Episode 121: Lamb / The Last Duel / No Time to Die

“There’s nothing better than finishing something and looking at it. Whether it be a script or a movie, it’s this complete little thing that now exists and is hopefully immortal.”

Cary Joji Fukunaga, Director of No Time to Die

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On Episode 121 of Drink in the Movies Michael & Taylor discuss their First Impressions of: House of Gucci & C’mon C’mon. Then dig into three New Releases: Lamb, The Last Duel, and No Time to Die.

Streaming links for titles this episode

Lamb and No Time to Die is currently available to rent and purchase on most major VOD platforms.

The Last Duel will become available for rent and purchase on November 29th.

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Michael Clawson on Letterboxd | Taylor Baker on Letterboxd

The French Dispatch

Written by Taylor Baker

65/100

Yet another Covid belated release bows in theaters this awards season push, nearly two full years since it’s screenplay was available for purchase in France. Wes Anderson’s The French Dispatch is now on multiplex screens around the country. With all the formal panache and tweeness Anderson is known and largely renowned for. The French Dispatch is a staggered vignette anthology film that mostly ties together by the end, not unlike The Ballad of Buster Scruggs. The last Coen Brothers film which was released on Netflix in 2018 to mixed reactions from audiences. For Anderson fans The French Dispatch will feel like a familiar experience with plenty of stylings, witticisms, and casting choices that make you feel right at home.

For non-Anderson fans though, the throughline of a narrative expressly about Ennui the word and place may seem more than a bit much. Each part is composed of different elements that are all tonally similar, but largely develop into delightful little offshoot excuses for Anderson to experiment with different subplot arcs. Ranging from kidnapping, shoot outs, high stakes chess, chase sequences, nudity, animation, prison, and “Art”. As one would expect from differing sequences with varied elements some stand out more than others, but each is formally presented with the rigor and exacting visual standards that accompany one’s mind when they ruminate on Wes Anderson.

The opening sequence recounts the founding of a publication in Ennui-sur-Blasé, France called the Liberty Kansas Evening Sun. Pitched as a chance for a young Arthur Howitzer Jr. later played by Bill Murray to get his feet wet in the family business and learn about the world. The subsequent sections are each far more rich and detailed than this opening until we reach the end of the film which acts as a book end to the beginning, this time comprised almost entirely of men and women we’d grown to know over the runtime. The three major segments of the film are:

1. The Concrete Masterpiece which is framed by J.K.L. Berensen played by Tilda Swinton as she recalls the story of an artist in a maximum security prison played by Benicio Del Toro, his muse and prison guard played by Lea Seydoux, Adrien Brody the incarcerated man who discovers and buys Del Toro’s Moses Rosenthaler’s art, as well as a host of other talented actors and actresses. This particular sequence is easily my favorite, and presents some choices that feel new or at least uncommon for Wes.

2. Revisions To A Manifesto written and presented to us by Frances McDormand’s Lucinda Krementz. Revisions To A Manifesto recalls the story of Krementz who lives alone by choice and is unknowingly setup on a dinner date by friends with Christoph Waltz. On her way to the bathroom after some tear gas causes a single tear to begin rolling down her cheek she encounters a young and impassioned Timothée Chalamet. He’d snuck home and into the bathroom to bathe after a hard day fighting the good fight of youthful idealism against the establishment. The segment is mostly conversational and coyly addresses politics, youthful idealism, disillusionment, and the deification of dead youth.

3. The Private Dining Room — of the Police Commissioner presented by Jeffrey Wright’s Roebuck Wright with brief appearances by Liev Schreiber, Saoirse Ronan, Edward Norton, and Mathieu Amalric, as well as others. Consists of a story in which Wright’s character Wright is invited for dinner with the police commissioner played by Amalric for a piece that he has been tasked by Murray’s Howitzer Jr. with for the paper. When the commissioner’s son is kidnapped during their meal it turns into a wry rescue mission story that capitalizes in a delightful if on the nose sequence where Wright digs the last page of the piece out of the trash and Howitzer Jr. tells him that’s the reason to the write the piece.

