A perfectly choreographed espionage action movie with a dash of whimsy! Matthew Vaughn delivers a wildly entertaining genre-bending spy movie that simultaneously subverts and satisfies expectations for enigmatic espionage movies. Written by Jason Fuchs, Argylle delivers that metaphoric roller coaster ride that we love in this genre-blend. Bryce Dallas Howard shines opposite the gritty-charm of Sam Rockwell in the lead roles, and they are surrounded by an all-star cast of supporting characters. And that technicolor-spectacular sequence at the end is clearly inspired by the dance scenes from Romy and Michele’s High School Reunion and Dirty Dancing. One part fish-out-of-water and another part reluctant hero, this movie is just the thing to start February off with a blast at the cinema.
Reclusive author Elly Conway (Howard) writes best-selling espionage novels about a secret agent named Argylle who’s on a mission to unravel a global spy syndicate. However, when the plots of her books start to mirror the covert actions of a real-life spy organization, the line between fiction and reality begin to blur.
As entertaining as the movie is, we do not actually know the significance of the content in the secret file(s) nor do we know why our heroes must send the files to the former head of the CIA; however, the movie is so much fun to watch, that it almost doesn’t matter–though, I am a little bothered that I was not informed as to the point of the whole sequence of missions, duplicitous relationships, and endless masquerades. But ultimately, Vaughn uses the power of declaration to state that the object to be retrieved is in fact important. And for what it’s worth, that’s all that really matters in this light-hearted espionage action movie.
Much of the movie exists in that liminal space between reality and fantasy, wherein so many authors find themselves as they create compelling characters and craft enigmatic plots to thrill the reader. A well-written character speaks with their own voice and metaphorically take on a life of their own. I appreciate how we are placed in a subjective point of view throughout the move so we can experience the unfolding story from Elly Conway’s perspective. Moreover, the film also has something substantive to say on art as a reflection of life. Writers of all types often take inspiration from their own lives, and mold it to fit the type of story they want to write. We also see this in subject matter experts as authors of fictional stories based on their real life work or inspired by the nature of their work. Whether or not Vaughn and Fuchs intentionally gave Argylle this depth is neither here nor there, the point is that there are opportunities here to closely read the film as a commentary on an artists relationship with their art.
Without getting into spoilers, it’s difficult to talk about too much (this is a spy movie after all) of the plot. Suffice it to say, this movie has some wild twists and turns, reversals, and reveals, but they all feel grounded in the reality of the world that has been created for us on the screen. I appreciate the movie’s foundation in classical story structure, because it allows for character complexities to be revealed through simple plotting–simple plot, complex characters.
If you enjoyed The Beekeeper, then you will also enjoy Argylle. While the former is the stronger movie, I must say that Argylle‘s whimsical nature makes it equally as entertaining.
Ryan teaches Film Studies and Screenwriting at the University of Tampa and is a member of the Critics Association of Central Florida and Indie Film Critics of America. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter. If you’re ever in Tampa or Orlando, feel free to catch a movie with him.
UnBEElievably good! Jason Statham absolutely kills it in this explosive, roller coaster of an action movie! And like any good, balanced beehive, this movie balances high octane action with plenty of humor. And it’s not without its scathing commentary on crimes against the most vulnerable in society. The Beekeeper is here to save you from the January movie doldrums and one to catch on the BIG SCREEN!
One man’s brutal campaign for vengeance takes on national stakes after it’s revealed he’s a former operative of a powerful and clandestine organization known as Beekeepers.
Genre films are the foundation upon which so many other movies are built and by which they are inspired. And the action movie is one of those that is part of the periodic table of film elements. David Ayer’s latest demonstrates why genre movies should not be undervalued because they work! There is beauty in simplicity (regardless of genre), and what we have here is a classical 80s style action movie set in the present day. Furthermore, Statham delivers what he does best, fantastical fight sequences, gritty, sardonic humor, and unstoppable action.
Beyond genre itself, The Beekeeper also demonstrates the importance of crafting a movie around a movie star. We have so few movie stars anymore–Tom Cruise is the last true one–but there are others that are very much star-like–and Jason Statham is one of those. But the truth is, movie stars are dying.
