DUNGEONS & DRAGONS: HONOR AMONG THIEVES (2023)

A charming thief and a band of unlikely adventurers embark on an epic quest to retrieve a long-lost relic, but their charming adventure goes dangerously awry when they run afoul of the wrong people.

Pine is arguably the least charismatic of Hollywood's Chrises (Chris Evans, Chris Hemsworth, Chris Pine, and Chris Pratt), but there is something to be said about his choice of starring roles. One can't help but draw parallels to his time in the latest reboot movie franchise for Star Trek, where he played the main protagonist in a film that represents an extremely large and loyal fanbase, with content spanning generations, yet manages to be a part of something that garners mainstream appeal.

It is a clear and growing fault in the Marvel Cinematic Universe, where Disney's need to oversaturate the market and squeeze every last dollar out of its audience, has created such an interconnected universe throughout its many intellectual properties in exclusive streaming shows, and the longer format theatrical releases, that it has become a burden to keep up with, and even less appealing to attempt to enter for potential new initiates. When there is already so much content, so much community, and so much lore, it can scare away curious viewers. Pine has managed to bring new Star Trek fans through his quizzically teen-like, geeky charm-filled film trilogy, and Dungeons & Dragons: Honor Among Thieves looks like it has all the hallmarks of another well-composed flick, for the uninitiated to safely explore the realm of D&D.

Admittedly, the film takes a bit of time to fully warm up the audience. In its attempt to jam an epic adventure into a 134-minute runtime, the initial character development is scant, and the journey moves along very quickly; the first 15 minutes of the film feel more like a collection of momentous cinematic travel montages than an actual story. The interesting reality is, however, that this is not too dissimilar to what one could expect in a live D&D session; characters are created, and the campaign starts off with a fair amount of lore, but it isn't until a few events occur, that we begin to see how the characters properly integrate and learn to care for them as we see their relationships come to light.

The campaign is long, arduous, and never seems to go the way it should, and while the main beats of the film are entirely formulaic and predictable, the finer details are full of creativity and wonder. Like a fair game, every character is provided with an opportunity to excel and be in the spotlight, to have their own motivations and independent thoughts, and all of the elements are sewn together in a rich tapestry of surprisingly well-timed and fresh comedic material; while not a 100% hit-rate, there were definitely far more laughs than there were groans. 

With the likes of Michelle Rodriguez, Justice Smith, Chris Pine, and Hugh Grant among the cast list, there are many familiar faces in familiar roles, and none disappoint. The audience is greeted with some impressive action choreography, some reasonable CGI (to be fair some of the more cartoony elements further help to maintain the light-hearted nature of the film), and some artful exploration of love and deception; the film isn't worthy of thematic essays, but it manages to dig a little deeper under the skin. 

The third act does become a bit cumbersome, and there is a struggle to keep the film flowing as the morals and storylines come converging together all at once, but there is something delightfully refreshing and youthful about this example of cinema. It converts a large story into a manageable viewing and doesn't bog itself down in taking itself seriously. D&D is all about world-building, character-building, and finding creative solutions to problems. There are no "right" answers, all answers simply set our team on a different path, with new destinations and new problems to solve. 

While there are references and creatures that will be familiar to those who have participated in the Dungeons & Dragons media previously, none of it is required to understand and appreciate what is going on onscreen. Well-balanced and light-hearted, Dungeons & Dragons: Honor Among Thieves did exactly what it set out to do, to bring back that love of adventure, of doing the wrong thing for the right reasons, and I cannot wait to see this merry band's next campaign.

Dungeons & Dragons: Honor Among Thieves is in cinemas from March 24, 2023

MY NEIGHBOUR ADOLF (2022)

Living in Brazil, a reclusive Holocaust survivor convinces himself that his new neighbour is none other than Adolf Hitler. He soon forms a friendship with the mysterious man as he begins to collect evidence to prove his theory is correct.

My Neighbour Adolf...the title alone really gives you a good idea of what to expect; some kind of sitcom-level comedic twist on the usual search for Hitler. Insert a film period of post-World War II (the 1960s specifically), a holocaust survivor, and a minor dispute over property lines, and you have all of the ingredients for an intriguing viewing experience. 