Anderson reteamed with cinematographer Robert D. Yeoman who has worked on and off with him since his sophomore feature Rushmore. As well as editor Andrew Weisblum who has worked with Aronofsky since The Wrestler. It’s always hard to tell where Anderson’s choices begin and end and where a crafts persons work begins, but the collaboration between these three appeared effortless and seamed together with enough ease that no transitions felt jarring, which isn’t an easy task in anthology films. Though The French Exit lacks the enveloping romanticism I’ve found in my favorite Anderson films it’s an intriguing formal exercise from a master. Luckily the viewing experience wasn’t one of ennui, despite it being our destination.

The French Dispatch Trailer

The French Dispatch is currently playing in theatrical wide release.

You can follow more of Taylor’s thoughts on LetterboxdTwitter, and Rotten Tomatoes.

No Time to Die (007)

Written by Taylor Baker

50/100

It’s been about a year and a half since No Time to Die was originally intended to bow into theaters. Cary Joji Fukanaga of True Detective fame, publicly picked up the fallen pieces of Boyle’s failed attempt to make Bond 25 back in 2018. Leading to what was described as rushed production. After viewing the finished product it’s hard to believe those reports were wrong. Fukanaga is mostly known for his HBO critical hit season 1 of the aforementioned True Detective, alongside later entries in his filmography with the likes of Netflix Limited Series Maniac, and a handful of films that have garnered critical acclaim. Most notable among then and also a Netflix Original Beasts of No Nation(which he also served as cinematographer for) from 2015. Fukanaga has been quietly accumulating one of the strongest and most singular voices in cinema since the late aughts. With excitement building around budding Global Starlet Ana de Armas coming off Blade Runner 2049 and the critical and audience success Knives Out alongside Craig as a heavily marketed new type of “Bond Girl”. And of course the fact that this is to serve as Craig’s last turn as Bond, James Bond. It seemed like everything was lining up for a brilliant rendition of everyone’s favorite British spy with a license to kill.

All this preamble serves not just as a historical assessment of how the film is hitting us now a year and a half after it was intended, but to frame the very real tangible expectations that it fails to live up to. No Time to Die is tasked with juggling multiple things, the end of Craig as Bond, storyline continuity (which Neal Purvis and Robert Wade have been charged with 1999’s The World is Not Enough), a continuing romance, 4 writers(excluding Flemming’s “characters by” credit.), and a rushed production. Four writers as a rule of thumb is two to three too many. And on a ballooning franchise with so many interests, Nokia product placement deals and various other things to keep in order this finished product feels distinctly like multiple disjointed voices and parts Frankensteined together with so much production money that you can almost overlook perhaps the most underwhelming part of it, Rami Malek’s villain Safin.

Fukanaga’s best known for his visual cinematic prowess, which continues here, with exceptional extended sequences, meticulously crafted motion shots, effortless focus pulling… I could go on and on. But all that prowess in service of what? Some witty eyerolling jokes? Stakes that don’t ever become personal? A score of Indiana Jones references? It’s at once a self serious and self critical screenplay that fails to hone in on an actual narrative voice that lets us get a sense of what this Bond “wants”. Instead it shows what all Bond films always have, what he’s willing to die for. With more self reflexivity then we’ve seen recently, but not the interesting or good kind.

Overwrought with nonsensical symbolism, those big cinematic moments from the trailers play as well as you’d expect. The hallway and stairwell fight scenes are fun. de Armas despite her very very very brief time in the film is as charming as she is memorable. Once her sequence in Cuba ends I the rest of the runtime trying to drum up a reason in the plot for her to reappear. She doesn’t. She contrasts heavily against Seydoux’s generally eyerolling, uninteresting, and unfun Swann. I hate repeating myself within a review, but occasionally it’s necessary. The lack of emotionality to the various plot devices at work on screen is without question No Time to Die’s most glaring issue and likely what the film will be known for. Instead of a celebration Craig leaves Bond in an overlong stylized whimper.

No Time to Die Trailer

No Time to Die will be available via wide theatrical release on October 8th.

You can follow more of Taylor’s thoughts on LetterboxdTwitter, and Rotten Tomatoes.

