Everything everywhere at once (15) ****
Doctor Strange in the Multiverse of Madness (12a)****
A family drama turned into a wild, multidimensional fantasy. Everything everywhere at once He suddenly takes a multiverse concept into vogue and uses it to pull Crouching Tiger, Hidden Dragon star Michelle Yeoh through the countless versions of her character’s life as she tries to figure out how to mend her dysfunctional relationships with her husband, father, and, in particular, her daughter Gen Z. Yeoh plays Evelyn Wang , the first generation of Chinese-American immigrants to live—one character says—the worst version of her life: the laundry business she runs is under scrutiny; Her meek but kind husband (former child star Ke Huy Quan – Short Round from Indiana Jones and the Temple of Doom) tries to build up the courage to divorce her; Her gay daughter (Stephanie Hsu) is frustrated that she won’t accept her for who she is, and a disapproving father (James Hong) who challenges him as a young woman who has just arrived from China for a visit.
Showcasing all of this in a wonderfully condensed opening sequel to the impending collapse of the heroine’s remorse-filled middle-aged existence, the film uses an encounter between Evelyn and a stern tax officer (a sly transformation of Jamie Lee Curtis). The ordinary catalyst for the arrival of an ally from another dimension is convinced that she is the savior of every branching universe in existence. What this means for the film is that Evelyn will visit multiple alternate versions of her life to gain the skills to stop the forces of chaos sweeping through it all – a visualization that allows for the casting of the duo Daniel Kwan and Daniel Scheinert (known together as Daniels). Nuts through the collision of worlds in which characters become glamorous movie stars, hot dog lovers, almost drawn-out cartoons, pinatas and, at one point, a pair of telepathic rocks.
Even more attractive than Daniels’ infuriating debut, the Swiss Army Man, the dodge factor stays put until 11 throughout. However, it’s fun to watch them pay tribute to everything from Wong Kar-Wai’s In the Mood for Love and Ratatouille to 2001: A Space Odyssey, The Matrix, and many more Bill & Ted films. Their style of filmmaking obsessed with everything in a cheerful cartoon — and oddly suited to the age of social media where it’s all too easy to get overwhelmed by the digital world that puts devastating global events, meaningless celebrity news, and our ordinary daily musings on equal footing.
Meanwhile, in another multiverse, Marvel magician Doctor Strange does a better trick than pushing Tobey Maguire’s Peter Parker into Spider-Man: No Way Home by dragging Maguire’s Spider-Man director Sam Raimi back into a comic book movie battle , after 20 years of helping to show what the modern superhero movie could be. It’s definitely a great choice on Marvel’s side. Doctor Strange in a multiverse of madness It pretty much lives up to the promise of its title thanks to the innovative, chaotic visual style that Raimi honed in the Evil Dead horror comic trilogy. In fact, these films provide an amusing reference point for what is, in fact, the first Marvel horror movie.
Despite Dr. Strange’s cosmic tricks (he’s played again by Benedict Cumberbatch, releasing his entire arsenal of Abracadabra’s hand gestures), the film becomes delightfully gruesome by instigating Wanda Elizabeth Olsen embracing her Scarlet Witch character and wreaking havoc on several persons. different worlds as she tries to travel across the multiverse to find an alternate reality in which she can be the mother of the two boys she dreams about every night. That’s as much as can be revealed without this review getting insanely complex like the movie, but the frame is so bursting with energy that it’s such a pleasure to be dragged. And who other than Remy would consider a big superhero monologue by a half-faced zombie?
With whirlpool, irreversible director Gasper Noé returns with his most humane film yet: a gritty and officially gritty drama about dementia after an elderly couple whose lives are torn apart by disease. Noé symbolizes this early on by literally drawing a line down the middle of the frame to separate Liu (played by Italian horror maestro Dario Argento) and Alzheimer’s disease-stricken El (Françoise Lebrun) as they lie in their beds asleep. The rest of the movie takes place on split screen as we follow their interactions over the course of several precarious weeks as they wander around their Parisian bohemian apartment. Noé uses the space, filled with the remnants of the life they have built together (books, photos, papers, videos) to bring out the richness of their inner lives at the same moment Elle’s brain erases all evidence of it, an idea he used to build toward a subtly poignant and poignant conclusion.
at father stuMark Wahlberg plays an amateur hilltop boxer who decides to move to Hollywood to break into acting, but instead meets Jesus and decides to devote himself to the priesthood instead. Based on a true story, the film takes many strange turns — including Stowe’s conversion to Catholicism to beat up a woman he stalked, then dumping said woman after a motorcycle accident that nearly died — but never asks any of them, preferring instead to serve. Aa hockey redemption drama about the value of suffering.
All movies are in general release