Nazis and Hitler have been covered by a wide array of films and television shows from a variety of perspectives. It wasn't really until Taika Waititi's 2019 hit Jojo Rabbit was released, that there was a portrayal of Hitler that was anything other than harsh, brutish, and megalomaniacal (for the first couple of acts at least). My Neighbour Adolf attempts to do just that. Not by downplaying any historical events, but by providing German "Mr Herzog" (portrayed by Udo Kier), a character that starts to cause our Holocaust-survivor protagonist, Mr Polsky (portrayed by David Hayman) to question his own biases as the film progresses.

The film works quickly to set expectations and roles in the film pitting two neighbours against each other. On the one side, a poor Jewish man who has survived a death camp, coming out the other end of the war as the sole survivor of his entire family, with only a rare species of black rose to remind him of his better days. On the other side is a seemingly well-off, secretive German man, with an unruly German Shepherd dog, and a convoy of "helpers" at his beck and call. They are juxtaposed in nearly every manner possible; car vs bike, followers vs alone, healthy vs sickly, bathed in light vs living in shadows, all designed to set up a hierarchy and place Mr Polsky as the underdog in this tale revolving around the care of a single bushel of roses.

While generally an enjoyable affair, My Neighbour Adolf struggles with tonal consistency. With safe but generally unemotional, wide-shot cinematography, and a soundtrack that fails to match the events onscreen, the film finds itself being pulled in two different directions; from the sensitive treatment of concentration camp trauma, betrayal and loss, to campy skits, physical slapstick, and toilet-based humour. While the drama and tension never reach the intensity of Schindler's List, the comedic portion skews Mr Polsky heavily towards becoming a carbon copy of Mr Bean. While the film has the opportunity to discuss and explore a multitude of deep and meaningful topics, it barely does more than skim the surface, instead allowing obsession to act as a tool to ignore many of these deeper elements and focus solely on whether Mr Polsky's neighbour is Adolf Hitler, judging every action independently, categorising everything as black or white, until the inevitable discovery of shades of grey. 

The film creates tension from this mystery of identity and the clear potential implications of becoming friends with his enemy. Very much avoiding any sense of physical danger, the film leverages its comedic edge to maintain enough levity to ensure the tension is only light and psychological. It's a careful balance that creates a surprisingly enjoyable experience despite the inconsistent nature of the tone.

My Neighbour Adolf never really escalates to any level that one would expect, but one will come to expect and accept the unexpected by the end of the film and be met with a sense of relief. 

My Neighbour Adolf is in selected cinemas from April 27, 2023

CORSAGE (2022)

 

Empress Elisabeth of Austria is idolised for her beauty and renowned for inspiring fashion trends. But in 1877, she celebrates her 40th birthday and must fight to maintain her public image. Seeking the excitement and purpose of her youth, she rebels against her public image and comes up with a plan to protect her legacy.

I love having the opportunity to check out non-Blockbuster Hollywood films. It's refreshing to get away from the familiar formulas and familiar faces, and instead revel in a real experience; or at least a fictional interpretation of a real experience.

Corsage is a fictional period-piece, looking at the year leading up to the death of the real-life Empress Elisabeth of Austria (popularly known as Sisi). A world beauty and fashion icon who, having passed the age of 40, is now deemed an old woman, and has found praise turn to criticism, wonder turn to gossip, as she is pushed into the shadows.

Coincidentally, released in the same year as the passing of Queen Elizabeth II, Corsage focuses on the events leading up to the death of a monarch. Two women in similar roles, a century apart; that time has made them receive distinctively different responses from the public as they age. It is this difference that has led to the culmination of Corsage, an embodiment of the constraints and limitations placed on women all over the world, but in our modern age, something that would look out of place on a person of power. And yet, it is this conflicting idea of conditional outrage that enraptures the audience. 

Polarizing in its creation, the pacing of Corsage changes in a moment, dependent on the whim of our protagonist, Elisabeth (brilliantly played by Vicky Krieps) swings from effervescent and full of wonder, to bouts of melancholy and lethargy. This erratic timing makes everything feel glacial and unimaginatively stolid, but the depth of emotion (and sometimes lack thereof) holds you in place, unable to look away as we watch them voluntarily "fall from grace". 

The film revels in the Empress' rebellious nature, and pivots from regal to slovenly, casting a spotlight on the contrast between what is viewed by the public eye and what can be seen in private, creating an absolute chasm of a divide between the behaviour that one wants from us and the behaviour we want to exhibit. Corsage is an exploration of vices and passion, manipulation, and obsession, honesty and deception, loss and revelation.