MCU Retrospective: Guardians of the Galaxy Vol. 2

Written by Anna Harrison

In these retrospectives, Anna will be looking back on the Marvel Cinematic Universe, providing context around the films, criticizing them, pointing out their groundwork for the future, and telling everyone her favorite scene, because her opinion is always correct and therefore her favorite scene should be everyone’s favorite scene. The a-holes are back!

85/100

Like its predecessor, Guardians of the Galaxy Vol. 2 opens with a bang. After a brief sojourn with Peter Quill’s (Chris Pratt) parents back in 1980, with Laura Haddock reprising her role of Meredith Quill and a de-aged Kurt Russell making his debut as Peter’s father, we get treated to an opening credits scene that rivals even Vol. 1’s highs: Baby Groot (the voice of Vin Diesel) dancing around to the Electric Light Orchestra’s “Mr. Blue Sky” in one long tracking shot as the rest of the Guardians get ravaged by an interdimensional beast in the background. It’s an absolutely joyous beginning, one that sets up the strengths of the movie to come: an abundance of humor (Dave Bautista as Drax very seriously intoning, “I have sensitive nipples”), a more comfortable—if still prickly—team dynamic between the Guardians, top-notch music choices, and a bright color palette that is a welcome change of pace from the monochromatic norm for Marvel. Director James Gunn takes what worked in the first film and amplifies it, though the paths he treads still feel fresh.

The Guardians, consisting of Peter Quill, Gamora (Zoe Saldana), Rocket Raccoon (Bradley Cooper), Groot, and Drax, have been dispatched by the golden Sovereign race to deal with this interdimensional beast in exchange for their prisoner, Gamora’s adopted sister Nebula (Karen Gillan). The exchange seems to have gone smoothly until it’s revealed that Rocket stole some valuable Anulax Batteries (“Harbulary Batteries,” Drax confidently declares), and so Sovereign leader Ayesha (Elizabeth Debicki) sics a fleet of ships on the Guardians.

With the help of a mysterious man in a pod-like ship, the Guardians destroy the Sovereign’s fleet before they crash land on a planet. The man from the pod, looking like current Kurt Russell, meets them and introduces himself as Ego, Peter’s father. He offers to take Peter to his planet, and so the Guardians split up: Drax, Gamora, and Peter go with Ego, while Rocket and Groot (and Nebula) stay to fix the ship. It’s a classic sequel move, à la The Empire Strikes Back: the gang gets separated and thus are forced to grapple with their own demons.

These inner demons are the driving force of the movie. Peter, having been plagued all his life with daddy issues, has to face the father he feels abandoned both him and his dying mother, only to discover that maybe his father isn’t all that bad. The movie never fully tricks the viewers into believing that Ego’s a good guy, but it gives us enough to fully understand why Peter—who’s spent so much time longing for a bit of kindness from Dad and a sense of belonging—would buy into Ego’s shtick. (And there is a hint of genuine sadness in Ego’s voice as he discusses how lonely he is.) It’s not just that Ego shares a bit of Peter’s humor or that he has a beautiful planet to himself, it’s also that on this planet, Peter suddenly has access to superpowers and immortality. They feel like signs he’s finally home. 

And what a beautiful home it is. Ego’s planet is introduced with the sweet sounds of George Harrison’s “My Sweet Lord,” and it stands out as one of the most colorful sequences in the MCU. In a franchise that succeeds based on a certain level of predictability, Vol. 2’s array of brilliant colors present throughout the movie stand out, and Gunn puts a unique visual stamp on his film which few other Marvel films possess. The cinematography by Henry Braham similarly remains consistently impressive and stands far above most other Marvel films, representing what beauty can be found when the films are allowed to have a bit more character and individuality. Gunn, for what it’s worth, said that he had the utmost creative freedom when shooting Vol. 2, and while he might have been exaggerating due to the Marvel sniper aiming at anyone who speaks out of turn, it’s worth it to note that this was likely the first Marvel production completely free from the Creative Committee’s control, and Gunn’s voice is clearly heard throughout Vol. 2 in a way only rivaled by Taika Waititi in Thor: Ragnarok. It looks like a proper comic book, bright and colorful and sometimes a bit chaotic. Glorious.