For as long as cinema has been around, audiences have been drawn to that which is familiar–they already know what to expect. Delivering that which is familiar but in a new way, is the magic formula for cinema at its finest (and by extension TV, music, theatre, etc). And the classical star system of the studio system era was one of the man mechanisms for generating excitement and buzz surrounding the movie. Without going down a tangential road on why the death of the movie start is one of the reasons why cinema is dying, the long and short of it is that movie stars are a brand, moreover there were directors that were a brand, branding was a huge part of cinema for the longest time. And with the rise of franchises comes the fall of the movie star.
Why bring any of this up when talking about The Beekeeper? Because this movie shows the power of a genre film crafted around a movie star-like actor. We know what to expect with Statham, and we love the humor and action that Statham brings to most of his movies. He goes full Statham in The Beekeeper, and we are wildly entertained because of that! This movie woudl simply not work with anyone else. Much like without Bruce Willis and Allan Rickman, Die Hard would not be half as fun and timeless as it is, The Beekeeper would not be half as entertaining without the charisma of Jason Statham.
Amidst all the fantastically choreographed action sequences and explosions, is a surprisingly thoughtful core. Not only does The Beekeeper deliver on gritty impact, but it also delivers sufficiently enough on commentary spotlighting how the most vulnerable in our society are preyed upon by big tech, including toxic, criminal data mining. My sister and brother-in-law experienced a situation very similar to the big event that sets Adam Clay on his relentless rage against the machine that doesn’t stop until he reaches the Queen of the beehive.
Since it’s in the trailer, it’s not a spoiler. The big event consists of a kindly older lady whom has taken care of Adam Clay (Statham) and provided him with space to care for his beehives and make exquisite honey. Her computer is taken hostage by malware, and the support team she contacts is actually a criminal data mining company that steals money by way of a victim screensharing their computer and the company stealing/copying identity and password information. One the data mining company has some key information, then they are able to wipe out a victim’s entire finances. But the tragedy doesn’t stop there. When Adam’s hive has been attached, he stops at nothing to avenge his kindly neighbor.
I appreciate how the movie spotlights this real tragedy that truly impacts lives of the most vulnerable in our society. It also shows how deep the corruption goes and where it leads. Those at the very top may just be those that seem untouchable by the law and systems of justice. Perhaps this situation is exaggerated for purposes of making a movie, but it wouldn’t’ surprise me to learn that what we witness in the movie is similar to what truly happens in our real world.
The Beekeeper is a highly entertaining action movie that will completely thrill you! Between the electric fight sequences and Statham’s gritty charm, you are guaranteed to have a fantastic time at the cinema!
Ryan teaches Film Studies and Screenwriting at the University of Tampa and is a member of the Critics Association of Central Florida and Indie Film Critics of America. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter. If you’re ever in Tampa or Orlando, feel free to catch a movie with him.
While this has largely been a 3.5 kind of year, there are a handful of standout films that left a lasting impression upon me in all the right ways. And here are my picks for the Top 10 films of 2023.
Terrifying! Completely unnerving from beginning to end. The best horror film of the year! Everything works incredibly well from the atmosphere to characters to kills and even the jump scares. Go in as blind as possible because any information hinting at the plot may spoil the fantastic surprises.
Heart pounding! Michael B. Jordan’s CREED III is an excellent, gripping motion picture! Quite possibly the best in the now-trilogy. Moreover, it is the first Best Picture contender in 2023. Reminds us that movies that focus on simple plots with complex characters are often times make for the best stories. The tertiary installment in the Creed series is a a revenge story on the backdrop of the power the past can have over us if we fail to face it in the ring. This moving story is certain to stir up the feels!
Healing and uplifting. Jesus Revolution is a biographical drama that simultaneously depicts the past whilst critiquing the present. Based on a true story about the radical search for truth, comes a motion picture that is simultaneously concerned with critiquing our present world as much as it is depicting historical events. Through exploring the past, the journey’s true value is not merely a better understanding of the past, but the impact on our present world. The real power of this motion picture is the ability for it to use a story from the past as a provocative lens through which to understand the current state of affairs in both popular culture and the Church.
