![]() And if you have somehow managed to avoid the details of the film's dramatic climax after all these months, well, we'll say no more.įront and centre of your chaotic bingo card for 2022 is the long-awaited release of erotic thriller Deep Water, the film in which Ana de Armas and Ben Affleck (the couple whose whirlwind romance and very public break-up formed its own chapter of the pandemic) show off their on-screen chemistry. The script has been spruced by Fleabag's Phoebe Waller-Bridge, meaning there's some overdue development of female characters like Naomie Harris's Moneypenny, as well as a challenger to Bond's 00 status in new agent Nomi. There's also plenty of callback references for Bond purists, with hints at Dr No in Malek's character, numerous nods to George Lazenby's On Her Majesty's Secret Service, and echoes of the trippy villain lairs of films like GoldenEye. Still, there's plenty of visual delights courtesy of cinematographer Linus Sandgren, from a creepy overhead opening shot that descends through the mist, to a car chase that rips through a Nordic forest and demolishes everything in its wake. ![]() The 25th Bond film has the difficult task of bringing together the various different storylines of the Craig era, and as a result the plot doesn't stand on its own two feet as much more than a climax of what has come before. There's also the return of many of the Bond Cinematic Universe, with the likes of Léa Seydoux and Ben Whishaw back for Craig's last hurrah, and in the director's chair is Cary Fukunaga, the auteur behind that first, perfect season of True Detective. That includes the latest film and final outing for Daniel Craig, No Time To Die, in which 007 finds himself up against a formidable opponent in Rami Malek's pockmarked Safin. Delirious, and now nominated for a whopping 10 Oscars.Īmazon's big Bond deal is good news for Prime customers, as the entire back catalogue of 007 is now available to stream on Prime Video. But the universe is being torn to pieces, and Evelyn can draw on the skills and power of her other selves to sort things out. She's even worse than the one where everyone has hot dogs for fingers. It turns out Evelyn is one of an infinite number of Evelyns across all of space and time, and she's the worst of all of them. Or, more accurately, the last straw turns into a myriad more straws. The last straw is a meeting with the IRS. Michelle Yeoh is Evelyn Wang, a woman whose marriage, business and family is falling apart. However: were you really going to do anything more enjoyable with that 20 minutes? Unlikely. ![]() Then it died down into being just a really, really, really good film, which is really inventive and fun and probably about 20 minutes too long. Social media was absolutely aflame with lust for Everything Everywhere All At Once. Incidentally, Lynch's groundbreaking TV series Twin Peaks debuted later this same year, and many of that show's actors can be seen in small parts here.Now, for a few months it seemed like this was going to be the single greatest film ever made. But for the majority of the movie, Lynch's touch works, and provides a strange, entertaining ride. Lynch also includes some moments of plain weirdness, such as a man talking with a high-pitched voice and another man ( Jack Nance, of Eraserhead) speaking in odd riddles, which only calls attention to itself. Yet Lynch seems to have let his artistic id take over a bit too often, obsessing on both The Wizard of Oz and Elvis Presley, and trying to shoehorn references into the movie whenever possible - whether they fit or not. Even if they have been the victims of bad luck and made some bad choices, they are worth rooting for, and Cage and Dern are terrific in their roles (especially Dern, whose physicality in this movie is striking). In their scenes together, they seem to truly appreciate each other's nuances and to respect one another. At its core, Wild at Heart is a pretty simple, very good lovers-on-the-run film noir Sailor and Lula are super-cool yet sympathetic characters whose love is never in doubt. David Lynch's adaptation of Barry Gifford's novel contains much of his trademark powerful, nightmarish imagery, even if it also appears that he might have been grasping at straws at times.
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