We’ve reached that pivotal part of the year where it seems every single film that’s been sitting on the shelf or awaiting a release after its festival run suddenly floods the theaters. December is almost always catch up time for cinephiles and critics. Rushing to the theaters (sometimes far far away) to catch limited releases, pouring through a backlog of screeners, and preparing for the Oscar predictions and nominations that follow shortly after the year completes. It’s essentially hell week for critics, and this December is no exception.
2023 has been a great year for movies, and while I would love to write individual pieces for all of them, there just isn’t enough time. So here’s a quick capsule review of some recent theatrical releases.
“The Iron Claw “
I’m not a wrestling fan, so the history of the Von Erich Family and their role in the overall zeitgeist of early pro wrestling is completely lost on me. But even without the personal connection, “The Iron Claw” still hits home, delivering a powerfully performed and devastating family drama that stirs the soul with emotion through its tragic story. This is a film that certainly feels tied to a world unknown to those outside of it but still manages to be effective. This is largely due to Sean Durkin’s focus on the family instead of their overall wrestling impact. “The Iron Claw” isn’t so much concerned with what the family truly meant to the wrestling world, but more so what they meant to each other and how heartbreaking their lose shaped them. Durkin’s script centers the themes and drama of the film on the unbreakable brotherly bond that both strengthened and destroyed them, while also examining the costs of a controlling patriarchy that served as the catalyst for most of the harrowing events.
“The Iron Claw” is a heartbreaking tale of family, control, and the unchecked pressure narcissistic parents put on their children. That desire to drive your children to greatness at any cost in hopes that they make up for your past mistakes. Holt McCallany as the domineering father Fritz Von Erich is incredible, a vile man so blind with the harm he’s causing to his own children you can’t even fathom him at times. Durkin really drives this point home throughout the film, juxtaposing their sadness and struggles trying to live up to their father’s expectations against the joy and love they have when they’re with each other. Zac Efron is tremendous in his best performance yet. A quiet, reserved but deeply emotional performance as Kevin, he is supported by Harris Dickinson, Jeremy Allen White, and Stanley Simons as his younger brothers David, Kerry, and Mike. There simply isn’t a bad performance in “The Iron Claw,” and the ensemble cast more than makes up for some of the pacing issues and strange narrative choices in the script.
Durkin’s attempt to capture the totality of the Von Erich story struggles to conclude and leaves something to be desired. There’s some parts of “The Iron Claw” that feel like its emotion and tragedy is being held at arms length, more concerned with checking the boxes of a tragic story than really digging into the heart of his subjects. Still, the cast pulls their weight and elevates any of the film’s misgivings or narrative flaws. There simply isn’t a bad performance in “The Iron Claw,” and their work is enough to shatter your heart into a million pieces as you follow this brothers through their tragic lives together. This true story is one to watch even if you don’t really care about wrestling, and it is largely handled with reverence and empathy for the Von Erichs, and makes “The Iron Claw” a must watch for anyone interested or familiar with the story. Bring tissues, though. This one is HEAVY.
Rating: 4 out of 5 Stars
“The Zone of Interest“
I’ve sat with “The Zone of Interest” for almost 3 months since seeing its US premiere at TIFF. It has taken that long to truly reckon with how I felt about it, and that is a testament to the effectiveness of this unique and stirring film. I’ve been very curious to see how this one would fair with general audiences, and I imagine it being a pretty divisive and polarizing film. That’s largely because “The Zone of Interest” is unlike any film you’ve ever seen, and has very few comparisons with which to provide some kind of framework for. It is a patient, unwavering examination of the banality of evil that uses the mundane life of an average german military family just trying to make a home for themselves to portray atrocity in the most unglamorous way possible. “The Zone of Interest” works hard to maintain this mundanity, operating as a fly on the wall in the lives of this family, all while using impeccable sound design and simply cinematography to inform us that everything surrounding them is violence and death, one of the worst in history to be exact.