Read More of Anna’s Ongoing Marvel Retrospective Series Here

Gamora, meanwhile, while initially urging Peter to get to know his father, quickly changes her tune once she begins to suspect Ego of malintent—she’s had a lot of trouble with her own family, most notably Nebula, and now that she feels a member her newfound family beginning to slip away from her and towards someone else, she reacts poorly. Drax spends a hefty chunk of this movie as (very effective) comic relief, but his friendship with Ego’s servant, Mantis (Pom Klementieff, an absolutely excellent addition), produces one of the most touching moments of the film: as Drax describes a day spent with his now-dead daughter, Mantis—whose empathic abilities let her feel what others do—lays a hand on his shoulder and begins weeping as she experiences the pain that Drax carries with him wherever he goes. 

Back on the ship, Nebula is filled with thoughts of revenge on Gamora, and Rocket stews with rage after he and Peter grate on each other’s sizable, fragile egos. (Baby Groot just looks cute.) They aren’t alone with their thoughts for long, however, as Yondu (Michael Rooker) has been hired by Ayesha to seize the Guardians; despite Rocket’s best efforts (and a wonderful setpiece to Glen Campbell’s “Southern Nights”), Yondu apprehends the three Guardians and Nebula. But then Yondu’s crew mutinies, and so he’s thrown into the ship’s brig alongside Rocket, Baby Groot is left to his own devices after getting manhandled, and Nebula flies off to go kill her sister. 

It sounds like a lot of spinning plates, and indeed it is, but Gunn balances them all well and allows each character to get their due without the movie feeling too overstuffed (but maybe just a little). Despite the balancing act going on, however, there’s not much plot actually happening: Peter and company go to see his father, Rocket and company get captured, and that is about it. Vol. 2’s plot doesn’t truly kick into gear until the third act, and for the first two-thirds of the movie, we are left to ruminate with the characters and a building sense of unease surrounding Ego. This kind of lulling story may not work for everyone, especially as it represents such a marked departure from the general shape of an MCU storyline, but coming off the heels of the disappointingly rote (though still fun!) Ant-Man and Doctor Strange, Vol. 2 feels like a breath of fresh air. The film is largely driven by character rather than simply going through the motions of the plot to get through it all, and as we know, character focus in the MCU will win out over plot almost every time for me. Vol. 2 lets its characters breathe, something that few other MCU movies seem able to do as they instead breathlessly rush from one action sequence to another. (Not to say, of course, that there aren’t action sequences in Vol. 2. There are still plenty.)

Part of the reason Vol. 2’s plot may seem thin is that there’s no clear villain until the third act. Ego, while obviously suspicious, is played with enough charm by the ever-great Kurt Russell that you find yourself wanting to believe his intentions are good, and so instead you can focus on the great character beats that happen in the leadup to Ego’s villainous reveal.

Gamora and Nebula, in particular, get standout moments in Vol. 2, and Saldana and Gillan’s performances make up for their stilted deliveries in their first Marvel outing. Where their awkwardness in Vol. 1 felt as though it came from the layers of makeup and odd dialogue that goes hand-in-hand with sci-fi and fantasy, here the two performers play their characters more comfortably: the awkwardness comes from Gamora and Nebula’s turbulent childhoods and lack of social skills rather than lack of acting prowess. The two rarely interacted in Vol. 1, but here their fraught relationship comes to the surface as both Nebula and Gamora find themselves without daddy Thanos to impress this time around. 

Nebula’s intense resentment towards Gamora, Thanos’ favorite, results in a fun sequence clearly inspired by North by Northwest as Gamora tries to outrun her sister’s ship and Nebula attempts to blast Gamora to bits. Though neither ends up dead, they do finally talk. It turns out when they were younger, Thanos would make the two of them fight together; when Gamora inevitably won, their father would replace some part of Nebula with a machine, so it’s no wonder Nebula’s got a bone to pick. “You were the one who wanted to win. And I just wanted a sister!” For a character who barely existed in Vol. 1, she works wonderfully here, and Gamora too becomes a much better character. (Her “unspoken thing” with Peter also succeeds where it was middling in Vol. 1, helped by the fact that it’s unspoken rather than acted upon in a rush.)

