‘Ripley’ Is Netflix’s Underrated Masterpiece, And Far More Interesting Than The 90s Film
Read Our Review of ‘Ripley’ (2024)
Courtesy of Netflix.
SPOILER FREE REVIEW
Another remake of a beloved film… what else is new?
This seems to be the common complaint about remake and reboots in Hollywood and streaming services in 2024. However, Netflix and Steven Zaillian’s latest project ‘Ripley’ — a television adaption of the 1955 book by Patricia Highsmith (‘The Talented Mr. Ripley’), is nothing short of breathtaking, and can easily be defined as a technical and creative masterpiece.
The highly acclaimed ‘The Talented Mr. Ripley’ from 1999 that contained a beloved all-star cast was a great adaption of the book — how could it possibly get any better? Observe.
Synopsis: A grifter named Ripley living in New York during the 1960s is hired by a wealthy man to bring his vagabond son home from Italy.
To begin, the 2024 show has something that 99.9% of shows and films don’t have: stunning cinematography. Robert Elswit, cinematographer, creatively showcases the beauty of Atrani, Italy and it’s surrounding regions with expert manipulation of light and shadow. Every frame is rendered a renaissance painting, and this should serve as a study-piece for photography scholars.
Here’s a bold but warranted statement: ‘Ripley’ is perhaps one of, if not the, best looking show ever made.
Whether Elswit changes the wides to a close-up or a brightly lit sky with blown-out highlights to the sinister dark of Ripley’s room, all of it has it’s place as it correlates with the ever-changing uncertainty of the character’s headspace.
Robert Elswit won an Academy Award for cinematography in 2008 for his work on ‘There Will Be Blood.’
Courtesy of Netflix.
The cast includes Andrew Scott as Ripley, Dakota Fanning as Marge, Johnny Flynn as Dickie, Eliot Sumner as Freddie, and the ever-captivating Maurizio Lombardi as Inspector Pietro Ravini. All of them are nothing short of the top of their game.
Andrew Scott is wonderfully cast in a role where he shows so much restraint, and gives a rather nuanced performance as Tom Ripley, yet, you know by looking at him that there is something far more sinister going on under the surface.
Something the show does better over the film adaption is showcasing the truly psychotic and sociopathic nature of Ripley’s character. For instance, in the film, Tom Ripley does bad things by accident, showing remorse, then regretfully proceeds with them in order to cover his tracks. But in the show, Ripley does everything intentionally because he wants to — and with little to no remorse. This is also presented in a nuanced fashion.
A standout performance among the cast was Maurizio Lombardi as Inspector Pietro Ravini. It felt authentic, genuine, and felt like you were truly watching a detective trying to put this complex puzzle together as Ripley tricks and sways his motives from the outside.
Fanning and Flynn in ‘Ripley,’ Courtesy of Netlix.
Through the narrow corridors and never-ending stairs of Atrani to the open waters of the sea, director and writer Steven Zaillian lingers on our characters for a very long time, allowing us to read their thoughts the more we observe their stillness — and in Ripley’s case, sitting with him long after a murder. We get to witness what happens in the aftermath of murderous horror — something that is almost never shown — and something that rattles you to the core.
Eliot Sumner as Freddie Miles in ‘Ripley,’ Courtesy of Netflix.
If there were any show to binge-watch in a single day, it would be ‘Ripley.’ It’s intellectual, visually gorgeous, intense, and drenched in subtle terror and on-edge uncertainty.
So much care and craft went into this production and it’s all laid out on screen. This is how to do a TV show. It’s up there with Netflix’s elite; which would include the likes of ‘Mindhunter.’
Watch the trailer for ‘Ripley’ below:
Our score: ★★★★★
(out of 5 stars)
‘Furiosa’ Review: A Uniquely Chaotic, Audio-Visual Overload That Stands Apart From ‘Fury Road’
Live From Cannes: Our Review For ‘Furiosa’
Courtesy of Warner Bros.
