Tag Archives: Riley Keough

2020, Top Lists

Most Anticipated Films of 2020

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With 2019 coming to a close, here are my most anticipated films of the upcoming year. Note that titles from last year’s list that were delayed to 2020 have been excluded here (like I’m Thinking of Ending Things which would otherwise be near the top).

12. Underwater (1/10/2020)

William Eubank is one of the most promising young sci-fi directors working today. He brings big ideas and grounded emotions with incredible special effects and visual flair. His two films to date (The Signal and Love) were not complete successes but they showed a filmmaker with potential to do something special if given the right canvas. Underwater is his first studio film and while the January release date and multiple delays are worrying, I’m still hopeful for a thriller with a unique vision.

11. Another Round (TBD 2020)

Rejoining many of his team from The Hunt, Thomas Vinterberg has another impressive project in the works. Starring Mads Mikkelson and co-written by Tobias Lindholm, the film follows a group of high school teachers that experiment with being intoxicated throughout the day after learning of a theory that claims it is beneficial. The precarious plot and the combination of Vinterberg, Mikkelson, and Lindholm mean we can expect plenty of taut drama.

10. Color Out of Space (1/24/2020)

The producers of Mandy have re-teamed with Nicolas Cage for an adaptation of a short story by H.P. Lovecraft. The premise is strange, but that’s to be expected given the pedigree. Festival reviews have been positive and it looks like another great opportunity to see the great actor at his craziest and at his Cage-iest. The film is also the return of director Richard Stanley (The Island of Dr. Moreau) and is a welcome entry in the growing number of fun B-movies made with A-grade talent.

9. Next Goal Wins (TBD 2020)

Taika Waititi (Hunt for the Wilderpeople) is directing a live-action remake of the acclaimed documentary about the football team of American Samoa going from being a terrible team to qualifying for the FIFA World Cup. The sports underdog story should allow Waititi plenty of situations to craft his signature brand of goofy humor and the casting of Michael Fassbender (Shame) in the lead role is an interesting twist. Fassbender is an incredibly talented actor, but he hasn’t starred in a comedy before. His inclusion is an exciting wildcard in what I hope will be a sports comedy to rival the likes of Shaolin Soccer.

8. Tenet (7/17/2020)

Using in theaters only trailers and previews, the hype machine for Tenet has already begun and with good reason. Christopher Nolan is one of few filmmakers that is as critically acclaimed as he is commercially successful granting him the chance to make original ideas with budgets usually reserved for established franchises. Nolan has called Tenet his most ambitious film yet and it appears to involve time travel elements that will create Nolan’s favorite puzzle-like structure for the narrative and will likely have film fans discussing what happened and in what order for months after release.

7. Mank (TBD 2020)

David Fincher (The Social Network) hasn’t directed a film in half a decade so his next feature is long overdue. Based on a screenplay by Fincher’s late father, the film follows screenwriter Herman J. Mankiewicz as he writes the script for Citizen Kane. Fincher has shown his mastery of period details in Zodiac and Mindhunter and with Gary Oldman in the lead role, this will be much more than the typical biopic about a Hollywood insider.

6. The Lodge (2/7/2020)

The only film on this list I have already seen, The Lodge is a psychological thriller from Veronika Franz and Severin Fiala (Goodnight Mommy). Riley Keough (Mad Max: Fury Road) plays a future stepmom with a traumatic past left alone at a remote cabin with her two future stepchildren. What follows is a tense and troubling series of inexplicable events that cast doubt over all the characters. Franz and Fiala are unrelenting in their commitment to unnerving horror and the end product is satisfyingly ruthless.

5. A Shaun the Sheep Movie: Farmageddon (TBD 2020)

Aardman Animations (Chicken Run) is still the best stop-motion animation studio working today. They are masters of slapstick humor and use expressive puppets and fluid movements to bring their stories to life. The original Shaun the Sheep Movie was an absolute delight that showed how much humor can be mined from characters that don’t even speak. Farmageddon released in the UK recently and the feedback has been just as positive as for the original.

4. Dune (12/18/2020)

His last film (Blade Runner 2049) may have flopped at the box office, but Denis Villeneuve demonstrated that he was more than capable of bringing a complex science-fiction world to life. Villeneuve is being given something the previous adaptations have not had, at least not concurrently. He has a blockbuster movie budget and his film will only cover the first half of the book, reducing the risk that the film will suffer from a condensed plot. A sequel based on the remaining half of the novel as well as a television series spinoff, also directed by Villeneuve, have already been announced placing significant confidence in this new adaptation of a beloved novel.

3. Annette (TBD 2020)

Leos Carax is definitely an oddball. His last film (Holy Motors) featured everything from motion capture suits to chimpanzees to talking cars, but somehow worked. He has the manic energy and absurd plots to make films that seem like the work of a mad genius. His newest film is his English-language debut and sadly the first to not include the great Denis Lavant as the lead, but it does have Adam Driver and Marion Cotillard to compensate. The story is supposedly a musical about a girl with a special gift. There is no telling what any of this could mean, but the unpredictability is the most exciting aspect of any Carax project.

2. Memoria (TBD 2020)

Another English-language debut, Memoria is the newest film from Thai director Apichatpong Weerasethakul (Uncle Boonmee Who Can Recall His Past Lives). Starring Tilda Swinton and set in a mountain village in Columbia, the beauty of the area will provide ample opportunity for his contemplative style and his focus on nature.