We gleefully observe this alternate reality; highlighted by impossible presences in the 19th century. Emergency exit signs, film cameras, motorized tractors, a plastic mop and bucket, acts of flipping the middle finger, and modern music are peppered throughout the viewing, a constant reminder of the film's divergence from reality, but also a sentimental wish of what could have been for the late Sisi. The cinematography from Judith Kaufmann is divine and thoughtful with an earthy palette that provides a sense of warmth and focuses the audience's view.  

A fashion article that is a literal and figurative representation of restriction and vanity, the film centres each act around the performance of tightening a corsage (corset/bodice). The diet required to fit the piece. The youth that it symbolizes, The rigidity and uncompromising nature of social conventions. They all link back to the corsage. 

The film starts off with two distinct versions of Sisi; one with the corset on, and one that is not, the former slowly breaking free of its shackles as the film progresses. This is a story of those of the highest status still confined by patriarchal social conventions, this is a story of rebellion, but most importantly this is a story of freedom; at any cost. 

Corsage is in selected cinemas from March 16, 2023

SCREAM VI (2023)

Four survivors of the Ghostface murders leave Woodsboro behind for a fresh start in New York City. However, they soon find themselves fighting for their lives when a new killer embarks on a bloody rampage.

Ghostface has been synonymous with slashers for nearly three decades now. Alongside Halloween's Michael Myers, A Nightmare on Elm Street's Freddy Kreuger, and Friday the 13th's Jason Voorhes, Ghostface has been symbolic in its popularity (kudos is also owed to Scary Movie for increasing its mainstream appeal). 

As popular as the franchise is, I was struck with the realisation that I never saw the original Scream when it came out due to my age. In fact, I was too young to watch any of the films in a cinema until Scream 4 came along. The point is, that having missed the critical point of joining the fandom, I am now sitting in the cinema watching Scream VI, potentially having only pop culture references and parodies as my knowledge foundation of the Scream franchise.

What is incredibly handy, therefore, is that Scream VI is overwhelmingly meta. It takes only the opening scenes of the film to establish that not only is the audience in for two hours of extreme violence and killings, but it explains that the franchise of films is linked in a rich tapestry of lore and history. That is the real distinction that needs to be made with the "Stab Universe"; everything is canon, the movies are all a continuation of the same story, and characters are present in multiple films (even after their demise). 

This isn't a random group of people; everything is connected, motives are involved, and anyone could be the killer. It helps to build intrigue and suspense and keeps the audience locked onto the film, cataloguing every interaction, every appearance (or non-appearance), every minute piece of information, in the hopes of not only determining who is responsible for the killing spree this time, but how they fit into the lore, and what their motives are.

Film series with a lot of lore are often weighed down by their own lore. As the series progresses, it gets harder and harder for new viewers to get initiated into the series without having to watch every preceding film beforehand. Scream VI uses its own self-awareness as a method of not only lightening the mood but a more organic method of explaining the lore to newcomers. Even without having seen the preceding films, it is abundantly clear which characters are returning characters, and what aspects of the history are important, whilst moving the film forward in its goal of throwing as many red herrings and elements of misdirection as possible to keep the audience questioning what is relevant.

Unlike many other franchises that rely on darkness and shadows for the film to create tension, Scream doesn't need to rely on this. The tension comes from not knowing who to protect, or who to trust. This means the film can still bring mystery and a thriller atmosphere during daylight scenes, which gives the film a more youthful and vibrant viewing experience. 

Where the film struggles, is maintaining the balance of pace. The film jumps from extensive pulse-pounding "fight or flight" scenes and then relies on nostalgia and recognisable faces and scenarios to get the audience through the slower lore discussion scenes. It does well to not over-encumber the unfamiliar audience members, but this high-intensity interval training pacing method starts to wear thin, and garners diminishing returns after 90 minutes. 

Scream VI will have the audience wanting to yell "Don't do that!" at the screen in frustration far more often than it should, but it manages to limp over the finish line with a reasonably satisfying reveal. It plays on the known tropes in both predictable and unpredictable ways, it provides limited and unnecessary "character development", and I don't think I'll ever need to see it again. 

But did I enjoy the film? All in all, I can say I was entertained.

Scream VI is in cinemas from March 9th, 2023