Maggie Moore(s)
Watch afterFast X (2023),
StarringJon Hamm, Nick Mohammed,
Near the homestretch of John Slattery’s small-town dipshit crime saga, Maggie Moore(s), a police chief (Jon Hamm), chides his colorfully quippy co-worker (Nick Mohammed) with the overly direct criticism that he has “no concept of when it’s ok to tell a joke.” It’s an understandable retort given the morbidity of their current case—two women with the same name gruesomely killed a few days apart, one dispatched in a way that could be legally described as murder by arson. Continue Reading →
Port Authority
It doesn’t take more than a minute or two for Port Authority to start dangling its main theme right in front of the audience. On probation and having just gotten off the bus in New York City, Paul (Fionn Whitehead) roams the station, showing strangers a picture and asking if they’ve seen a woman. But you see, it’s not like she’s missing. He’s the one who’s missing, the woman in the picture being his sister, Sara (Louisa Krause), who’s refused to pick him up and take him in. He has no family. The movie really wants to make sure you get it. What makes it hard to buy is how inorganic Danielle Lessovitz’s feature debut is. Continue Reading →
Cryptozoo
SimilarPrincess Mononoke (1997),
The new film from Dash Shaw and Jane Samborski uses its breadth of bold psychedelic inspirations to distract from a tepid script.
(This review is part of our coverage of the 2021 Sundance Film Festival.)
Somewhere in the forest, Amber (Louisa Krause) and Matt (Michael Cera) strip naked, have sex, and then get high. Matt relays a dream he had of—of all things—storming the Capitol and overthrowing the government. His mind’s eye blends with our objectivity, which, in turn, heightens his and our subjectivities. It’s trippy to say the bare minimum. The animation in Cryptozoo holds a breadth of inspirations. There’s the classic psychedelia of the ‘60s, sure. There’s also the choppy, two-dimensional aesthetic that Fantastic Planet popularized in 1973. Some locales look like a backlit blackboard and some are even cleaner, like in 1981’s Son of the White Mare.
But that’s mostly when Dash Shaw’s latest is peaceful, and that’s not always. Minutes into Cryptozoo, Amber and Matt come across a fenced-in tower and find a collection of caged mythical creatures. Then tragedy unfolds. This isn’t this couple’s story, and there are several spurts of violence, to say the least. Our lead is Lauren Gray (Lake Bell), a veterinarian who helps the sage Joan (Grace Zabriskie) save cryptids from the government. To be fair, the plot is by far the least original and most protracted part. The visual ingenuity, on the other hand, is something to witness. Continue Reading →