Willy's Wonderland (2021) directed by Kevin Lewis

Am I having a fun time right now or is this the dumbest movie I've ever seen? Am I really just watching a half-assed story play out underneath Nic Cage mercilessly mutilating some animatronics? Is there a standard for quality anymore? These are some of the most prominent questions any viewer will be asking themselves when watching Kevin Lewis' long-awaited Willy's Wonderland. This B-film is one of the most entertaining and ridiculous horror movies I have seen recently and one that thankfully knows exactly what it is from the very start. The self-awareness of this story works for the film incredibly well and along with an equally incredible (?) performance from Nicolas Cage, I could not help but have a hell of a fun time with this one.

A silent, stubborn drifter (Nicolas Cage) breaks down alongside a road in a small town. In order to pay off the repairs to his car, he is forced to clean up Willy's Wonderland, a funhouse for children's birthday parties. What he doesn't know, however, is that the animatronic characters come to life and the drifter must spend the entire night trying to survive the attacks of the demonic creatures. While obviously inspired by the iconic horror game Five Nights at Freddy's, screenwriter G.O. Parsons knows exactly what kind of movie he is writing: one that will feature fun kills, ridiculous plotlines, and a rightfully over-the-top performance from Cage. What I loved most about this film is how self-aware it is during its entire runtime and how little it seems to care. Just reading the synopsis for this film is enough to make any viewer roll their eyes and scoff but that is precisely the kind of attitude that does not deserve to see a film like this. One has to know what they are going into when visiting Willy's Wonderland and as long as your expectations are not too high, you will have a hell of a time. Parsons is never afraid to let this story rely on Cage and every scene with him is just perfection. His performance is as maniacal as one would hope and the choice to not make his character say a word during the whole film was such an interesting one. It puts such a compelling boundary on his character's motivations and although he can get a bit too goofy at times for his own good, I loved seeing what Parsons and Lewis were able to accomplish by letting Cage's physicality and violence do the talking. And although this movie may not have ever been necessarily scary, the mayhem that ensues from Cage beating the ever-loving shit out of some children's characters is just what you would expect. The outlets for violence may have looked a bit different in this movie but that never stops Cage from taking this story and running with it in the most insane way possible.

While this film may have been a self-aware B-flick that is not afraid to lean into the genre's absurd clichés, it also leans into the ones that make these types of stories so predictable. The subplot of the teenagers with the traumatic backstory at the funhouse coming back to end the cycle of violence was so unnecessary and unsatisfying that I was never really able to buy into it at all. Willy's Wonderland needs that, as Cage can only fight animatronics for so long without the story becoming repetitive but that never changes the fact that I was intensely bored by the teenagers. The writing revolving around them seemed to serve no purpose other than forwarding the plot and I honestly think that a more unique approach to this subplot would have been very beneficial to keep the audience more engaged. I love when films go absolutely bonkers, no holds barred, with the idea they are selling, and while I got bursts of that insanity through Cage's scenes, Lewis' direction definitely did not help this film's momentum. The scenes of Cage ripping through the puppets and taking them down one by one were constantly interrupted by flashbacks and it really hurt the movement of the film. Lewis does not know how to keep up the adrenaline from the ridiculously fun action sequences and inserting these flashbacks and bits of subplot only hurt that. His direction is very hectic and I was never really a fan of the way that he handled this story. If he would have gotten the exposition out of the way in the beginning and then dove headfirst into the bloody (oily?), crunchy, and laughable action, this film would have felt much more natural. The cinematography from David Newbert also makes this movie's small budget very visible, as so many of the lighting choices and angles used made zero sense. Perhaps that was the intent but I could not really get behind the warped choices Newbert made. The best part of this film that the budget clearly went to was the design of the actual animatronic characters. The builds and designs of them all were just glorious and I loved the campy references to so many Chuck E. Cheese-esque characters. The care put into the practical effects of this movie is so evident and I truly believe that the best way for them to get their money's worth was by having Nicolas Cage destroy them all.

Willy's Wonderland is not a film that I see myself revisiting in the future but I am certainly glad to say that Lewis delivers on all of his promises. This goofy take on the "locked-in-one-location" horror movie proves to be a wonderfully fun ride and so many of Lewis' creative choices make this quite an unforgettable film. I may have been able to tell what was going to happen from the start and expected to see Lewis hit on all the tropes of this particular horror subgenre but that never stopped me from having a blast. And a big thanks to Nic Cage for producing this - the world would most certainly be less chaotic without you.

