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yesterdanereviews · 6 months

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Everything, Everywhere, All at Once (2022)

Film review #582

Director: Daniel Kwan, Daniel Scheinert

SYNOPSIS: Evelyn is an overworked laundromat owner who is preparing for her Father's visit, an audit by the IRS, among everything else. She is suddenly forced into a battle across the multiverse to save every reality from being destroyed by a nihilistic entity who just so happens to be her daughter...

THOUGHTS/ANALYSIS: Everything, Everywhere, All at Once is a 2002 sci-fi film. The film centres around Evelyn, a laundromat owner who is being audited by the IRS, amongst a host of family issues as well. Evelyn is suddenly pulled into a battle to save the multiverse, and must tap into the possibilities of the different versions of herself to stop an evil entity from destroying everything. Operating on a number of different levels and perspectives, the film is inherently chaotic, and it is designed to be, but has specific themes and relationships that ground the film and provide an entryway into the story. Perhaps a few of these can be boiled down into very typical relationships and problems, but maybe that's what makes them relatable and meaningful; I think your mileage may vary. Nevertheless, the film has a quick pace and packs a lot into it's two and half hour runtime. Being a film about the infinite possibilities of existence and jumping between different realities, it would be quite easily to leave a viewer confused, or have the film get bogged down in technical jargon and exposition: fortunately, the film manages to keep its pacing and energy while setting itself up for the viewer, and switching around the different realities and revealing things in a piecemeal fashion help keep the film going.

In terms of characters, Evelyn as a role was made for Michelle Yeoh: it showcases her acting talent across all the different genres and roles she has done over the years. she takes on all the different roles she has to play effortlessly, while also retaining the everyday core of her character that is just trying to manage a business and her family. The rest of the cast too are solid in their roles that are uniquely carved out for them, and are a bit of stability in contrast to Evelyn's constant flux.

Credit should be given to the writing of the film that balances the right amount of entertainment, drama, action, and emotional moments that are switched between to avoid the film becoming too bogged down in any particular details. The film makes it simple enough to go along for the ride, but also provides some powerful emotional moments that hit when you least expect. The film does wobble a bit near the end, where I don't think it sets up the climax of the film as such, because the film has had so much energy and motion that you don't realise that this is where everything is coming to a head, and not just another step somewhere else. The philosophical clash between a humanist existentialism and a nihilistic meaninglessness has some weight to it at the end, but it's not something explored throughout the film so it feels like you're getting a pay off from everything you experienced. Part of that is intentional: that out of all the different possibilities and realities, what matters is the seemingly drab one that you inhabit, and because everything is valid (in other universes), then no single one is more meaningful than the other. As mentioned, some of the themes and characters are boiled down to rather simple positions or outlooks by the film's end, but these are all minor gripes about a film that does so well with so many things, and turns in solid performances from the cast, as well as navigating a host of different themes: keeping things interesting for casual movie-goers, while also not being afraid to delve deeper into heavier subjects when necessary. Overall, Everything, Everywhere, All at Once is a high energy mix of films that nevertheless relies on a careful arrangement of it's parts so it doesn't fall into a giant mess. Being able to sustain interest and attention across the runtime thanks to solid performances, fun action scenes, and emotional moments that pull you back in. A few missed beats around pacing and oversimplifying certain positions don't upset the overall impact of a film that both opens itself to the infinite possibilities of existence, while still making the here and now matter.

#movie #movie review #everything everywhere all at once #sci-fi #film #film review #2022 film

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baeaisling · 10 months

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“Wifelike” 2022 film

#jonathan rhys meyers #jrm #elena kampouris #wifelike #wifelike film #2022 film #2022 movies #2022 movie #rachelle goulding #spg media group

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kevinskorner · 2 years

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Blonde Movie Review: Marilyn Deserves More

In the 2022 film Blonde, Ana de Armas plays a fictionalized telling of Marilyn Monroe's life from birth to deathbed.

It is pretty obvious to many why a Marilyn Monroe biopic would be interesting. She’s arguably the most famous woman of all time, who was adored by many and critiqued by more, she had a whole different name before being famous, and she sadly died young which led many to speculate and ultimately left a lasting impact on the world. So there is many reasons why going into this film, one would be excited and have high hopes but it ends up making you feel indifferent in the end.