Truly exhilarating cinema! Tom Cruise and the whole Mission Impossible team deliver what is likely the most epic movie of the year!! It’s thrilling, funny, and suspenseful from beginning to explosive ending! Part 1 is both a complete story and sets up Part 2 exceptionally well. If I am to be objective, Mission: Impossible III delivers the best story; however, audiences are still going to love this movie because feels like cinema in every measurable way. Move over James Cameron, Christopher Nolan, and yes even Martin Scorsese, for it is Tom Cruise whom knows how to deliver cinema to audiences.
Nothin’ but net! “AIR” is an outstanding biographical drama that will inspire anyone with a gut feeling, that they’re onto something great, to ”Just Do It!” The allstar cast shines brilliantly, and the screenwriting is excellent! Definitely look for this high stakes, high energy underdog story next awards season. Who would have ever thought that the origins of the single best known athletic shoe would have this much ‘sole.’ It’s funny, emotionally moving, and educational. More than the risky financial move that would either launch the struggling NIKE company to success or shutter the athletic division, this story is one of resilience. Resilience in business and in character. In many ways, this movie is “Mrs. Harris Goes to Paris” meets “The Social Network,” two films to which this one will undoubtedly be compared. Every scene in this film exemplifies exceptional screenwriting and directing. The story snaps, crackles, and pops.
Unnerving and spectacular! From start to finish, you’ll never know where the film will lead you, but you are in for one phenomenal ride! not sure. The moral decay underlying the relationships depicted in the film is both repulsive and intriguing at the same time. On one hand, you want to run away; on the other, you are sucked into the nexus of a relationship you want to be real and healthy, but you already know that it is not. Todd Haynes direction is exemplary and Sammy Burch’s screenplay is fantastic. This dark comedy is one that will deliver both laugh out loud moments and that which is dark and disturbing.
Sensational! Christopher Nolan’s highly anticipated cinematic spectacular Oppenheimer is an extraordinary motion picture that delivers a story as explosive as the subject matter. Not since Nolan’s earlier work on pictures such as Memento and The Prestige have I enjoyed both the form and function of his stylistic brand of filmmaking. Although the film chronicles the development, use of, and subsequent scientific and sociological affects of the A-Bomb, the story it really about the rise and fall of J. Robert Oppenheimer. Moreover, the subtext of the story is one that carries with it such commentary as the true cost of notoriety and serving one’s country and the destructive nature of unsubstantiated witch hunts. It’s a character-driven story more than it is a plot-driven story about the creation of the A-Bomb.
I know what you did last Thanksgiving! Eli Roth’s Thanksgiving is IKWYDLS meets Jaws with a dash of Scream in a scathing critique of toxic, insatiable consumerism that is destined to be an instant holiday horror fave! Complete with great kills and stuffed with laughs, it’s a highly entertaining slasher! Eli Roth challenges audiences to ask themselves to what extent will they devolve in order to get 50% off a waffle iron. The slasher has a formula, and Eli Roth is serving it up in heaping helpings that simultaneously check all the boxes for the horror stable yet find ways of seasoning it with style and flare. While some non-slasher fans may get hung up on all the nods to classic slashers, it’s how Roth uses the homages and references that express his original recipe for this future holiday horror classic. Beyond the cleverness of the screenplay, Eli Roth has crafted a horror movie that is entertaining from the first course to dessert. Thanksgiving is a well-written and directed holiday slasher that delivers a clever story, thoughtful plotting, and fun characters. I can totally see the John Carver mask becoming one that you may very well see on Halloween along with Ghostface, Jason, Michael and the rest.