But it’s Rocket Raccoon who gets the biggest arc in Vol. 2, helped along by Yondu. Gunn perfectly bounces this pair of acerbic loners off each other as they reckon with the damage they have caused. Yondu, with his crew having mutinied against him, is ready to accept what he thinks he deserves and die, but Rocket is determined to get out of there. With the help of Baby Groot and Yondu’s right-hand man Kraglin (Sean Gunn), they escape, assisted by Yondu’s enormously cool flying arrow and “Come a Little Bit Closer” by Jay and the Americans. (The song choices in this one might even eclipse those of Vol. 1—they’re just so good.) When Yondu reveals that Ego wants to use Peter as an amplifier to take over the universe so that he, Ego, literally becomes everything, they set off to save him. Ego is a very literal name, apparently. 

Yondu and Rocket work so well together because they see themselves in each other, and that forces them to do some self-reflecting, even if they don’t want to. “I know everything about you,” Yondu growls to Rocket. “I know you play like you’re the meanest and hardest but actually you’re the most scared of all… I know you steal batteries you don’t need and you push away anyone who’s willing to put up with you ’cause just a little bit of love reminds you of how big and empty that hole inside you actually is… I know who you are, boy, because you’re me!” It’s one of the MCU’s most in-depth examinations and gives a raccoon more character than many of his human compatriots in other films, which says something about the strengths of this movie (and the weaknesses of the other ones). 

So, finally, as Yondu, Rocket, Baby Groot, and Kraglin go off to save Peter, Drax, and Gamora, who all finally accept each other as true family, flaws and all, the villain of Vol. 2 emerges, and to no one’s surprise, Ego the Living Planet turns out to be a massive narcissist. He meant it when he said he was lonely, but he’s only lonely because he thinks so highly of himself and his godhood that he couldn’t deign to spend his life among mere mortals. Meredith Quill got close to bringing him down to earth, and so he put a brain tumor in her head to avoid that fate. When Peter, whose love for his mother proves stronger than his desire to belong with his father, rejects his Celestial powers, Ego’s mask of kindness drops and we are submerged in the typical Marvel world-ending battle. 

The third act is the most unwieldy of the film as all the different players established earlier collide in one big messy heap, though it’s certainly not the most egregious Marvel finale. The bright colors that saturate Ego’s world make for an eye-catching final battle even though it begins to get a bit out of hand and go on for too long—but, again, it’s certainly not the first Marvel film to do that, and its offense is much smaller than Avengers: Age of Ultron or even the original The Avengers. Plus, Ego makes a a pretty compelling villain to watch, far more so than Lee Pace’s Ronan the Accuser from Vol. 1 (no offense, Lee, it wasn’t your fault). 

Even with the cluttered nature of the Ego vs. Peter showdown, it still manages to squeeze in affecting character moments and rollicking humor (mostly via a quest to find tape and Baby Groot, who was the cutest baby alien ever until Baby Yoda came along), and Yondu’s death as he sacrifices himself to save Peter is one of the most gut-wrenching moments in the MCU—and that’s no small feat, considering how ugly they make his teeth look (and the fact that he was basically sending kids to their deaths, of course)—and the resulting funeral with “Father and Son” playing is a hell of sendoff. 

Guardians of the Galaxy Vol. 2 isn’t the neatest Marvel film. It’s a bit messy and rough around the edges in places, but when it does succeed, it easily sets itself apart from its peers—even the original Guardians of the Galaxy, though it’s not quite the shock to the Marvel system that its predecessor was. But it’s still a feast for the eyes and full of an odd, thorny kind of heart that just beats stronger when you get to its core, much like its protagonists, and it serves as a reminder that while Marvel can sometimes get a little stale, there is something special to be found there every so often.