Within the first hour, you see a rape, an abortion, multiple suicide attempts and more relentless trauma unfold in Marilyn’s life. Due to all this trauma being unfolded, you cannot help but feel like it is an exploration of her and it doesn’t attempt to try to show her any respect. However, I cannot help but try to figure out why a biopic based on arguably the most famous woman of all time would be made this way? All of this to say this movie is based on the factionalized novel of the same name but still you would think that when someone wants to make a movie on a true icon in every sense of the word, they would do it out of admiration and maybe even love. The film did do a good job of making me consider why someone who do a film like this on a real person in the spotlight. Is it to show how horrible our media was to her and all the trauma we have to witness is to remind us all what we, the public, did to her? Or is it just an inconsiderate director who wanted to make a film but did not show any care to its subject? No one would ever doubt the amount of trauma Marilyn had to go through as Norma Jean and again as Marilyn but when it is made into a film, the audience can easily get drained and it is not enjoyable. I do believe that Ana de Armas came to this project with a lot of admiration for Marilyn and tried to give her a genuine dedication. Nonetheless, her performance comes up short because it does not feel very connected to Marilyn in my opinion and she did have some trouble with the accent. Since the film is using a fictionalized novel about a public real person as its back bone, it struggles harshly with accuracy and telling a true story. If you want to watch this movie to learn something about Marilyn, you most likely will not, even though it is a two hour and forty seven minute long film. Coming in at close to three hours, the only way I can see this film be appreciated is as an art piece. This film could have been a true success if it was about a real person. I would have honestly enjoyed this film much more if it wasn’t trying to depict a real persons life because it would just be another well made dramatic film. My favorite part of the movie and the only reason why I would recommend anyone to watch it is for the cinematography. The cinematography is done very artfully and unique which is great to see since many biopic films are usually one note. In Blonde, its cinematography is chameleon like because it changes aspect ratios often and goes from black white to color often. It’s pretty to look at definitely and some of the scenes of Ana as Marilyn do look beautiful. I admire the artistry of the creation of the film but it fails at what the big picture should be. It seems that we probably never will know the truth when it comes to the most known woman of all time, and maybe it should stay like that.

The film seems desperate in its attempt of her longing for a father figure and making men be the heroes of her story. Even though her life ended shortly, she got to the success she attained alone. The film makes me question a lot when it comes to how the story was told. I can’t help but think maybe if the film was directed by a woman instead of a man would it be better or different? Since this storytelling of Marilyn is done where she is exceptionally vulnerable, I can’t help to think a female director might be able to show the vulnerability in a more accurate way. It contradicts itself constantly and that’s my biggest problem with it.

#blonde #movie review #2022 #2022 movie #2022 film #2022 film review #biopic #netflix #Netflix movie #marilyn #marilyn monroe #ana de armas #blonde movie #blonde movie review

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moviesinpaint · 1 year

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Not salsa, not flamenco, my brother. Do you know... Naatu? #MSPaint #MSPaintArt #2022Movies #2022Film #Oscars2022 #Oscars2023 #RRR #RRRMovie #SSRajamouli

#MS Paint #MS Paint Art #2022 Movies #2022 Film #Oscars 2022 #Oscars 2023 #RRR #RRR Movie #ss rajamouli

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caymansgifs · 1 year

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Anya Taylor-Joy as Margot Mills / Erin in The Menu (2022).

#anya taylor-joy #anya taylor joy #atj #anya taylor-joy gif #anya taylor joy gif #anya taylor joy gifts #anya taylor joy gifset #margot mills #the menu #the menu 2022 #the menu gifs #anya taylor-joy gifs #horror gifs #horror gif #margot mills gifs #horror women #horror woman #2022 film #2022 films

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guardianreadersofthegalaxy · 1 year

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My 2022 film ranking:

1. Roald Dahl’s ‘Matilda’ – The Musical (AKA ‘Booksmart’) – [Musical] A highly intelligent child starts primary school and confronts the evil headmistress. I’ll get this out of the way, the sight of precocious children jigging about like they’re in a TikTok makes me nauseous. Otherwise, M:TM is perfect, thanks mostly to Dahl’s charming story and Tim Minchin’s wonderful songs. Director Matthew Warchus leans into stylisation, bringing colour and magic that puts more ‘grounded’ musical directors like Tom Hooper to shame. Emma Thompson chews the scenery as the child-phobic Trunchbull, and Alisha Weir holds it all together as the cute and capable heroine. For fans of Paddington.