Positively kinetic! This wildly entertaining biographical drama just clicks on so many levels! From beginning to end, the film commands your attention as it delivers razor sharp dialogue and outstanding performances. Whether you are a former CrackBerry addict like myself (2007–2011) or are fascinated by how the world’s first smartphone came to be, there is something for everyone in this film. There is a Greek tragic or mythological quality about this film as it reminds me of the story of how Icarus flew too close to the sun and had his wings clipped. BlackBerry was king of the smartphone world for however brief a time, but its impact upon the industry will be felt in perpetuity. But this movie isn’t about the history of smartphones per se or even the company Research in Motion itself, but rather three human stories of the men whom founded, developed, and (two of which) eventually crashed the company. So, it’s a very human story. BlackBerry simultaneously created a new communications device and completely re-imagined how cell service works on principle, even though the company went down in flames. The characters are fascinating and the story mesmerizing. Easily one of the year’s best films!
Pure cinema!! Not since the original Godzilla (and King Kong) has there been a better kaiju film. It has epic action, heartfelt character moments, and a story of redemption. Definitely my favorite film of the year!! Don’t miss seeing this one on the big screen. The movie is just as much (if not more so) a human interest piece as it is a monster movie. There is kaiju-sized heart at the center of this film. From both technical achievement and narrative perspectives, Godzilla Minus One is a truly outstanding motion picture, the likes of which we haven’t witnessed on the big screen in a long time. This is a surprisingly emotional story, delving deep into relatable themes focusing on the human spirit and survival in times of uncertainty and chaos. Furthermore, it’s a story of redemption that will tug at your heart strings as you become fully invested in the story and characters.
Ryan teaches Film Studies and Screenwriting at the University of Tampa and is a member of the Critics Association of Central Florida and Indie Film Critics of America. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter. If you’re ever in Tampa or Orlando, feel free to catch a movie with him.
An intoxicating and provocative neo-gothic film that is tonally all over the place. Heathers meets Cruel Intentions meets Flashdance(?) in a film that is incredibly stylistic but lacks any lasting entertainment value, except for the very end. Emerald Fennel (Promising Young Woman) delivers a sensory explosion critique on the facades we project through a story of the shifting balances of power, obsession, and deception. Is it a dark comedy? Is it a psychological thriller? Answer: it’s both and neither, and to that end, it’s potential for motion picture excellence is hampered. The tone of the film is incredibly uneven; and not one single character is likable. Saltburn presented many opportunities for effective, intentional camp, but chose to go the more serious route and play it straight.
Oliver (Barry Keoghan), a freshman at Oxford, is invited by classmate Felix’s (Jacob Elordi) family’s country estate for an exciting summer, but things are not what they seem and soon the fantastical estate falls victim to deception and manipulation.
The aforementioned movie examples in the opening paragraph each feature an aspect of this film; but each of those three examples offers a great deal more in entertainment value, not to mention lasting impact upon popular culture. Even though the central character’s external goal doesn’t become clear until the end, it is a thoughtfully plotted film that you wish you had enjoyed more in order to watch it again. However, the very last scene of the film is one that takes direct inspiration from Flashdance, and will be what is likely talked about for years to come. Too bad the rest of the film wasn’t as fun and entertaining as the final scene. Saltburn is neither an uplifting story nor is it a cautionary tale; it’s uncomfortably somewhere in the middle.
Clearly Emerald Fennell has a fantastic eye for shot composition and a demonstrable talent for crafting environments that stimulate the senses and emote. And that is to be commended. Few directors have a gift for creating and capturing settings and environments that communicate a discernible mood, tone, or emotion. We witness this in German Expressionism, which is at the root of gothic and many horror films. No surprise then that this film is incredibly neo-gothic in story and setting. Saltburn embodies uses both the technical and performative dimensions of the mise-en-scene to challenge audience perceptions; moreover, gothic films concern themselves with sexuality and audience response thereto. The collective imagery in this film generate a kind of spectacle for the audience to draw us into a heightened state of unease or fear. Fennell’s Saltburn is an exemplary motion picture for the art of drawing the audience into the world inhabited by the characters, and beckons you to join them.
Sounds great, right? If there were any characters worth caring about, then Saltburn could indeed be the masterpiece that many have claimed it to be. Fennell nailed the neo-gothic aesthetic and further stimulated our senses with the film’s intoxicating sexuality, but there isn’t a single character that you care enough about whether they live or die. These characters will both attract and repulse you, but more repulsive than attractive. No doubt that Oliver will become the stuff of erotic fan fiction and dreams, but even he isn’t likable in the end. And when delivering a melodrama about facades, pretenses, obsession, and deception, whether the film ends on a high or low note, there should always be at least one character the audience can root for, can truly care whether they live or die.
