Primate review: When It Comes to Blows, Chimping Ain’t Easy

A shot of the ape in Primate

So much for species equality on screen. Over the past decade-plus, in movies like the rebooted Planet of the Apes franchise or the Robbie Williams vehicle Better Man, the computer-generated chimpanzee has been a symbol of evolution and humanity—sad, intelligent, soulful. (Though featuring a different genus, the new blockbusters involving King Kong similarly depict the gorilla as a nice guy.) Yet here comes Primate to lay waste to these fantasies of human-animal harmony. The monkey here may be smart, but he sure isn’t friendly; he’s a fearsome killing machine who uses his mighty strength to facilitate his appetite for brutal, bloody violence. I’m surprised PETA hasn’t called for a boycott.

Not that Ben, the titular beast who is played (sort of) by Miguel Torres Umba, initially seems like a bad boy. He instead presents as the happy and docile pet of Lucy (Johnny Sequoyah), a university student returning to her gorgeous home in Hawaii, where life seems pretty good. Lucy’s late mother was an expert linguist who taught Ben to communicate by punching buttons on a vocalizing tablet, allowing him and others to mash together noun-adjective combinations like “Ben happy” and “Lucy sorry.” Her half-absent father (Troy Kotsur) is the author of a lucrative mystery series with unfortunate titles like “A Silent Scream,” and its popularity has afforded him a swanky beachfront estate that would make the tech bros from Mountainhead jealous. Her younger sister (Gia Hunter) is resentful toward her—apparently for the sin of, I dunno, going to college?—but they quickly patch things up, and Lucy anticipates luxuriating with family, friends, and her favorite furball. Read More

Indie New Year: No Other Choice, We Bury the Dead, The Plague

Lee Byung-hun in No Other Choice; Daisy Ridley in We Bury the Dead; Everett Blunck in The Plague

Christmas tends to be a big holiday for new movies, but New Year’s Day, not so much. Major studios rarely drop new films in the chill of early January, so the flip of the calendar instead becomes an opportunity for limited releases to expand slowly (sometimes glacially—looking at you, The Testament of Ann Lee). Today, we’re catching up with three independent pictures gradually making their way around the country, though viewers in some markets may be forced to wait until they hit streaming. This is why I support a national law requiring all movies to play in all theaters at all times.

No Other Choice. Capitalism is murder. You work and you work, pouring your blood and sweat into a numbing career that drains the life from you, in service of unfeeling bosses who can sack you whenever they want. (Note to any of my superiors who happen to be reading this piece: I love you and I love my job, please don’t fire me.) If you’re a CEO, they send you packing with a golden parachute. If you’re a line worker, they give you an eel. Read More

Marty Supreme review: Nights of the Downed Table Tennis

Timothee Chalamet in Marty Supreme

There’s a moment in Marty Supreme when someone tells the title character to stay calm. I generally don’t like spoiling things, but given that the movie was directed by Josh Safdie—and given that Marty (surname Mauser) is played as a bundle of raw nerves and febrile energy by Timothée Chalamet—I feel comfortable in informing you that this advice proves unsuccessful. Asking Marty Mauser not to get agitated is like asking the earth not to rotate on its axis. It’s a plea in defiance of natural order.

The cinema of the Safdie Brothers, which includes grubby scraps like Good Time and Heaven Knows What, places a premium on speed and shock while also championing aesthetic ugliness in the name of visceral authenticity. They found the right calibration on Uncut Gems, their 2019 tour de force of addictive anxiety, before venturing out on their own. Benny recently made The Smashing Machine, a solid enough picture that was largely forgettable outside of Dwayne Johnson’s committed performance. Marty Supreme is hardly a perfect movie, but it sure is a memorable one. It’s got sex and violence and mad dogs and crooked cops and Chalamet’s bare ass and Gwyneth Paltrow in mink-wrapped lingerie. Josh Safdie may have gone solo, but he hasn’t gone acoustic; he remains committed to pulverizing viewers with volume and intensity, resulting in an experience that straddles the line between exhilarating and exhausting. Read More

Thanksgiving Roundup: Zootopia 2, Frankenstein, Train Dreams, Rental Family, Sentimental Value

The fox in Zootopia 2; Oscar Isaac in Frankenstein; Joel Edgerton in Train Dreams; Brendan Fraser in Rental Family; Renate Reinsve in Sentimental Value

In a perfect world, I’d use this website to write long-form reviews of every new movie I watched. Sadly, I lack both the time and the talent to do so. Yet my combination of OCD and narcissism compels me to always register my opinions in some fashion—typically via Letterboxd, where I can scribble down two-paragraph capsules that convey my overarching thoughts without adhering to the formal style and detail of a proper review. (For example, I never found the time to review Hamnet, but my spoiler-heavy Letterboxd blurb digs into that film’s majestic ending.) I try not to shill for corporations, but whether you’re the dorkiest of cinephiles or just a casual viewer, it’s a free and useful app, and—what was I saying about narcissism again?—if you’re ever searching for my thoughts on a movie that I didn’t review here, you can likely find them there.

This week, though, rather than choosing a single title to highlight, we’re going rapid-fire through some recent releases—a blend of audience-pleasing blockbusters, independent fare, and streamers that Netflix refused to let you see in a theater. Let’s get to it. Read More

Bugonia review: Alien vs. Redditor

Emma Stone in Bugonia

Have you noticed that the world is falling apart? That corporations wield enormous power? That the mega-rich are infiltrating the government to advance their own agenda at the expense of the working poor? Teddy has noticed. More than that, he’s determined that our ongoing societal collapse stems from a particular form of unchecked immigration—one that has nothing to do with national borders. That’s right, according to Teddy there’s a more insidious invading force at work: aliens.

Bugonia is the latest whatsit from Yorgos Lanthimos, the fiendishly inventive filmmaker of such marvels as Poor Things, The Lobster, and The Favourite. It isn’t as great as those movies, lacking their conceptual ambition and their ravishing craftsmanship. But it is nonetheless a potent and arresting work—an intimate, suspenseful thriller that also tackles modern discontent with satirical ingenuity and sobering clarity. Read More