they're savagely humbled by the dreadful conversations and lackluster banter. Though Lawrence's usual failings have been amplified by his ambition, that ambition is worth seeing for the extremity of the spectacle alone. It deserves a hand for its go for broke, no holds barred attitude. But sometimes, effort alone is not enough to stand out.

Simon says Slumberland receives:

Also, see my review for Red Sparrow.

Series Review: "1899" (2022).

"What is lost will be found" in 1899. This period mystery-science fiction television series created by Jantje Friese and Baran bo Odar. A migrant steamship heads west to leave the old continent. The passengers, a mixed bag of European origins, united by their hopes and dreams for the new century and their future abroad. But their journey takes an unexpected turn when they discover another migrant ship adrift on the open sea. What they will find on board will turn their passage to the promised land into a horrifying nightmare.

In mid November 2018, it was announced that Friese and Odar were developing a new project for Netflix under their overall deal at the streaming service. The series was confirmed to be moving forward two weeks later during a Netflix press conference showcasing European original programming. By July 2020, Odar revealed via Instagram that Friese had completed writing the script for the pilot episode, titled The Ship. During an interview with Deadline Hollywood, Friese explained how the European migrant crisis and Brexit were influential to the series. The staff writing team comprised writers of different nationalities. According to Odar, all scripts were first written in English, then the non-English sections were translated by the staff writers and/or translators. Odar had phonetic copies of the script on set, and language assistants were present during filming to ensure the accuracy of the dialogue. In late November, pre-production officially commenced with a week-long lens test shoot taking place. By early May 2021, Emily Beecham, Aneurin Barnard, Andreas Pietschmann, Miguel Bernardeau, José Pimentão, Isabella Wei, Gabby Wong, Yann Gael, Mathilde Ollivier, Jonas Bloquet, Rosalie Craig, Maciej Musiał, Clara Rosager, Lucas Lynggaard Tønnesen, Maria Erwolter, Alexandre Willaume, Tino Mewes, Isaak Dentler, Fflyn Edwards, and Anton Lesser were cast. At the same time, principal photography commenced and wrapped in November. Filming took place at Studio Babelsberg in Potsdam, the only designated UNESCO Creative City of Film in Germany. Principal photography was initially scheduled to commence in early February 2021, but was later pushed back by three months due to the COVID-19 pandemic. The series was shot in a new virtual production stage called Volume, operated by bo Odar and Friese's sister company Dark Bay, at Studio Babelsberg. Filming also took place in London, United Kingdom. Creative studio Framestore provided visual effects for the series. The budget for the series was at least €60 million ($62.2 million) with €2 million coming from Medienboard Berlin-Brandenburg, €10 million coming from the German Motion Picture Fund, and Netflix investing €48 million in the project. The show is the most expensive German television series of all time.

Yes, with the enormous and diverse cast, it's tough to keep track of who, what and when but this is a seriously exciting series with twists and reveals to send you into a whirl.

The show, while being a good series, and having some truly intriguing aspects, doesn't have enough of an emotional hook to make it a truly standout show.

Simon says 1899 receives:

Also, see my review for Dark.

Film Review: "I Am Vanessa Guillen" (2022).

"However after telling her mother that she was being harassed at the Fort Hood military base, Vanessa Guillen was killed by a partner." This is I Am Vaness Guillen. This crime documentary film directed by Christy Wegener. Vanessa Guillen was twenty years old when she was found murdered at a US Army base. Rather than submit to silence, her family fought for justice and change.

On April 22, 2020, she was last seen in the parking lot of her unit, the Regimental Engineer Squadron Headquarters of the 3rd Cavalry Regiment (3CR). Her personal belongings were found inside the armory where she worked. Guillén's family felt she disappeared under suspicious circumstances. The case was investigated under the jurisdiction of the U.S. Army Criminal Investigation Command (CID) and the Federal Bureau of Investigation (FBI) with local law enforcement agencies in Bell County, Killeen, and Belton. Multiple Fort Hood units began searching the area within two weeks of her disappearance. In mid June, the League of United Latin American Citizens added a $25,000 reward to the existing $25,000 reward announced by the Army for finding Guillén. In late June, Congresswoman Sylvia Garcia met with Fort Hood officials to discuss the ongoing search. The authorities said that more than three-hundred interviews and over ten-thousand hours were spent investigating Guillén's disappearance. On June 30, 2020, Army investigators were called in when contractors discovered partial human remains along the Leon River in Belton. Investigators theorized that the remains, previously buried under concrete, had been dug up by wildlife. Later that evening, authorities re-interviewed Cecily Anne Aguilar, a local woman who was reported to be the girlfriend of Aaron David Robinson, a specialist ranked enlisted soldier who was one of the last known people to see Guillén on the day of her disappearance and who had previously been interviewed by investigators. Aguilar told police that Robinson had confessed to her that he had killed a female soldier at Fort Hood. At the request of law enforcement, Aguilar placed a controlled telephone call to Robinson and texted Robinson multiple news articles, to which he never denied anything in response. According to a criminal complaint filed in the Western District Court of Texas, Aguilar allegedly helped Robinson dismember and dispose of Guillén's body on April 22, 2020, after Robinson told her he had bludgeoned Guillén to death with a hammer inside the armory. On June 30, Robinson escaped the custody of an unarmed guard from his unit and fled Fort Hood after hearing the news of the discovery of remains. He had been detained by his unit at the request of a CID agent under the pretense of violating COVID-19 quarantine rules. Aguilar was later arrested by Texas Rangers and held at the Bell County Jail.

It's not a perfectly made documentary, but it's important. The content was great, and it's very worth seeing for that. A lot of pain is shown in the film, but there is some encouraging progress shown by the end.