2. The Lost Daughter (AKA ‘Mamma Mia! But Sad’) – [Drama] While on a solo holiday to Greece, Leda meets a young mother who reminds her of her own struggles as a parent. This could have been a slow burn, but an early reckless choice by the protagonist infuses the film with simmering tension. It’s a great character study, and director Maggie Gyllenhaal gets brilliant performances from Buckley and Colman as the quietly abrasive Leda, who’s unpredictable without seeming inconsistent. I like Gyllenhaal’s use of quick edits and closeups to deliberately disorient the viewer, as well as Dickon Hinchliffe’s score which swings from melancholy to upbeat, ensuring things never get dull. For fans of Fleabag.

3. The Quiet Girl (AKA ‘All Quiet On The Girl Front’) – [Drama] A young girl is sent away from her neglectful family to stay with kindly relatives for the summer. I wasn’t initially sure where the story was going to go, given this starts where most adoption stories end. But I realised very soon that it was about the journey, not the destination. The direction’s subjective, showing you the world from a child’s perspective while still providing insight to the adult characters. The ending’s wonderfully bittersweet and, most impressively, it’s a tight 90 minutes. For fans of Goodnight Mr. Tom.

4. Glass Onion: A Knives Out Mystery (AKA ‘Janelle Monáe, Janelle Problems’) – [Murder mystery] Eccentric detective Benoit Blanc is summoned to a Greek island to solve the ‘murder’ of a tech billionaire. It’s only a prolonged an uneventful first act that keeps this from reaching the perfection of ‘Knives Out’. After the mid-point gamechanger, Rian Johnson provides wall-to-wall payoffs that satisfyingly recontextualise previous clues and red herrings. As for Benoit Blanc, I thought he worked better as a co-lead with Ana De Armas than in his more central role here, but he’s still extremely charming. For fans of the end of Prisoner Of Azkaban.

5. All Quiet On The Western Front (AKA ‘Insert Hilarious WW1 Gag’) – [War] In the final months of World War I, a naïve German recruit enters the meat-grinder of the Western front. It's the sort of thing you only want to watch once, like '12 Years A Slave'. With hand-held direction that puts you at the heart of the action and nightmarish gore worthy of a horror film, AQOTWF is experiential filmmaking at its best. You could have lost the Armistice subplot and cut things down to a lean 100 minutes, but the prospect of a ceasefire lends extra pathos to the lives taken in the final hours of the war. For fans of 1917.

6. Ali & Ava (AKA ‘Disc-eo & Folk-iet) – [Drama] An EDM-loving landlord and a folk-loving teaching assistant find common ground. Director Clio Barnard finds magic in the drizzle and concrete of Bradford. There’s some great use of symbolism: a glance at a rocking chair or a pair of boots can tell you everything you need to know about a character. Her script deals with a lot of different issues (a few too many), and maybe should have zeroed in on the themes of mental health and the power of music. For fans of Ken Loach

7. Nope (AKA ‘Cowboys Vs Aliens’) – [Sci-fi/horror] Two siblings attempt to save their family business by capturing footage of the UFO terrorising their farm. It’s been a long time since I last said “Oh my god” out loud in a cinema (I’m British). ‘Nope’ takes a bit of time to get started, but once things kick off in earnest it’s a real thrill. The second act in particular is terrifying, thanks to a genuinely hard to watch scene of Lovecraftian horror. There are a few odd choices, like the distractingly gravelly director character who’s introduced too late to be properly characterised, but otherwise I’d say that Jordan Peele’s done it again. EDIT: Oh yeah, what was the deal with the floating shoe? For fans of Steven Spielberg.

8. Doctor Strange In The Multiverse Of Madness (AKA ‘The Power Of The Doc’) – [Superhero] A sorcerer has his ex-girlfriend’s wedding interrupted by a multiversal war. This was really entertaining! The action was occasionally hard to follow and the plot, while coherent, was little more than a vehicle for increasingly bizarre set pieces. But what set pieces! I know MCU directors often feel handicapped by studio interfering but, in this case, it seemed like Sam Raimi was able to make the film his own by leaning into the goofy soft-horror he’s best known for. And the, now obligatory, fan-service cameos were wisely confined to one scene. For fans of Sam Raimi.

9. Everything Everywhere All At Once (AKA ‘Racocoonie’) – [Sci-fi/action] A laundry owner has her tax audit appointment interrupted by a multiversal war. Co-directors ‘Daniels’ should be applauded for their boundless creativity, though I do have notes. There’s an incredible 100 minute film in there somewhere, but many moments dragged out for way too long. EEAAO rises above other Matrix knockoffs by remembering to have fun, with plenty of ‘Rick & Morty’-style comedy to complement the competently handled emotional story. By turns surreal, hilarious, tedious, and genuinely moving. And too long. For fans of Rick & Morty.