My Rating: ★★★½

Malcolm & Marie (2021) directed by Sam Levinson

These two characters might be some of the most conveniently strong-willed people ever written in film because if anyone I was in a relationship with ever spoke to me like this even once, I would instantly break down and cry. Sam Levinson's Malcolm & Marie has seen quite the online dichotomy of love and hate this past week as viewers have either been adoring its classic cinema/Cassavetes aesthetic or despising its treatment of social politics. I feel like I fall right down the middle of this line, as I can recognize how unbelievably gorgeous this film looks and is acted but I also found so many issues with Levinson's writing and direction that were hard to ignore. While this has been one of my most anticipated movies for the beginning of this year, I'm a bit disappointed that I ended up having so many problems with its overall premise. But what do I know? Because according to Levinson, me and the rest of the film criticism community aren't allowed to have an opinion on his "god-granted" art.

Returning home from the premiere of his debut feature film, movie director Malcolm (John David Washington) and his girlfriend Marie (Zendaya) anxiously await the night's reviews to start coming in. As the tension between the two of them grows and the true nature of their relationship begins to be revealed, the true test of their actual romantic compatibility begins. Written, directed, and shot entirely in lockdown last year, this movie proves to be a test for Levinson to really hone in on his writing skills, as there is not too much else to focus on besides the dialogue and arguments between Malcolm and Marie. Fresh off his creative process for Euphoria (which I actually enjoy for the most part!), Levinson had to channel this energy into a different project and this film showed so much potential to be something extraordinary. What Levinson was able to achieve in the special bottle episode of Euphoria made me excited for what he could accomplish in a full-length feature but instead, he wastes this movie on complaining about the existence of criticism. The character of Malcolm pretty much only exists for Levinson to complain and bitch about the critical reviews he received for his 2018 film Assassination Nation and I really despised Washington's character for that. The incredibly extended monologues and hateful venting that Malcolm does makes it plainly obvious how butthurt Levinson was and it was rough to watch because of how he never really tries to hide his anger. I understand that some film critics can misunderstand the intention of a filmmaker due to skewed perspective and that some directors in themselves can be loud, arrogant, assholes, but this element of his writing just inadvertently makes him appear like a sensitive filmmaker that does not know how to accept either criticism or even compliments the right way. This became increasingly annoying and instead of writing the character of Malcolm to be his own person with his own motivations, Levinson wastes a perfectly good performance on his own grievances. No one is immune to criticism and that's one thing that I guess Levinson has not wrapped his head around.

Levinson also writes Zendaya's character in such a strange way that I was never fully on board with. Sure, she embodies the role as fantastically as she can but it almost seems as if Levinson is vastly overcompensating for the fact that he's a white man by writing Marie's dialogue with as much agency as possible. This is certainly a creative choice for a character that I could get behind in most situations but for a film that takes place solely between two characters in one location, it seemed very over-the-top. This also goes into how much this film reminded me of Mike Nichols' classic Who's Afraid of Virginia Woolf?, except for the fact that Malcolm & Marie could never come close to touching that iconic piece of cinema. The way that Levinson writes his film makes it seem like it was adapted from a play, like Nichols' 1966 film actually was, but I don't think that really worked for this modern story. The dialogue and clashing personalities of the two leads make this film seem very exaggerated for no apparent reason and I honestly believe that the writing would have strongly benefitted from actually being written like a screenplay. Frankly, no one talks like the way Malcolm and Marie do, and this over-exaggeration of their conversations never sat well with me. If you are secluded in a house with someone and this abusive level of insults just keeps getting thrown around, at some point you're just gonna have to leave, right? I could never see the justification for the characters that Levinson was trying to get his audience to believe and while I know they are ramped up for dramatic effect, it just did not work for me at all. His direction is also a bit confusing because of the logistics behind the characters' arguments. In Who's Afraid of Virginia Woolf?, the couple experiences one argument that gets progressively worse throughout the course of the film but in Malcolm & Marie, their fights are interspersed with little bouts of humor or sensuality. I really could not buy into the idea of them quickly getting over the toxic insults slung at each other so soon and Levinson's inclusion of these kinds of lighthearted scenes was just a bit too goofy for my own taste.

If there is one good thing I can say about Sam Levinson and his handling of this story, it's that he knows how to keep me interested. The projects he pursues and the aesthetics he utilizes are all just spectacular and like the fool inside of me, I cannot help but get excited when I hear of whatever he is making next. However, the true standout elements of Malcolm & Marie are the performances from the two leads and the masterclass of cinematography from Marcell Rév. Zendaya and John David Washington are absolute masters of acting at this point and this film is really just a showcase for them to show off their talents. Thank god these two were cast because their chemistry together and their individual acting abilities were more than enough to bolster this movie into solid territory. Zendaya is as remarkable as always and steals the show with ease while Washington perfectly takes on his role of a terribly ignorant film director. I honestly could not say which performance I preferred but they both turned in work so good with the script that they were given. The cinematography from Marcell Rév is also astounding and not only because it's in black and white! The color really did not have much to do with the fact that his use of dolly shots and framing was pitch-perfect and really used the composition of the house so well. The crisp and fluid capturing that Rév was able to accomplish was gorgeous and it really breathed a whole new life of visual style into this film that was desperately needed to keep it from turning into a mess of angry dialogue and pathetic complaining.