SPOILER FREE REVIEW
Synopsis: Snatched from the Green Place of Many Mothers, young Furiosa falls into the hands of a great biker horde led by the warlord Dementus. Sweeping through the Wasteland, they come across the Citadel, presided over by the Immortan Joe. As the two tyrants fight for dominance, Furiosa soon finds herself in a nonstop battle to make her way home.
The latest edition to George Miller’s epic franchise is ‘Furiosa,’ which premiered at the 77th international Cannes Film Festival last night. The film’s main cast incudes Anya Taylor-Joy and Chris Hemsworth.
Anya Taylor-Joy plays ‘Furiosa’ — taking over the mantle from Charlize Theron’s badass interpretation from Fury Road, in this younger version of the character.
First and foremost, going in expecting another ‘Fury Road’ already sets you up for failure — though it’s difficult to not compare the two. In this prequel, a young Furiosa sets out on an 18 year quest for revenge against Dementus (Chris Hemsworth), who robbed her of her childhood and mother. This is a huge leap in time scale considering it’s predecessor Fury Road took place over three days.
George Miller, even at 79 years old, has not lost his flare for dazzling imagery and hyper-sensory audio to compliment the chaos on-screen. Even in an auditorium as big as the Grand Théâtre Lumière (Cannes), you can feel each hit in your chest. That being said, some of the ‘chaos’ can grow repetitive and often drag the story. How many times can we see the same vehicle traverse the same dune? And considering we weren’t going to compare with Fury Road — here we go: at least each sequence in Fury Road was entirely unique from one another.
Furiosa’s character is at the forefront throughout, but Anya Taylor-Joy surprisingly doesn’t enter this film until a good chunk of it is already through. Because of this, it could prove to be difficult to grasp on to the older Furiosa, as the young Furiosa, played wonderfully by young actress Alyla Browne, was who we knew from the start, and who the audience latches on to for this journey. The fault here is that we spend almost ‘too much’ time with young Furiosa, which tarnishes any impact the abrupt time jump to Taylor'-Joy’s Furiosa might have had. Alyla Browne was the surprise standout here.
Alyla Browne as Young Furiosa, Courtesy Of Warner Bros.
Regardless, Anya Taylor-Joy conveys so much with her eyes — considering she only had 30 lines of dialogue, it’s essential. This is perhaps the most physical role the actress has ever had. Taylor-Joy makes every injury, wound, and emotion believable and grounded. Through this, we come to sympathize with her, but unfortunately the film runs its course as soon as we do.
Chris Hemsworth is having an absolute blast — and you can tell every time he’s on screen. He’s finally had another rare chance to showcase his talents as an actor, and he certainly excels here. Miller did an excellent job when working with Hemsworth so that his performance didn’t come off as too cartoonish. He’s the right dose of silly, menacing, and reserved.
Chris Hemsworth as Dr. Dementus, Courtesy Of Warner Bros.
An interesting angle this film takes is showing us a ‘tribe vs tribe’ story. All the bad guys want something from each other, yet can’t seem to work together, when all they want to do is survive. Furiosa finds herself caught up in the middle of it, often against her will.
The film finds its footing when Furiosa does: her will to act upon vengeance thrusts the movie into overdrive, and we receive a few wickedly cool action set pieces in the process.
This is an epic film — no question about it. However, it feels like it’s one that will age well over time, and perhaps may not be everyone’s ideal prequel to Fury Road on a first viewing.
It’s one you don’t want to miss in theatres. An audio-visual overload experience that serves as an absolute treat.
‘Furiosa: A Mad Max Saga’ screened at the Cannes film festival, and is out in Australia on May 23, and in the US and UK on May 24.
Our score: ★★★★
(out of 5 stars)
‘Kingdom Of The Planet Of The Apes’ Is A Captivating Addition To The Franchise
Our Review For ‘Kingdom of the Planet of the Apes’
Courtesy of 20th Century Studios.