10. The House (AKA ‘There’s A Moose Loose Aboot The Hoose!’) – [Adult animation] Three generations of cats, mice, and humans try their best to settle into ‘the house’. I mean, I just love stop motion so maybe this had an unfair advantage. Design and direction are both on point to make ‘The House’ as beautiful as it is unsettling. Thematically though, it suffers from ‘French Dispatch syndrome’: with neither the variety of an anthology miniseries like ‘Inside Number Nine’, or the coherence of a standard 90-minute film. The first and last parts had decent messages, but I never felt like Jarvis Cocker’s mouse estate agent was getting his just deserts. For fans of Henry Selick.

11. The Power Of The Dog (AKA ‘Doctor ‘Straight’ In The Closet Of Sadness’) – [Drama] A macho cattle-rancher takes against his brother’s new wife and her aloof teenage son. I thought Jessie Plemons’ understated performance was the highlight. His tearful relief at finding an alternative to his bullying brother really struck a chord, and it’s a shame that he faded into the background later on. The actors convey a lot through physicality, like Dunst’s shaking hands as she sits at the piano, or Cumberbatch and Smit-McPhee’s gait as they respectively strut and mince around the farm. Dialogue schmialogue. For fans of There Will Be Blood.

12. RRR (AKA ‘Rajamouli’s Ridiculous Romp’) – [Action] Sparks fly in 1920s India when officer A. Rama Raju meets the revolutionary Komaram Bheem. They don’t make films like this in the West any more, and I think that’s a shame. RRR is camp and earnest, always somewhere between ‘so bad it’s good’ and just genuinely good. While there were literally hundreds of moments of unintentional comedy, I couldn’t help but get swept up in the epic drama and spectacle. For fans of Stephen Chow.

13. See How They Run (AKA ‘Who Has Done This?’) – [Comedy] In the 1950s, a murder is committed on the West End stage of Agatha Christie’s ‘The Mousetrap’. This was more enjoyable on the rewatch, with lowered expectations. Sam Rockwell's still wasted and the premise still isn't as original as it thinks it is. But the jokes (both verbal and physical) all land, the payoffs and reveals are satisfying, and the cast mostly live up to their potential. And Saoirse Ronan carries the whole thing, doing double duty as moral centre and comic relief. For fans of Inside No. 9.

14. Don’t Look Up (AKA ‘Leostorm’) – [Drama/comedy] Two astronomers desperately attempt to warn the world’s governments about an approaching comet. This was a really tense watch. It felt like a modern update of ‘Dr Strangelove’, where the people with the power to avert Armageddon are too inept to do so. There’s a hefty dose of Black Mirror in there too, with humanity’s stupidity on full display. That said, I didn’t leave feeling like we deserve annihilation, which might have been some consolation. Instead I was angry that we put our lives in the hands of the Musks and de Pfeffel Johnsons of the world, and that’s not as cathartic. For fans of Charlie Brooker.

15. The Banshees Of Inishirin (AKA ‘The Irishmen’) – [Drama] During the civil war, an Irish farmer is baffled to learn that his friend doesn’t like him any more. You can tell Martin McDonagh’s a playwright – the slow pace, the few locations, the focus on dialogue. And like most plays it gave me a lot to think about, whilst also being a bit boring. The jokes all landed but they were few and far between. It was like feature-length ‘This Country’ episode, but with more fiddles and misery. And Barry Keoghan was fantastic as ever, if typecast, as Dominic the village eejit. For fans of Samuel Beckett.

16. Turning Red (AKA ‘Meilin, Wailin’ & Big Fluffy Tailin’) – [Family animation] A thirteen-year-old girl turns into a giant red panda. I feel like, as with the MCU, Pixar films have somewhat reached a point of competent homogeneity. I could copy and paste most of this from my last two Pixar reviews: the animation’s beautiful; good insights are made about the human condition; the message is hindered by over-specific lore. And that’s fine, I guess. For fans of Luca.