I'm trying my hardest to figure out what all of this young talent sees in Sam Levinson that makes them want to work with him but it's becoming more and more difficult to imagine. Malcolm & Marie is a solid entry into his filmography that only makes his visual style more concrete but I really could not see past his puzzling treatment of women or his whiny writing. This film could have been miles more satisfying if Levinson had not inserted so much of himself into the story but all I have to say is thank goodness for the camera, Zendaya, and Washington for being able to sustain my interest throughout this otherwise social pretension of a movie.

My Rating: ★★★

Nomadland (2020) directed by Chloé Zhao

Humanity in its simplest form is doing what it takes to survive while knowing that there will always be people in your life to back you up and support you. Sometimes that takes the form of a person raising a family in a suburban home and other times, it takes the form of a widowed woman living in a van as a modern-day nomad. Chloé Zhao's Nomadland is a wonderful exploration of the latter and one that exceeds in every aspect of humanistic filmmaking possible. From the performance from Frances McDormand to the stellar direction from Zhao to the inclusion of real-life people in the cast, every element of this movie works together in such a melancholic yet cathartic harmony that will certainly resonate with me for years to come. While this might not be the most consistently exciting or plot-driven story, the cinéma vérité of the film works in astounding ways to really show its audience the core of Americans' humanity.

Upon losing her job at a drywall plant and having her city's zip code discontinued in the area previously known as Empire, Nevada, Fern (Frances McDormand) decides to sell all of her belongings to buy a van and live in it full-time. Traveling across the southwest, she decides to join a group of other van-dwellers inspired by a man named Bob (Bob Wells) that live as nomads as she tries to get back on her feet and live her newfound life to the fullest. The writing and direction from Zhao are unbelievably amazing and throughout this film's entire runtime, constantly kept me engaged despite the lack of seat-clinging plot. Adapted from the novel of the same name by Jessica Bruder, this real-life story of a woman learning to live a new way throughout a recession is so captivating and Zhao does the most excellent job of showing every side of Fern's humanity. With every new person that Fern meets, she learns a little more about herself and the land that she is occupying, and more than anything, Nomadland paints this portrait of rural America better than most filmmakers have ever done before. As Fern learns more and more about these people and becomes connected to them through her travels, the audience falls more and more in love with them as well, to the point that I felt like I knew them myself. It also helps that all of the characters, except for Fern and Dave (David Strathairn), were played by non-actors and that added such a great touch of realism to the story. Every single one of the non-actors played their parts with such poise and authenticity that it is difficult to believe they were not trained actors. Zhao knows this as well and her direction plays on that all too well. She handles this story with a grace that only a woman knows and the way that she bounces throughout Fern's travels is masterful. The audience never had to know exactly what Fern was up to or her motivations; all they had to know was that she was trying to thrive. Zhao paces this story with ease and also knows exactly when to place her scenes for maximum emotional effect. Every choice made by her throughout this film was just perfect and I adored every ounce of heart that was poured into this production.

While Zhao's direction and adaptation of this story were just impeccable, the performance from McDormand and the technical aspects of the film were just as impressive. McDormand has had one of the most interesting careers in recent films that I can think of and I really admire her for the level of artistry she puts into the roles that she chooses. The role of Fern genuinely seems like it was written for her and McDormand is truly able to embody the simultaneous sadness and aspiration that Fern is feeling. I could really sense Fern's struggles and little joys through every minute facial expression from McDormand and the humanistic ways that she portrays this character is just phenomenal. She almost acts as a sponge throughout all of Nomadland: soaking up the emotions and stories of every stranger that she meets while maintaining her composure and just trying to make it through. Of course, this gorgeous level of storytelling would not be possible without the visual elements of the film and the cinematography from Joshua James Richards and editing from Zhao herself work together beautifully. Richards shoots this movie in such a glorious fashion that I could never take my eyes off the screen. The way that he captures every piece of scenery is astounding and the world-building that he does with just the nature of the land Fern travels to is so magnificent. The perfect blend of handheld and still camerawork is used to really draw in the audience to the southwestern landscapes and being from Arizona myself, I was amazed at how accurately this area was presented. It also helps that I saw Nomadland in IMAX as it was shot on that specific camera because I could not get enough of the wide shots and immaculately stunning compositions. Zhao's editing also helps to hone in on this story and while Fern's story felt so close to home, Zhao also knows when to let the story breathe and just bask in the beautiful wildlife of this world.

Chloé Zhao's Nomadland is one of the greatest American films about humanity ever made and one that I am so genuinely upset that I did not get a chance to see before now. This film would have absolutely been on my Top 20 of last year and even though I didn't get a chance to really experience it until now, it will stay with me for quite some time. This is one of the most American movies I have ever seen, for better and for worse, and I cannot wait to show people this work of art until they are undoubtedly moved to tears. God knows I was.

My Rating: ★★★★½