SPOILER FREE REVIEW
‘Kingdom Of The Planet Of The Apes’ is the latest instalment in the revamped 'Planet Of The Apes’ franchise, which kicked off back in 2011 with ‘Rise of the Planet of the Apes.’ After completing a wildly acclaimed and box-office success of a trilogy, a brand new series of films is in the works, starting with the newly released ‘Kingdom Of The Planet Of The Apes.’
Synopsis: Many years after the reign of Caesar, a young ape goes on a journey that will lead him to question everything he's been taught about the past and make choices that will define a future for apes and humans alike.
This film had some heavy lifting to do, as the past trilogy is still fresh on our minds. Yet, director Wes Ball succeeded in taking themes from previous instalments and finding new ways of exploring old concepts. It excels in conveying the message of how history can be altered throughout several generations and used to oppress and manipulate. Caesar’s presence is felt all the way through the runtime.
We discover these realizations through the eyes of Noa, our protagonist, played by Owen Teague. His story unexpectedly turns into one of revenge, with a grand goal of learning the truth about apes and humans alike. Owen Teague is without a doubt the highlight of this film — and rightfully so as he’s our new central lead. His motion capture performance beautifully embodies every shattered belief and expression of Noa, aided by stunning CGI. The physically behind his performance is astonishing.
Mae, played by Freya Allan (‘The Witcher’), is a unique character whom we learn about quickly, and start questioning her true intentions. You can never truly predict what Mae might do to ensure the survival of humans. This character is extremely intriguing — Allan can express so much with her eyes alone. With both lead actors, we want to know where their journey will go — which is exactly what you want for the first film of a trilogy.
Kevin Durand’s performance as the antagonist Proximus is nothing short of menacing, intellectual, and comes across as a power-hungry tyrant who twists the truth for personal gain. He comes in much later in the film than one might expect, but it works. We’re with Noa, seeing the world through his eyes, so having Proximus revealed later on is warranted and by no means feels rushed.
And that’s just it. The film takes its time with setting the foundation for which it can maneuver into uncharted territory as cathartically as possible.
Freya Allan as Mae, Courtesy of 20th Century Studios.
The most important thing here is that the characters work. That being said, some movie-goers may find that the pacing drags during the first act. However, spending time with Noa before the action truly kicks off is authentic and feels earned. Through this, we can sympathize and quickly latch on to him as our new protagonist.
No matter where you might expect the story to go, it diverts and sways constantly, leaving you wondering what the film’s conclusion might be. That being said, an issue does arise from a lack of consistent tone and overall goal, which does ever-so-slightly damage the pacing of an otherwise great summer sci-fi.
Courtesy of 20th Century Studios.
Though it may not be as deep or impactful as the previous trilogy, ‘Kingdom Of The Planet Of The Apes’ stands by itself as an impressive feat of visual display and emotional drive, making it a terrific first film of the new trilogy. This is a movie that will only get better with time.
Our score: ★★★½
(out of 5 stars)
“Kingdom Of The Planet Of The Apes” specifics: Many years after the reign of Caesar, a young ape goes on a journey that will lead him to question everything he's been taught about the past and make choices that will define a future for apes and humans alike.
CREW: Director: Wes Ball | Screenplay: Josh Friedman | Cinematography: Gyula Pados | Editor: Dan Zimmerman | Music: John Paesano.
STARRING: Owen Teague, Freya Allan, Kevin Durand, Peter Macon, William H. Macy.
PRODUCTION: Oddball Entertainment, Jason T. Reed Productions.
DISTRIBUTORS: 20th Century Studios.
2024 - Action/Sci-fi - 2h 25m
‘Love Lies Bleeding’ Is A Thoroughly Thrilling Noir
‘Love Lies Bleeding’ Is A Thrill-Ride From Start To Finish
Katy O’Brian and Kristen Stewart in ‘Love Lies Bleeding’ / Courtesy of A24
Rose Glass doesn’t pull any punches with this roid-rage inducing piece of exhilarating noir cinema. Gruesomely violent, intellectual, and sexy — a deadly combo that works.