Simon says I Am Vaness Guillen receives:

Film Review: "Black Panther: Wakanda Forever" (2022).

"For Honor, For Legacy, For Wakanda!" This is Black Panther: Wakanda Forever. This superhero film directed by Ryan Coogler, written by Coogler and Joe Robert Cole, based on the titular Marvel Comics character created by Stan Lee and Jack Kirby, and produced by Marvel Studios. It is the sequel to Black Panther (2018) and the 30th film in the Marvel Cinematic Universe (MCU). At the dawn of King T'Challa's death, invading forces from around the world target Wakanda's vibranium, unleashing chaos, and it will be the duty of Shuri, M'Baku, Nakia and Okoye to defend the nation, especially when a mysterious Mexican civilization emerges from the depths of the sea.

In February 2018, with the release of Black Panther, producer Kevin Feige said there were "many, many stories" to tell with the character, and he wanted Coogler to return. Coogler wanted to see how T'Challa / Black Panther would grow as a king in future films. In March, Feige said there was nothing specific to reveal about a sequel, but Marvel had ideas and a "pretty solid direction" on where they wanted to take a second film. In October, Coogler was hired to write and direct the sequel. In November 2018, Letitia Wright was confirmed to be reprising her role for the sequel. In July 2019, Danai Gurira stated that she would be reprising her role in the sequel. Feige confirmed the sequel's development at the 2019 San Diego Comic-Con, while Martin Freeman confirmed in August that he would reprise his role in the sequel. At D23, it was announced that the film was set for a May 6, 2022 release date, along with the placeholder title Black Panther II. However, on August 28, 2020, Chadwick Boseman died from colon cancer. Coogler stated that he had been unaware of Boseman's illness. Feige and other Marvel Studios executives were also unaware of Boseman's illness. By the time of Boseman's death, Coogler was writing the script and had already turned in a draft. In November, Lupita Nyong'o, Winston Duke, and Angela Bassett were confirmed to be reprising their roles for the sequel. At that time, filming was expected to begin in June or July 2021 in Atlanta, Georgia. In December 2020, the film's release date was moved back to July 8, 2022. Feige also confirmed that the role of T'Challa would not be recast. He would later reaffirm that visual effects would not be used to include Boseman in the film. In May 2021, Marvel Studios revealed the film's title as Black Panther: Wakanda Forever.

The film stars Wright, Nyong'o, Gurira, Duke, Dominique Thorne, Florence Kasumba, Michaela Coel, Tenoch Huerta, Freeman, and Bassett. There's almost no denying that Chadwick Boseman's replacements do not exhibit the same leading actor charisma.

Much of the magic that made the original film entertaining is left by the wayside in favor of bigger bangs and larger-than-life antagonist with a cool design. It's a little messy and not nearly up to par with the original, but this is still an acceptable sequel with just enough fun to appease its fan base.

Simon says Black Panther: Wakanda Forever receives:

Also, see my reviews for Black Panther and Thor: Love and Thunder.

Series Review: "FIFA Uncovered" (2022).

From the director of 30 for 30 comes FIFA Uncovered. This sports documentary series directed by Daniel Gordon. From power struggles to global politics, an exploration of FIFA reveals the organization's checkered history — and what it takes to host a World Cup.

The international governing body of association football, beach football and futsal, Fédération internationale de football association (FIFA) was founded in 1904 to oversee international competition among the national associations of Belgium, Denmark, France, Germany, the Netherlands, Spain, Sweden and Switzerland. Headquartered in Zürich, Switzerland, its membership now comprises two hundred and eleven national associations. These national associations must each also be members of one of the six regional confederations into which the world is divided: CAF (Africa), AFC (Asia and Australia), UEFA (Europe), CONCACAF (North & Central America and the Caribbean), OFC (Oceania) and CONMEBOL (South America). The organisation outlines a number of objectives in the organizational Statutes, including growing association football internationally, providing efforts to ensure it is accessible to everyone, and advocating for integrity and fair play. It is responsible for the organization and promotion of association football's major international tournaments, notably the World Cup which commenced in 1930 and the Women's World Cup which commenced in 1991. Reports by investigative journalists have linked FIFA leadership with corruption, bribery, and vote-rigging related to the election of FIFA president Sepp Blatter and the organization's decision to award the 2018 and 2022 World Cups to Russia and Qatar, respectively. These allegations led to the indictments of nine high-ranking FIFA officials and five corporate executives by the U.S. Department of Justice on charges including racketeering, wire fraud, and money laundering. In late May 2015, several of these officials were arrested by Swiss authorities, who were launching a simultaneous but separate criminal investigation into how the organization awarded the 2018 and 2022 World Cups. Those among these officials who were also indicted in the U.S. are expected to be extradited to face charges there as well. Many officials were suspended by FIFA's ethics committee including Sepp Blatter and Michel Platini. In early 2017, reports became public about FIFA president Gianni Infantino attempting to prevent the re-elections of both chairmen of the ethics committee, Cornel Borbély and Hans-Joachim Eckert, during the FIFA congress in May 2017. In early May 2017, following Infantino's proposal, FIFA Council decided not to renew the mandates of Borbély and Eckert. Together with the chairmen, eleven of thirteen committee members were removed. FIFA has been suspected of corruption regarding the Qatar FIFA World Cup.

The series is a pungent combination of true crime and sport, compiled and produced with appealing aesthetic creativity. The series digs deep into the dark side of FIFA , as we see the beauty and pure competition of sports sullied by athletes, officials and shadowy outsiders who are motivated by political self-interest or blind ambition or greed. Overall, the series is a statement about the erosion of FIFA and football, and shows the kind of damage that can be done if the potential misdeeds aren't kept in check.

Simon says FIFA Uncovered receives:

Also, see my review for The Trials of Oscar Pistorius.