17. Pig (AKA ‘Baken’) – [Drama] A former expert chef turned lonely truffle hunter searches for his stolen truffle pig. I felt like there could have been something profound going on in 'Pig'. The juxtaposition of a dirty, bleeding man sat in a fancy restaurant probably signifies… something. But there were just too many off-putting elements, like the random fight club scene, for me to grasp what it was all about. Cage does your standard 'Sadman McDeadwife' performance, but I much preferred Alex Wolff's nervous yuppie. For fans of John Wick… or Ratatouille

18. Prey (AKA ‘Nevertheless, Coman-she Persisted’) – [Sci fi/ action] A precocious young Comanche woman confronts an extra-terrestrial ‘Predator’. It’s such a shame this never got a theatrical release. The ‘Revenant’-style nature shots were amazing but would have been so much better on the big screen. It’s a lean 100 minutes and a little light on substance, meaning everything hinges on the action, which is… decent. The Predator’s kills are gleefully bloody, but the final fight is hard to follow in the dark, making it a bit of a limp climax. For fans of The Revenant.

19. The Batman (AKA ‘Twi-knight’) – [Superhero] Batman uncovers corruption in Gotham City while facing a serial killer known as the Riddler. Director Matt Reeves draws on the serial killer films of David Fincher, emulating their tone but unfortunately also their three-hour runtimes. I’m afraid I found The Batman to be heavy on plot and light on theme, leaving me with little idea of what it was ‘all about’. Paul Dano’s a brilliant actor but he’s only really given one scene and, sadly, I think he botched it. Still, I enjoyed the action, the cinematography and Michael Giacchino’s already iconic score. For fans of Seven.

20. Smile (AKA ‘Upside Down Frown Town) – [Horror] A psychiatrist is fatally cursed when she witnesses one of her patients committing suicide. This script really could have used another pass. The scares are effective but the premise is generic and the dialogue laughably bad, particularly the overuse of the f-word worthy of an A Level drama class. Worst of all, thematically it seems to come out against seeking help for mental health problems, an idea I thought it would subvert but then it just… didn’t. That said, there are a few brilliantly nightmarish images and an incredible score from Cristobal Tapia De Veer. For fans of It Follows.

21. Thor: Love & Thunder (AKA ‘Why, Waititi? Why?!’) – [Superhero] Thor teams up with ex-girlfriend Jane Foster to fight Gorr the God Butcher. I think Marvel Studios might be drunk on their own power. Indeed ‘Love & Thunder’ feels like it was written and directed while drunk. It brings back a lot of the elements that made ‘Ragnarok’ work, but underdelivers on both humour and pathos. Thor’s new multi-coloured costume is a huge downgrade from the streamlined look in his previous solo film, and Guns ‘N’ Roses can’t hold a candle to Led Zeppelin. For fans of Ghostbusters (2016).

22. Ennio (AKA ‘The Good, The Bad & The Long) – [Documentary] A documentary celebrating the life and work of Italian film composer Ennio Morricone. Honestly, I love Morricone but after two and a half hours I was sick of the old codger. Insights are made into the great man’s process but they’re drops in an ocean of runtime. I wish, instead of trying to cover every film Morricone ever composed, director Giuseppe Tornatore had just picked a few ‘greatest hits’. Or at least devoted more than 60 seconds to the scoring his own ‘Cinema Paradiso’. For fans of BBC 4 music documentaries.

23. The Worst Person In The World (AKA ‘Nor-way Home’) – [Drama] I’m sorry, so little happens in this film that I’m not sure that I can summarise it. My favourite part was finding out, to my relief, that my wife didn’t like it either. Perhaps I shouldn’t have had a couple of drinks before watching something where I’d have to read both subtitles and actors’ facial expressions. Either way, I mentally checked out after the first hour. TWPITW uses a prologue to establish Julie’s personality before instantly contradicting it, introduces numerous disparate plot elements that didn’t go anywhere (drugs, families, offensive cartoons) and has basically nothing happen for two hours. For fans of things that are shit.

And a dishonourable mention to The Lost King (AKA ‘Knowing M.E., Knowing You’), which Cate said it wouldn’t be fair for me to review because I walked out after 30 minutes. Also No Time To Die, which I couldn’t finish because my plane landed but was also pretty bad.

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splatteronmywalls · 2 years

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#horror #horror films #horror film #bodies bodies bodies #2022 film #queer horror #a24

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cinewrlds · 2 years

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NOPE (2022) | DIR. JORDAN PEELE

#nope #film stills #jordan peele #2022 film #horror films #horror #sci-fi

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theconnoisseurreviews · 1 year

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15/23 in my Oscar pool this year. (Called most of the major categories and surprisingly all the shorts)

But man was it a brisk show. A lot of films and people that I wanted to win actually ended up winning. Loved the love for "Everything Everywhere All At Once," all the speeches from that team was great, except the producers. My 2 biggest pops of the night were, when "Naatu Naatu," won Best Original Song and Brendan Fraser won his much deserved Oscar for Best Actor (the only performance that made me cry this year). Jimmy Kimmel was dull as expected, but luckily the show was short, so we didn't have to endure too much of his schtick. I really wish Hong Chau won Best Supporting Actress, she was phenomenal opposite Fraser and really elevated his performance. "Puss in Boots: The Last Wish" winning would have been nice. I'm still dumbfounded that "Top Gun: Maverick" didn't get nominated in cinematography, only real snub this year. Overall the winners were all deserving. It was a good year for films.