Set in the morbid and dangerous New Mexico landscape in 1989, Lou (played by Kristen Stewart) is a mopey employee — maintaining a grimy gym in which bodybuilders pump iron for peak human physiques, while Lou also cleans up their disgusting toilet disasters left behind. Her world is turned upside-down when a new gym-goer signs up; Jackie (played by Katy O’Brian). From their first interaction, the mystery of Lou and her past slowly unravels throughout this tense thriller, while complexly intertwining her newly found lover in a world of crime and trauma.
Kristen Stewart gives an all-round great performance, convincingly playing a deeply layered, anxious, nicotine addict — yet again proving what an underrated actor she is. On the other hand, Katy O’Brian plays a posing-obsessed bodybuilder who does whatever it takes to reach fame and glory with her physique. O’Brian not only looks the part, but plays the part to perfection with rage-fuelled outbursts and intense close-ups — she’s certainly the highlight of the film.
The dialogue written by Rose Glass and Weronika Tofilska feels so fluid and natural for their respective characters, enhanced by every actor on screen. Casting Ed Harris as the antagonist, Lou Sr., is a stroke of genius. His uncomfortable and tediously psychotic behaviour glues you to his presence, and the unpredictability leaves lingering tension with every scene he’s in.
In a way, this feels like ‘Drive’ mixed with ‘Breaking Bad’ as far as aesthetics go.
This film has some jarring moments, outrageous moments, and moments where you think to yourself; “what the heck did I just see?” Regardless, this is certainly a tense thrill-ride that absolutely zips past its 104 minute runtime. Masterfully directed, Rose Glass’s latest film is one to experience in theatres.
Our score: ★★★★
(out of 5 stars)
“Love Lies Bleeding” specifics: Gym manager Lou falls for Jackie, a bodybuilder who is passing through town en route to a competition in Las Vegas.
CREW: Director: Rose Glass | Screenplay: Rose Glass, Weronika Tofilska | Cinematography: Ben Fordesman | Editor: Mark Towns | Music: Clint Mansell.
STARRING: Kristen Stewart, Katy O'Brian, Jena Malone, Anna Baryshnikov, Dave Franco, Ed Harris.
PRODUCTION: A24, Film4, Escape Plan, Lobo Films.
DISTRIBUTION: A24, Lionsgate.
2024 - Thriller/Crime - 1h 44m
‘Boy Kills World’ Is Absolutely Outrageous For All The Right Reasons
‘Boy Kills Word’ Is Bonkers!
Written by Nikhil Mohan
Courtesy of Lionsgate, Roadside Attractions
Produced by Sam Raimi and directed by the industry’s latest visionary Moritz Mohr, comes the most unusual, bombastic, yet sincere film of the year. For some, ‘Boy Kills World’ could be seen as almost too intoxicating to sit through. But I disagree. Though this film is filled with exhilarating, high-octane action, it also has a personal undertone that many action films seem to be missing.
Bill Skarsgård evidently got in phenomenal shape, as his character Boy is highly trained and seeks to avenge his murdered family. Straight forward, right? Not quite. The truth is, no matter how you perceive this film going in, it will subvert your expectations entirely — whether that be good or bad.
The film is carried by Skarsgård’s gripping physical performance and hilarious internal monologue, as Boy is deaf but lets his imagination run wild. His internal voice, which frequently delivers both sarcastic and hilarious comments throughout, is provided by H. Jon Benjamin — known for his animated work on TV shows such as Bob’s Burgers and Archer.
As we become infused with his headspace, we’re introduced to our antagonist’s number two; June 27, played by Jessica Rothe. She’s a perfect match in physicality and emotional range for Bill Skarsgård to play off.