Groundwork and stray observations: Marvel has no big master plan; rather, they plant seeds wherever they can in the hopes that some of them might one day germinate. None of these were planned from day one, lest the whole ship sink, but the seeds germinated nonetheless:

  • Ego is a Celestial, beings which were mentioned in Vol. 1, as the mining colony Knowhere was situated within a Celestial’s skull, but will have much bigger roles to play come Eternals.
  • The “Adam” that Ayesha teases in a post-credits scene is none other than Adam Warlock, who will presumably show up at a future point in time. (Though not Vol. 3, apparently.)
  • Stan Lee’s cameo involves him talking to a group of Watchers, an alien race that, as their name suggests, watch over everything but don’t interfere. The Watcher named Uatu has become prevalent in What If…? and is played by Jeffrey Wright, though it remains to be seen if we will get further live action Watchers (Nick Fury sort of becomes one in the comics and chills on the Moon; it gets pretty wild.)
  • Jeff Goldblum’s Grandmaster from Thor: Ragnarok shows up in the credits.
  • The group at the end of Vol. 2, consisting of Sylvester Stallone’s Stakar and cameos from Michelle Yeoh, Ving Rhames, Miley Cyrus, and Michael Rosenbaum, is a nod to the original Guardians lineup from 1969.

Anna’s Favorite Scene: Yondu’s funeral + Cat Stevens. Instant waterworks. 

MCU Ranking: 1. Captain America: The Winter Soldier, 2. Captain America: Civil War, 3. Guardians of the Galaxy Vol. 2, 4. Guardians of the Galaxy, 5. The Avengers, 6. Captain America: The First Avenger, 7. Iron Man 3, 8. Iron Man, 9. Doctor Strange, 10. Ant-Man, 11. Thor, 12. Avengers: Age of Ultron, 13. Thor: The Dark World, 14. Iron Man 2, 15. The Incredible Hulk

Guardians of the Galaxy Vol. 2 Trailer

Guardians of the Galaxy Vol. 2 is currently available to stream on Disney+.

You can follow more of Anna’s work on LetterboxdTwitterInstagram, and her website.

Only Lovers Left Alive

Written by Taylor Baker

95/100

“What is this quintessence of dust?”

An appetite for blood is exchanged for a lust of human culture. Written and instrumental, creators and sites of creation. The film begins with our characters Adam and Eve mirroring the vinyl Adam is listening to. Then the record stops and so does the rotation of the camera.

Only Lovers Left Alive appears to depict what life is like while the vampires are on the shelf, so to speak. Blood is acquired from sterile environments through social exchanges. Every encounter with a creature or plant elicits a hello and it’s Latin name from Eve’s lips, as if the creature is an old friend she’d expected to see again. Knowledge slips into Eve through her finger tips while Adam attempts to share and create through his own.

Adam believes he is truly alive and that the humans are zombies. Eve isn’t willing to consider it for a moment, belaboring on the rebirth of a location due to it’s quantity of water and the coming fire to push life north, to the waters edge. She knows that Adam is out of rotation and transverses the globe to get his world spinning again. The human world didn’t quit rotating, Adam did.

“Excellent, the name of Fibonacci.” Eve replies while booking her flight to see him. On the way back from Detroit she books under Daisy Buchanan of Fitzgerald’s The Great Gatsby, and Adam as Stephen Dedalus of James Joyce’s The Portrait of the Artist as a Young Man and Ulysses. Adam is in motion again but neither he nor Eve are steering their destiny. Now they are merely attempting to keep up.

“They only figure it out when it’s to late.”

Highly Recommended

Only Lovers Left Alive Trailer

Episode 81: Fantasia 2020 Part 2 / Survival Skills / PVT Chat / You Cannot Kill David Arquette

“I don’t want to lie. I dislike dishonesty. And I work in Hollywood, a town and a business that relies on a lot of falsehoods with people hiding behind different facades. I don’t want to be a part of that.”

David Arquette

Links: Apple Podcasts | Castbox | Google Podcasts | LibSyn | Spotify | Stitcher | YouTube

This week on Drink in the Movies Michael & Taylor discuss their First Impressions of: The Batman & Ammonite. Followed by the Fantasia Film Festival Titles: Survival Skills, PVT Chat, and You Cannot Kill David Arquette.

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PVT Chat is currently unavailable to rent.