Now let's start the 2023 movie season 🤩

#oscars #oscars 2023 #95th academy awards #academy awards #2023 academy awards #eeaao #brendan fraser #jimmy kimmel #oscar pool #oscar buzz #the connoisseur #2022 film

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samoililja · 2 years

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I just finished watching Mr. Malcolm's List and it was a 10/10 cinematic experience

#mr. malcolm's list #period dramas #romcom #romantic comedy #2022 film

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boardchairman-blog · 1 year

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**Shots of the Movie**

She Said (2022)

Director: Maria Schrader Cinematographer: Natasha Braier

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yesterdanereviews · 7 months

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R.I.P.D. 2: Rise of the Damned (2022)

Film review #575

Director: Paul Leyden

SYNOPSIS: Sherriff in the Old West Roeciphus Pulsipher is gunned down and killed in a shootout with some outlaws. Before he can proceed to the after life, he is recruited by the Rest in Peace Department (R.I.P.D.) to hunt down souls that have not departed from the Earth. "Roy" is partnered with veteran officer Jeanne to investigate a disturbance that could put the whole of humanity at risk...

THOUGHTS/ANALYSIS: R.I.P.D. 2: Rise of the Damned is a 2022 film. Despite what the name implies, the film is not a sequel, but a prequel to the 2013 film R.I.P.D., in which we see the story of how veteran officer Roeciphus "Roy" Pulsipher joined the department. The film is set in the Old West, where Roy is killed in a shootout with a local outlaw gang. He is recruited by the Rest in Police Department (R.I.P.D.) to deal with souls called "Deados" who have remained on Earth after death and must be sent to the afterlife. Roy is teamed up with another officer, Jeanne, to investigate an increase in strange activity. If you watched the first film, you'll know exactly what to expect from this film, because it is basically the same plot: rookie and veteran partner up to stop the souls of the dead from returning to Earth. However, unlike the first film, which was still entertaining by just rushing through the film and relying on constant action and strong character performances, R.I.P.D. 2 doesn't even have that, and the film stumbles along without any real energy or appeal. It doesn't expand on the world or the lore in any way, it doesn't reveal anything new about the characters, it's just a completely recycled product with all the good stuff thrown out.

The only returning character from the first film is Roy, who was played by Jeff Bridges in the original, is played here by Jeffrey Donovan (obviously Bridges would have been a bit too pricey for this low-budget prequel). While I see a lot of praise for Donovan's performance, I just didn't see it. In his defence, it might just be the awful script and writing that is giving him stunted dialogue and interactions, which is certainly feasible, as the characters interact rather clumsily. Jeanne 's characters is very much a typical "veteran cop," and the French accent gives it away that she is meant to be Joan of Arc fairly early, although the film "reveals" it a lot later (although I'm not sure if it is meant to be obvious, because the writing doesn't indicate it). Despite her being a famous historical figure, it doesn't fails to add anything to the film or her character. Following the lore of the film, Roy and Joan look completely different to living people so they can't be recognised, and are given the appearance of two black women. This does present an opportunity for the film to address the racism and status of black people in the Old West, but the film chooses to play it safe and does the bare minimum with it. If they're not going to address the topic, they might as well just not bothered having it as a plot point at all.

Every establishing shot in the film gives away that everything is a set devoid of substance beyond the camera. The effects are plain, and nothing stands out to make things interesting. The ending wraps things up in a roundabout way and addresses issues that I didn't realise were an issue (who actually shot Roy or something). Overall, you're not going to get anything out of this film that the original, and is far inferior in every way. Everything about the film feels cheap and uninspired, and the things that made the original entertaining are absent. Releasing ten years after the original as well means that the opportunity to ride the hype of its predecessor is long gone, leaving it alone and essentially dead on arrival.

#movie #movie review #r.i.p.d. 2 raise of the damned #ripd #sci-fi #film #film review #2022 film

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