The editing by Lucian Barnard is nothing short of impeccable for a complex, batshit action film. Every moment has its necessary place and the story unfolds as naturally as it should. There’s no fat on this film.
Action aside, the strongest points in this film come from the two central performances by Rothe and Skarsgård, as we come to understand both protagonist and antagonist in deeper ways than initially expected.
With strong comic book influences, Mohr’s project can best be compared to the aesthetics of ‘Scott Pilgrim vs. the World’ meets ‘Kill Bill’ meets ‘Kick-Ass.’ In other words, the movie is bonkers!
That being said, the frequent flashbacks to fill the gaps in Boy’s story could prove to be disorienting to some, though each one provides information that progresses our character in the present.
As we move into the final act, the tone shifts from a comedy-action to a drama-action, and the mood turns into a more serious outing. It feels justified due to the nature of Boy’s realizations, but others may be negatively impacted by too much of a tone swing.
This film is very much a video game, comic book, and bizzare action-fantasy come to life — and it’s entirely original.
‘Boy Kills World’ is a fantastic directorial debut by Moritz Mohr, and that’s a name to look out for in the future.
Our score: ★★★★
(out of 5 stars)
“Boy Kills World” specifics: A fever dream action film that follows Boy, a deaf person with a vibrant imagination. When his family is murdered, he is trained by a mysterious shaman to repress his childish imagination and become an instrument of death.
CREW: Director: Moritz Mohr | Screenplay: Tyler Burton Smith, Arend Remmers | Cinematography: Peter Matjasko | Editor: Lucian Barnard | Music: Ludvig Forssell.
STARRING: Bill Skarsgård, Jessica Rothe, Michelle Dockery, Famke Janssen, Sharlto Copley, Brett Gelman, Isaiah Mustafa, Andrew Koji.
PRODUCTION: Nthibah Pictures, Hammerstone Studios, Raimi Productions, Vertigo Entertainment.
2023 - Action/Thriller - 1h 51m
Daisy Ridley Shines in ‘Sometimes I Think about Dying’
Daisy Ridley Shines in This Bleak, Nuanced Piece
Courtesy of Point Productions, Saks Picture Company, Oscilloscope Laboratories
After the mixed trilogy that Daisy Ridley found herself in with Star Wars (sequels), she’s invested time in smaller budget films and honed her craft as an actress. This no more apparent than her gripping performance in ‘Sometimes I Think About Dying.’
A nuanced piece with a lot of office small-talk (everyone’s worst nightmare), Ridley’s character, Fran, struggles internally in this increasingly irritated environment, and often thinks about dying (no pun intended). The actress carries the film on her back as she quite masterfully conveys, through a nuanced performance, the complexities of human nature, human emotion, and the human condition.
The bleak landscape of Oregon combined with the claustrophobic cinematography by Dustin Lane amplifies the growing tensions our protagonist faces — especially when her world is turned upside-down with the arrival of a new colleague. This energetic and overly-friendly new colleague is played by comedian Dave Merheje, as he finds an interest in Fran and wants to develop a deeper connection with her. This is the section of the film where Daisy Ridley shines, as the power in her performance comes from her restraint.
Director Rachel Lambert puts her passion on full display with each scene; whether it’s a roaring party full of drama enthusiasts or Fran struggling to convey her thoughts to the person she desperately wants to open up to, it feels like every shot is meticulously set up to create a sense of sorrow and frustration. This makes getting into the protagonist’s psyche authentic and simple.
Something I appreciate from Lambert is not showing us the background of Fran. More often than not, filmmakers would leap into a flashback or have someone display a vomit-amount of exposition about the character’s past. But not Lambert — she knows what’s important to show, why she’s showing it, and how it’ll come across to the audience. We’re very much living in-the-moment with Fran (Daisy Ridley).
This film is a great addition to the many underrated gems of 2023 releases.
Our score: ★★★★
(out of 5 stars)
“Sometimes I Think About Dying” specifics: Fran, who likes to think about dying, makes the new guy at work laugh, which leads to dating and more. Now the only thing standing in their way is Fran herself.