1. About Endlessness (TBD 2020)

After finishing his trilogy “about being a human being”, Roy Andersson (You, the Living) returned to the Venice Film Festival this year with About Endlessness. Like his previous work, the film uses the same stark artifice for ironic humor, but initial reviews have noted a more emotional tone. Andersson is one of the most distinct filmmakers alive and it is entirely fitting that he release a 70 minute film titled About Endlessness. I can’t wait.

2019, Recent Reviews, Reviews

Earthquake Bird (2019): Subdued Thriller

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Based on a best-selling novel, Earthquake Bird is the story of a translator living in Japan and the series of relationships she forms. Lucy Fly (Alicia Vikander; The Light Between Oceans) is a Swedish woman who translates English films that begins a romance with Teiji (Naoki Kobayashi; Tatara Samurai) after he takes a photo of her walking by. Their relationship progresses naturally, but is changed when Lucy is asked to help an American that has recently moved to Tokyo, Lily (Riley Keough; Mad Max: Fury Road). Lily begins to tag along on their outings leading to jealousy and potentially worse when Lily goes missing.

Foreign films set in Japan often focus on its eccentricities, but director Wash Westmoreland (Colette) is interested in the escape it provides. Lucy and Lily talk about how, as foreigners, they receive extra attention that can be addicting in comparison with their home countries. With Lucy we see that she views Japan as a sanctuary. A place where no one knows her and, since the film is set in the 80s, a place where she can remain cutoff if she wants to. Lily approaches Japan from a similar angle. She wants a fresh start in a place with different customs, different rules, and hopefully a different life. This view of life as a migrant is a unique portrayal of Japan and sheds light on Lucy and Lily’s personalities.

The love triangle never reaches its potential.

Vikander is excellent as the reserved Lucy Fly. Lucy is a victim of trauma and has faced personal tragedy that she blames herself for and has led a restricted life. She left her homeland to distance herself from her past, but also uses the enormity of Tokyo to distance herself from others. She is emotionally closed-off and reluctant to form new bonds which Vikander conveys through subtle hesitation and controlled expressions. She rarely emotes and it serves to show afraid she is to reveal herself, even if it is just a simple smile. This makes her strange courtship with Teiji, which begins with an awkward ramen meal, uncommon because she rarely expresses herself in the time they spend together. Instead, we see longing form in her eyes and witness her insecurities grow as she develops feelings for him. Lucy is not a typical protagonist, but Vikander’s nuanced performance makes her a compelling one.

Despite the strength of the lead actress, the film struggles to create its mystery. Westmoreland uses the same cold exterior that Lucy displays for the tone of the film to limited success. The plot progression is slow and there is a noticeable emptiness to the film. Even the busy streets of Tokyo often seem sparsely populated and it gives the impression that the direction is missing some much needed energy. Lily, as the more outgoing American, initially appears like she will be this spark, but even her role is muted. Keough gives a much more carefree performance that contrasts well with Vikander but she is still fairly subdued. Even in the film’s climactic moments, it does not break its placid exterior. The lack of energy behind Earthquake Bird’s central mystery makes it a mostly subdued thriller and weakens the impact of the intriguing love-triangle and Vikander’s refined performance.

3/5 stars.

2018, Recent Reviews, Reviews

Hold the Dark (2018): Vague Symbolism

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Medora (Riley Keough; Mad Max: Fury Road), a mother living by herself in rural Alaska, reaches out to a writer for help in a desperate situation. Her son has been taken by wolves and though she doesn’t expect to find him alive, she wants the wolf found and killed. Russell Core (Jeffrey Wright; Broken Flowers) spent years among wolves studying their patterns and his novel gave Medora hope that he could find the one that took her son. Her husband Vernon (Alexander Skarsgård; True Blood) is deployed in the military and she wants to have some closure for him when he arrives.

Unlike director Jeremy Saulnier’s previous films, Hold the Dark has a much less explicit plot. Blue Ruin and Green Room were both simple in terms of narrative details, but the plot here relies on symbolism, psychology, and barely noticeable background details. There is a dark history to the small Alaskan town and passing comments from strangers indicate there is more to Vernon and Medora’s relationship than Core is aware. As he leaves their house a local woman tells him that there is something wrong with Medora and to stay away. This could be a great setup for Core to unravel the town’s mysteries, but that never happens.

The freezing landscape is the film’s most developed character, which isn’t saying much.

Most of the plot is left unexplained. Sometimes an ambiguous ending provides an opportunity for thought and interpretation, but that isn’t the case here. The entire story is ambiguous and feels like it is missing key details and background, which may have been lost in the transition from book to film, that are necessary to understand character motivations. Without them, several leads commit terrible crimes for little discernable reason. There is some gesturing towards animal spirits and a man wears a wolf-shaped mask before committing several murders, but it does little to entice the audience when the script, by Saulnier’s regular collaborator Macon Blair (I Don’t Feel at Home in This World Anymore), never effectively builds on these clues or links them to the characters.

Saulnier is known for being a master of tension and genre thrills. He emphasizes the location’s frigid cold and a hopelessness that comes with the bleak environment. Yet, there are also scenes in Hold the Dark that feel straight out of a slasher movie and are incongruous with what initially seems like a gritty story of small town corruption like Winter’s Bone. The violence is well done and each shot or stab feels painful, but we never have a narrative base to interpret these actions from. The characters are not given time to develop before they act unnaturally and it prevents the audience from connecting. This in turn reduces the stakes in the skillfully composed set pieces, leaving Hold the Dark as little more than a competent production filled with vague, uninvolving symbolism.

2/5 stars.