“The Zone of Interest” follows the family of the commandant of Auschwitz who live in a home just outside of the concentration camp. Jonathan Glazer never once enters the camp, instead focuses the film solely on the family and their every day life. It is a brilliant device that actually makes the film even more uncomfortable and unsettling as we watch this family tend to their garden and eat their meals and play in the front yard all while the genocide is literally happening just over the wall. “The Zone of Interest” is unlike any holocaust film you’ve ever seen because of this. Hell, it’s unlike any film period. It is genuinely the implication of violence that makes the film so unnerving, what we don’t see that reaches into your core and stirs you emotionally. There is an inescapable dread as you watch this family go about their daily life, and it still haunts me to this day. “The Zone of Interest” may not be for everyone, and I can see the criticism that it is a one trick pony that overstays its welcome and isn’t necessarily as clever as it seeks to be. It worked for me, and “The Zone of Interest” is an unforgettable film that may not have rewatch value but one I will remember indefinitely.
Rating: 4 out of 5 Stars
“Wonka“
I’ve been wondering since the trailer who “Wonka” was actually made for. I don’t think anyone was asking for a prequel, so I was already on the back foot of cautious optimism heading in. Sadly, “Wonka” was about as good as I expected it to be, and while I can see it thrilling children 12 and under is largely forgettable across the board. And that’s kind of what this film really needed. Something memorable enough to justify its existence, be it the music, production design, imagination, or stand out performance. Unfortunately, for all its unbridled optimism and silliness, “Wonka” operates with incredibly forced charm that feels more manufactured than natural, leaving you with nothing particularly memorable about any of it. I couldn’t hum you a single melody outside of the original “Imagination” that bookends the film, and that’s immediately after leaving the theater. Honestly, “Wonka” would be better if it shed all connections to its source material and/or previous entries and was just called “The Magical Imporium of Chocolate Making” or something.
Timothée Chalamet (“Dune“) is somehow wildly miscast but is working so hard to be his own iteration that he strangely works? Chalamet is smart enough to recognize that there’s only one Gene Wilder and no one wants another zany, nightmare inducing Johnny Depp take. He doesn’t really fit in “Wonka,” but his efforts are worthy enough to make him tolerable. The problem with “Wonka” as a whole is it is simultaneously trying to be a prequel connected to the original “Charlie and the Chocolate Factory” and ALSO trying to be its own thing disconnected from it, leaving it to clash with itself and without an identity of its own. Though “Wonka” isn’t the train wreck some may have thought it would be, it is aggressively mid and forgettable. It will certainly find an audience and may be a nice palate cleanser for those seeking a lighter side of cinema, but “Wonka” simply doesn’t have enough spark or imagination to maintain the longevity of its predecessor. It is right smack in the middle of Chocolate Factory film adaptions, and maybe it’s just me but I prefer a bit more child danger in my “Wonka” stories.
Rating: 2.5 out of 5 Stars
“The Taste of Things “
An absolutely exquisite piece of cinema in the truest sense of the word, “The Taste of Things” is perfectly french in just about every way. Gorgeously displayed culinary mastery, the film explores how much cooking from the heart warms the soul and communicates the unspoken love and emotion we have for others. “The Taste of Things” is a touching love story underneath a love letter for food, and anyone a fan of cooking shows in any capacity will love this film. Trần Anh Hùng magnificently frames his journey through the kitchen and the delectable plates that are served. Course after course we are dazzled by marvelous meals and are privy to the entirety of their creation. From the garden to the stove to the plate, “The Taste of Things” patiently and quietly thrusts us into the kitchen that serves as a window into the lives of our characters and their passion for their work and creations.
“The Taste of Things” stars Juliette Binoche and Benoît Magimel as chef Eugénie and famous restaurant owner Mr. Dodin in 1985. For 20 years Eugénie has cooked in Mr. Dodin’s kitchen, and though they share passion for creative dishes and cooking together, they both have developed feelings for each other. Eugénie has never wanted to marry despite Mr. Dodin’s many advances, opting to stay free but loved with him and his company. That is until she begins to fall ill suddenly, and Mr. Dodin realizes he may lose the only thing he loves more than cooking. He decides to cook for her for the first time, and they begin their life together late in both of their lives. “The Taste of Things” is so simple and quiet but also so beautiful and emotional. I could spend the entire film just in the kitchen watching them both create delicious dishes. This little gem is a contender for best of the year, and if you love food and love you get a healthy portion of both in “The Taste of Things.” Just don’t go into this hungry. You’ll leave starving.
Rating: 4 out of 5 Stars