CREW: Director: Rachel Lambert | Screenplay: Kevin Armento, Stefanie Abel Horowitz, Katy Wright-Mead | Cinematography: Dustin Lane | Editor: Ryan Kendrick | Music: Dabney Morris.
STARRING: Daisy Ridley, Dave Merheje, Parvesh Cheena, Marcia DeBonis, Megan Stalter.
PRODUCTION: Point Productions | Saks Picture Company | Oscilloscope Laboratories
2023 - Romance/Drama/Comedy - 1h 34m
‘Dune: Part Two’ Is What Cinema Needed
‘Dune: Part Two’ Is An Undisputed Modern Masterpiece
Courtesy of Warner Bros. Pictures and Legendary Entertainment
As a direct sequel to the first instalment, ‘Dune: Part Two’ builds on the meditative groundwork of the first film by elevating it’s themes, spectacular visuals, and delivering an awe-inspiring piece of cinema — and dare I say it; one of the best sequels ever.
Denis Villeneuve continues to prove is masterful expertise within his craft, and creates grander yet more thought-provoking films with each outing. Yes, the cinematography by Greig Fraser is his best work and provides the best visuals of the decade, but it never interferes or takes away from the story at hand — that of a boy determined to avenge his father, even if it means becoming a false profit at the demise of an entire culture.
Hans Zimmer’s score is out of this world. He, much like Villeneuve, elevates his work and explores uncharted territory with Part Two. The first film contained an ambient and sweeping soundscape integrated with an epically unique score. While Part Two includes the same, Zimmer also goes full metal, and simply does not hold back his creativity. He lets monstrous Harkonnen themes rattle the theatre while dialling it down to help convey tender moments between Paul and Chani — with a soft and more melodic (but somehow extraordinarily epic) score.
The actors flex the very heights of their abilities; from Javier Bardem’s frantic fanaticism to Rebecca Ferguson’s menacing gazes, Josh Brolin’s intensity to Florence Pugh’s softness, Zendaya’s heartbreaking expressions to Timothée Chalamet’s fierceness, Charlotte Rampling’s toughness to Austin Butler’s horrifying vulnerability — it’s simply astonishing to watch.
Greig Fraser’s cinematography takes your breath away once the extreme wide shots come into play, which help amplify the impact of the Arrakis desert. On the flip side, Giedi Prime’s artificial landscape is masterfully shot with infrared camera which successfully delivers the fake-ness of the Harkonnen world (and under the ‘glorious black sun’ no-less).
As far as a complete cinematic experience goes, this is what you want when you go to the theatre. It’s pure, unfiltered magic for the senses to behold. From the awe-inspiring visuals, powerful themes and performances, bone-shaking score, and full-scale utilization of the IMAX screen in front of you, ‘Dune: Part Two’ is nothing short of a masterpiece and will surely be considered one of the greatest achievements of filmmaking in the 21st century.
Our score: ★★★★★
(out of 5 stars)
“Dune: Part Two” specifics: Paul Atreides unites with Chani and the Fremen while seeking revenge against the conspirators who destroyed his family. Facing a choice between the love of his life and the fate of the universe, he must prevent a terrible future only he can foresee.
CREW: Director: Denis Villeneuve | Screenplay: Denis Villeneuve & Jon Spaihts | Cinematography: Greig Fraser | Editor: Joe Walker | Music: Hans Zimmer
STARRING: Timothée Chalamet, Zendaya, Rebecca Ferguson, Josh Brolin, Austin Butler, Florence Pugh, Dave Bautista, Christopher Walken, Léa Seydoux, Souheila Yacoub, Stellan Skarsgård, Charlotte Rampling, Javier Bardem.
PRODUCTION: Warner Bros. Pictures | Legendary Entertainment
2024 - Sci-fi/Adventure - 2h 46m