The story of Saltburn is inspired by the narratives of both Heathers and Cruel Intentions. And I don’t mention this to in any way suggest that Saltburn is derivative–it’s not–but to draw parallels to similar films. While I feel that both of these movies are much more rewatchable than Saltburn, if you like those two movies, you will likely enjoy it, even if you watch it one time. Where Heathers and Cruel Intentions succeed and Saltburn fails is in the entertainment value and tonal consistency. It’s as if Fennell was so concerned with provoking and sensually stimulating the audience that she forgot that the film should still be entertaining. Just because a film contains dark comedy or scathing social commentary doesn’t mean that it’s excused from providing entertainment for the audience.
What I will remember most is the ending of the film, which I cannot talk much about because of spoilers; however, I know that Fennell must love Flashdance because the final scene of the film is clearly inspired by the audition and triumph scene when Alex (and the dancers portraying her, haha) dance to Flashdance…What a Feeling! by the late Irene Cara. Even though we love Flashdance, we all know the plot is honestly not very good, but what saves the movie that literally defined the music, dance, and fashion of the 1980s is the uplifting, inspirational story and the high degree of entertainment value, not to mention one of the best jukebox soundtracks of all time (it won both an Oscar and Grammy for best original song).
Even though the tone may be inconsistent and characters unlikeable, the film certainly delivers on immersive atmosphere and a spider-like web of deception and manipulation with a great cast.
Ryan teaches Film Studies and Screenwriting at the University of Tampa and is a member of the Critics Association of Central Florida and Indie Film Critics of America. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter. If you’re ever in Tampa or Orlando, feel free to catch a movie with him.
Maestro‘s reach exceeds its grasp. Bradley Cooper’s biopic on Leonard Bernstein is an exemplary motion picture in many respects, but ultimately its potential for excellence is hampered by a disjointed screenplay. The performative dimension of the film is impressive, as is the emotive apparatus of the film itself. Furthermore, Cooper’s talent for the director’s chair is witnessed beautifully in most areas of the film except for the storytelling mechanics–not the story itself–but rather how the story is told. Another example of the dangers of being both writer and director (and in this case producer too). Most films need the checks and balances that come from having a different individual at the helm of writing, directing, and producing. If most of what you know of Bernstein’s legendary career comes from West Side Story, then you should read up on his accomplishments prior to watching the film, as it feels very inside baseball. There is a great story in this film, but the screenwriting mechanics hold it back from being truly outstanding.
Maestro tells the complex love story of Leonard and Felicia, a story that spans over 30 years-from the time they met in 1946 at a party and continuing through two engagements. It also chronicles the prolific and influential career of one of the greatest composers and conductors in American history.
The most striking dimension of the film is the apparatus of the film itself, the mechanics employed to visually craft the method of telling this story. The film starts in then-present day with an on-camera interview in color and widescreen, then as the film jumps back to the 1940s, it changes to a 4:3 ratio and is in grayscale (with a blue tint). As the story unfolds, the film transitions from 4:3 grayscale to 4:3 color to eventually 16:9 (if you will) color. To the casual observer, this was to signify time jumps alone–and to stop there would be limiting the art and affects of this tool. More than signifying chronology, it was used to spotlight the emotive dimension of the film as it evolves (or devolves, depending on how you look at it) from an old Hollywood conventional romance to post-modern subversive romance.
Bernstein goes from being in love with people to being in love with his music, but always in need of muses and people around him. He was almost never alone–he was scared of being alone. The irony in that is he simultaneously brought people together with his music but drove them away because his first love was his music. Beyond the montage of the film, this emotive apparatus incudes a complete score by Bernstein, and the inclusion of Bernstein’s music to accompany audiences along this journey was a brilliant choice to increase the intimacy of the story for audiences both familiar and unfamiliar with his library of compositions. Cooper’s use of a cinematic storytelling apparatus such as this, elevated mere storytelling montage for cause/effect chronology to that which communicates emotion and introspection.
