The Good, the Bad, & the Ugly of 2024 So Far
Before the summer blockbusters begin to trail into these reviews, let’s take a look at some of the films I’ve seen this year that I did not get a chance to review fully.
MONKEY MAN
Patel's directorial debut is a shining one and reminisces on times most better forgotten. It takes a bit to get used to the throwaway plot details it attempts to develop, but even with a lack of depth, it still has fun with it. Boredom is not an option in this film, not because it deserves attention, but because the film has great pacing. The action is too good to overlook and drives the story incredibly well, infusing something from the John Wick series with the pace of a film like Good Time. That’s not to say the film has many of its own great achievements; the set pieces within this film are magnificently used, and it is bound to be a staple of powerful Indian action cinema. It is a wild experience and something I would recommend to any action fan.
I’ll almost always take Jordan Peele’s word for it, too. It definitely did deserve a theatrical release.
KINGDOM OF THE PLANET OF THE APES
Although I liked the Reeves trilogy, I was not sure about how it would translate outside of his scope and story. It turns out they’ve got it all figured out, adding to an already well-established franchise with another solid output in the Kingdom. My gripes come in the form of blandness at times; it sometimes harps on the wrong strings cinematically and ultimately dumbs down the weight of situations. Without Caesar at the helm, it’s hard to surpass, but Owen Teague is a great stand-in and just might be able to kick this franchise back into gear. It’s good for your standard Avatar or motion capture picture, but if you’re looking for anything special or mind-blowing, I think this film might need a lower bar. The Reeves trilogy still stands higher in terms of emotional weight and actual enjoyment for me.
(I don't have 3.5 stars, but this film is more of a 4 than a 3)
The Idea of You
Cringeworthy, comical, and honestly just a big slap in the face for romantic comedy fans. Anne Hathaway made bank for doing it, so I can’t blame it all on her, but she’s really not the problem here. The dialogue is horrendous. It feels more like a fantasy than a film, yet it doesn’t feel dreamy at all and never gets past the oddity of the situation. It’s so obviously ridiculous and I think at times it realizes that, but when it begins to act like a traditional rom-com, we’re reminded that the concept is just plain stupid. Rom-coms are NOT back, and this is a clear example of the genres lack of depth and impactfulness in recent years.
Late Night with the Devil
The controversy may have subsided from this films release, but it still looms over it like a hidden virus.
If we put the use of AI aside, this is a fantastic opening into horror. It has all of the elements and potential to be a cult classic and loved among horror fans alike. Between the very well done set pieces for the talk show, to the very believable backstory, it takes a lot of what Ghostwatch did best and modernized it.
With that being said, it’s hard to overlook a simple choice made by the designer and director. It’s not a lot, only a couple of cutaways, but it’s only a matter of time before this simple selection becomes an entire scene or script, leading to people being expendable within our industry. Creative freedom is essential for the medium, and one AI image can and will replicate rapidly if we do not stand up to it. I’m not one to boycott the film; I still believe it is a good body of work, but I’m concerned it might create a ripple effect of laziness within these cheap production companies to lay off hard-working filmmakers.
Miller’s Girl
I don’t think I can name a single thing I like about this one. The premise 30 minutes in feels like something out of a horror movie, with an eerie layout of houses within their separate town. Then, we slowly get through some of the worst scenes of teenage fantasy and revenge until the credits roll. Ortega and Freeman are both fine as actors, but there’s something behind both of their eyes that feels like neither of them thought this was going to be a serious film. The friendships between the characters are unbelievable and childish. It is not funny unless it’s unintentional, and a few goofs with Bashir Salahuddin’s character. Besides that, the twists are just what-was-the-point bits. The film leans into the absurdities, then doubles down, trying to make a hero out of Cairo (Ortega), and completely convolutes the plot. That’s not to say if they stuck with the original love story, it wouldn’t be better, because it most definitely wouldn’t be. Whoever green-lit this because it was different, congratulations! It wasn’t worth it.
I get that obsession with fan fiction and its complete disregard for life outside a journal, but bringing a camera into the room with it won’t ever work for me. This is already by far one of the worst films of the 2020s for me.
Civil War
I think Garland’s motives with this film are unintentionally funny at times and brutal once it kicks into gear. Jesse Plemons is a goddamn superstar. As are Durst, Moura, and Spaeny.
Our main group is made of people that feel real, yet completely blinded by the way of journalism. As a photographer myself, this film doesn’t scratch the surface of the selfishness of these people. It captures the essence of what it means to take these moments in by experiencing them through a lens instead of the naked eye. Not only are they not mitigating the violence, but they’re sharing it with a country that doesn’t seem to be clinging to the idea of it.
I won’t hold this film up for motive purposes, but for what the film does with storytelling. I love the alternative perspective we get within a reign of fire situation, and I think this works because of its gut wrenching sympathy, and in a dark comparison, the lack of it within the state.
Thank you for reading!
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