‘Those Who Wish Me Dead’ is here to announce Taylor Sheridan has arrived

Images courtesy Warner Bros. Pictures.

6/10 The subtlest but most telling mark of a well-directed film is that that air of relaxation you get in the hands of a story that’s confident in its own telling. Those Who Wish Me Dead is writer/director/producer Taylor Sheridan’s sixth feature script and second time in the director’s chair. He’s been a rising star for a long time, able to make movies that are distinctively his even when he only writes them and already with his own prestige television series in Yellowstone.

Fort Lauderdale, Florida- Father-son duo of hitmen Jack and Patrick Blackwell (Aidan Gillen and Nicholas Hoult) assassinate an attorney general. Four and a half hours north in Jacksonville, forensic accountant Owen Casserly (Jake Weber), who discovered the secret that got the attorney general killed, takes his son and bolts, knowing they’ll come for him next.

Park County, Montana- Smokejumper Hannah Faber (Angelina Jolie) has been assigned to watchtower duty after losing a comrade and a few campers in a fire she was in charge of fighting. In the wilderness, she encounters a boy, Connor Casserly (Finn Little), whose father has been killed by two assassins who pursued them all the way from Florida. Faber is tasked with keeping Casserly safe from both the Blackwells and the fire they’ve set to cover their tracks until Casserly can get his father’s secrets to the press.

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Erstwhile ‘Gone Girl’ heiress ‘Woman in the Window’ never stood a chance

Images courtesy Netflix.

3/10 The Woman in the Window releases on Netflix May 14, 2021, almost a year to the day after its planned May 15, 2020 release date. The COVID-19 crisis both ruined its theatrical release and ruined the movie itself, which concerns a woman who cannot leave her house, but it may have been ruined well in advance.

104 W. 121st St. in Harlem, autumn- Anna Fox (Amy Adams), a psychologist who is so agoraphobic she faints from fright whenever she leaves her house, languishes, watching old movies and drinking too much wine. Obsessed with the outside world she cannot access, she becomes concerned with the Russell family that moves in across the street, befriending the wife, Jane (Julianne Moore), who saves her house from an egging on Halloween night. Soon after, Fox sees Jane Russell murdered through her window, but when she calls the police, she’s shocked to learn that Jane Russell (Jennifer Jason Leigh), an entirely different woman, is perfectly fine. She becomes suspicious of the husband, Alistair (Gary Oldman).

The path from cerebral, woman-centered mystery-thriller Oscarbate with an all-star cast in the distinct vein of Gone Girl and The Girl on the Train was necessarily a long one. COVID-19 was the second disaster to force The Woman in the Window to reschedule. After acquiring Fox, which had secured the rights to the film two years before the book it was based on even hit shelves, Disney pulled it from its Oct. 4, 2019 release due to poor test screenings. After re-editing and another delay because of the pandemic, Disney is distancing itself from the title more than it has from others it inherited from Fox, hawking it to Netflix instead of releasing it on either of its streaming services.

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Did they really do a full Academy Awards show for 2020?

Third-time Best Actress winner Frances McDormand and Chloé Zhao, the first woman of color to win the Best Director trophy, share a moment on the set of Best Picture winner Nomadland. Zhao also wrote and edited the film and both are credited as producers. Image courtesy Searchlight Pictures.

I spent January dicking around, procrastinating on the usual year-end routines for a film writer. Going through those particular motions after 2020, acting like we’d gotten a full slate of movies, felt dishonest. It felt boring. I didn’t do a top 10 list. I struggled to write a “most important films” list even in the presence of fascinating case studies like Birds of Prey, Trolls World Tour and Mulan, I couldn’t bring myself to. I ended up just blathering about Tenet and the HBOmax move two months after the fact and leaving it at that.

But most of the merit to the Academy of Motion Picture Arts and Sciences is in the normalcy of the routine and the bully pulpit winners get. This is how the people behind the curtains of the world’s most powerful factory for history’s most democratizing art form express and perform their values, how they view the work they’ve done and what they want to see going forward. After a year when the basic acceptance of reality became a partisan issue, there’s more merit to that performance than usual. It’s not about pretending we had a full slate of movies last year, it’s about the symbolic power of the awards.

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Guy Ritchie must be stopped

Images courtesy United Artists Releasing.

2/10 Fourteen months into a lockdown that feels like it will never end even as it draws to a close, the world under coronavirus is still uncanny. Masks are still as mandatory as they ever were, work is still remote and the theatrical release schedule is still in a strange state of disarray. Now, the first weekend in May, 13 years after Iron Man established it as Marvel’s signature time slot, is dedicated to people who still think Guy Ritchie is an auteur.

Los Angeles- Security professional Patrick “H” Hill (Jason Statham) begins work at an armored truck company. He is mysterious and aloof with his coworkers, but soon becomes the center of everyone’s attention when he single-handedly slaughters a crew trying to hold up one of his deliveries. Hill’s coworkers eventually begin to speculate that he is some kind of vengeful spirit who had come to them to avenge himself on Los Angeles’ apparently extensive and thriving network of armored truck robbers.

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Dreamy ‘In the Earth’ kicks off the era of COVID reaction films

Images courtesy Neon.

7/10 In the Earth is meant to be a better class of COVID-19 era horror, and it’s all right. It certainly has the pandemic on its mind, at least.

In the throes of a global pandemic, park ranger Alma (Ellora Torchia) escorts scientist Martin Lowery (Joel Fry) on a supply run to assist an old colleague who is searching for a homeopathic cure for the virus. The research site is a two-day hike into the forest, which is purported by ancient Celts to be haunted by the spirit of the woods, Parnag Fegg.

The film is packed into three stilted acts – one of Alma and Lowery marching through the woods, one of them being kidnapped and tortured by a weirdo who lives there and one after they finally reach Olivia Wendle’s (Hayley Squires) research site.

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