Despite a starry cast and a ripped-from-the-headlines story - which is only now receiving its first big-budget adaptation - the movie never coheres into anything beyond a string of loose sequences. Some of these beats work on their own, but Wasp Network never escapes the feeling that it’s missing huge chunks of material, or choking its main performances.
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What keeps Trank coming back, however, is his ability to craft some really great scenes. Dark, moody and – at times – self-destructive, it feels like Capone’s material speaks to Trank’s personality and career in a personal way, but much like his other projects, it never quite comes together with an overarching big idea.
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We’ve seen both Steve Coogan and Rob Brydon - or rather, the amplified versions of themselves that they play in this series - struggle with satisfaction in their careers, happiness in their romantic relationships, and bonds with their children. Now The Trip to Greece pits Coogan against one the toughest challenges a man of his age could face: the illness of an elderly parent.
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However, where Game Night featured a memorable network of supporting characters and some surprising kinks in the plot, everything (even the leads) in The Lovebirds is noticeably underwritten. Other than the onscreen presence of Nanjiani and Rae, the movie doesn’t give us much else to work with.
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He’s powerless from the start, and it’s a dangerous fuel to Jahkor’s pride and short fuse, both of which end up consuming him. The film constantly reminds you about institutionalized racism; “they teach you how to survive, but they don’t teach you how to live” is a common refrain.
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t’s a heavy-handed action film, with each cliché delivered to you hand over fist. When we meet Tyler, he casually jumps off a big cliff and into the water, where he stays submerged. He’s drowning himself with the heavy memories of a troubled past, which the film is all too eager to remind you any time there’s a quiet moment.
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There’s plenty of moments that, in the era of COVID-19, seem all too familiar. The characters are hypervigilant around sources of infection, frantically double-checking their suits and disinfecting everything. They soon develop an effective blood-based test for the virus, and in the fourth season, part of an episode revolves around performing community-wide tests to determine if someone’s been exposed.
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Lewis is not glimpsed in character for an asphyxiating amount of time. Tollman seems to want to save his reveal like Spielberg teased the shark from Jaws. In the meantime, instead of building a tense cat-and-mouse game between Bram (Platt) and the people protecting Ford, the characters stay in their own bubbles, never crossing paths or ever giving the sense that they’re doing anything to outmaneuver each other.
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There’s still a chance that the Film-Twitter ApprovedTM foreign-language nominee Parasite may act as a dark horse and make history in the Best Picture race, but I’m not putting a huge amount of faith in an Academy that only last year gave the award to Green Book, a (not terrible!) but thoroughly plain choice in a far more accomplished field. With less than one week to go, on to the picks!
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True North Streaming is a semi-regular column highlighting some of the best new additions to Canadian flavours of streaming services like Netflix and Amazon.
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Robert always makes fun of me for saying “this year hasn’t been great for movies,” but he’s right, every year there are always a bunch of films worth watching. So, I’ll gladly eat my words and spit out a few as well. Here are my most anticipated films for 2020.
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Back in February, we surveyed all the films set to come out over the upcoming year and wondered who could win their first statue in 2020.
It’s now five months later, so we thought it was high time to revisit the list and see what’s changed.
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