Both Bradley Cooper and Carey Mulligan shine in their respective roles; moreover, Mulligan’s Felicia Montealegre-Bernstein is truly the heart and soul of this film. Not mere impersonations, both Cooper and Mulligan completely transform into the real-life characters they are portraying. The performances were so incredibly intimate and personal that the authenticity leaped off the screen. When they hurt, we hurt, and when they were joyous, we were joyous. While Leonard is the title role, the character with whom most in the audience will identify is Felicia. She is the conduit through which we experience most of this biopic. Furthermore, she is the character that feel the most human, because Leonard’s level of talent was so out-of-the-world that it is hard to connect with him to the same degree most in the audience connect with the unconventional romance of Felicia and Leonard.
On a more personal note, I found myself connecting with Leonard the most because there is a line from Bernstein in the movie that goes something to the effect of (and I am paraphrasing) “I am so many things, but society only wants me to be one thing. I cannot be that one thing because I am all these things, and to not be any one of them would be to deny who I am.” Despite the fact I feel that Cooper is as much a screenwriter as Sorkin is a director, this line is representative of the central theme in the film and one with which I identify greatly. For I too am so many things, but society wants me to pick (and be successful) at just one of them, but I cannot because I am all these things. I am a professor, academic writer, event planner, film critic, and public speaker. For me to not do any one of these things would be to deny who I am. On that level, this film felt incredibly personal.
With all these wonderful elements going for this motion picture, the film’s reach exceeds its grasp due to the disjointed screenwriting. I’ve said it before, and I will say it again, most directors are not screenwriters (and the inverse is also true). Very few writer-directors can do both jobs equally well. If for no other reason, a film built upon a writer-director lacks sufficient checks and balances to ensure the narrative mechanics are adequate for translating a story from the mind of a screenwriter to the screen of a director. And this is where I draw the inside baseball analogy I mentioned earlier. The full potential of this film requires audiences to be knowledgable in the career of Bernstein beyond West Side Story and Our Town.
The screenplay fails to start on common ground before its deep dive into the career and romances of Bernstein. For example, unless you are a student of music, it is doubtful that you were aware of his work outside of West Side Story and Our Town. Therefore, since that is most people, the screenplay should have established a common connection between Bernstein’s work and general audience members early on in the film. Then, once common ground was established, take audiences on the journey through his personal and professional life. His contributions to Broadway are little more than one-off mentions during the film. The pacing of the story also plagues the film as it provides few, if any, transitional scenes and simply jumps from time period to time period. The stylized editing and cinematography mentioned earlier in the review help to communicate chronology, but there is more to telling a biographical story than time and place.
Alfred Hitchcock stated to start every scene in a film as close to the end of the scene as possible and end the scene as soon as possible all while ensuring that something dramatic happens at the end of the scene (in screenwriting terms a button) that sets up the proceeding scene. Nothing should happen in scene B that wasn’t setup in scene A and every scene should in some way point to the end of the film. It is basic screenwriting conventions that are ignored in hopes that the stylistic apparatus and performative dimensions of the film will make up for the lack of care in the how the story is being told. Screenwriting is more than a narrative to be delivered on the silver screen, it’s more than dramatize don’t tell, it’s all of that plus how story is being told even before the first shot is filmed. Screenwriting mechanics (inclusive of conventions and guidelines) are important because they work.
Bradley Cooper’s Maestro is a beautiful-looking motion picture that attempts to capture the gravitas of the professional and personal life of one of the greatest composers and conductors in American history. While it’s no Amadeus or Mr. Holland’s Opus, it is a solid film that students and fans of his career will thoroughly enjoy. For those that may only know him from his contributions to Broadway, the film will still be interesting enough, but may not be as impactful without more in-depth knowledge of his career and life.
Ryan teaches Film Studies and Screenwriting at the University of Tampa and is a member of the Critics Association of Central Florida and Indie Film Critics of America. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter. If you’re ever in Tampa or Orlando, feel free to catch a movie with him.
R.L. Terry ReelView 