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Film Features Film/TV

Now Playing in Memphis: Inside Out 2 and the Best of the Coens

It’s hot, and you need to be in an air-conditioned movie theater. Lucky you, the lineup is stacked this week.

The Bikeriders

Arkansan Jeff Nichols, who is brother to Lucero frontman Ben Nichols, directs Austin Butler, Tom Hardy, and Jodie Comer in this biker gang epic. The Vandals MC began in the 1960s as a simple club for outcasts who like to ride. Over time, the organization slowly evolves into a dangerous organized crime syndicate. Can the original founders turn things around before the law cracks down? 

The Exorcism 

Russell Crowe stars as an actor who is playing a priest in a movie that looks a lot like The Exorcist, but for legal reasons is not. When he starts to see real demons, his daughter Lee (Ryan Simpkins) suspects he’s using drugs again. But the truth is much more complicated. 

Inside Out 2

Pixar’s latest is the biggest hit since Barbie, breaking the box office cold streak that has had some predicting the death of the theatrical experience. Well, turns out all you have to do get people in seats is make a great movie and market it properly. Who knew? Read my rapturous review in this week’s Memphis Flyer.

Time Warp Drive-In: Odd Noir

On Saturday, June 22, see three Coen Bros. masterpieces under the stars at the Malco Summer Drive-In: The Big Lebowski, Fargo, and No Country for Old Men. “Nobody fucks with the Jesus.”

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Film Features Film/TV

Now Playing In Memphis: Dracula, Mario, and the Big Suit

It’s a big weekend at the movies in Memphis, so let’s jump right in.

Dracula’s faithful thrall R. M. Renfield has been with him since the beginning. But this relationship is starting to show its age, as Renfeld slowly realizes he doesn’t have to live like this. This horror comedy features the casting coup of the decade with the great Nicolas Cage as freakin’ Dracula. Read my review.

In The Pope’s Exorcist, Russell Crowe stars as Father Gabriele Amorth, the real life priest and founder of the International Association of Exorcists, who claimed to have vanquished infernal hordes during his 24-year-career as the Dioceses of Rome’s official demon fighter.

Speaking of Italians, one humble plumber turned video game hero just launched a blue shell at the box office. The Super Mario Bros. Movie raking in $204 million domestic in three days means we’re going to be seeing a lot more Nintendo characters in IMAX. Get in on the ground floor of the critical backlash today!

It’s official: More people play Mario Kart than D&D. And that’s OK, because Dungeons & Dragons: Honor Among Thieves is actually good! (Read my review here.) Chris Pine, the superior of the Chrises, brings movie star charisma to this inventive and fun fantasy heist romp. 

The greatest concert film of all time, Stop Making Sense, just got a 4K remastering, courtesy of A24. Both Jonathan Demme and Talking Heads were at the height of their creative powers when the director shot three nights of the Talking Heads’ Speaking In Tongues tour on Hollywood Boulevard in December, 1983. On Sunday, April 16 at 7:00 p.m., Theaterworks in Overton Square will host a free screening of the film. The stage will be a dance floor for this fundraiser, so put on your big suits and sneakers and get ready to sweat. The original trailer looks just as radical now as it did in 1984.

Speaking of radical, on Tuesday, April 18 at Studio on the Square, Indie Memphis presents the controversial thriller How To Blow Up A Pipeline. Director Daniel Goldhaber’s film loosely adapts Andreas Malm’s 2021 book with Runaways‘ Ariela Barer starring as a would-be radical who gathers a team to stop a West Texas oil pipline by any means necessary.

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Film Features Film/TV

The Mummy

Once upon a time, there was a beautiful place called Hollywood. In that place lived a company called Universal, which made movies. One of those movies was about a vampire named Dracula, and people really, really liked it. So the people of Universal, in their wisdom, said “We should make more movies like that!”

And so they did. They made a movie called Frankenstein, which was liked by even more people. And Universal said, “We should do, like, a lot of these.”

Universal made a movie called The Mummy. It was like Dracula, only with a mummy instead of a vampire. The mummy was played by Boris Karloff, who also played Frankenstein, so for Universal, it was like two movies in one. People really liked The Mummy, even though it wasn’t as good as the other two. In a happy coincidence, Universal made a lot of money.

So Universal said, “If it ain’t broke, don’t fix it!” They kept making movies about monsters. One of them was about an Invisible Man, who you would think wouldn’t be such a great subject for a visual medium, but he was. Another one was about a good guy named Dr. Jekyll who takes drugs and becomes a bad guy named Mr. Hyde. They made a movie about a man who turns into a wolf when the moon is full. You’d think that would make him happy because wolves are awesome, but it made him sad because he killed and ate people. And on and on it went.

When they ran out of ideas for new movie monsters, they used the old ones again. They made The Mummy again but called it The Mummy’s Hand. Then they made The Mummy’s Tomb, which made sense because tombs are where you find mummies. Then, The Mummy’s Ghost, which didn’t make sense, because mummies are kind of like ghosts already, so that’s like a ghost of a ghost. They got back on track with The Mummy’s Curse, because cursing is definitely something mummies do. Then the writers at Universal said, “Help! We’re out of mummy ideas!” So the Mummy met Abbott and Costello, and it did not go well.

Annabelle Wallis and Tom Cruise fear for their careers in the new Universal reboot of The Mummy.

Universal couldn’t think of anything else to do with the Mummy, so they sold him to a bunch of British people called Hammer, who made a movie called The Mummy. Then they made four more movies until they, too, ran out of mummy-related ideas.

Many years passed, and the rights to the Mummy reverted to Universal. In 1999, they decided to make another movie about a mummy. It was called The Mummy, and it starred a goofy fella named Brendan Fraser, not as the mummy, but as a guy who winked at the audience and said, “Get a load of this mummy, will ya?” This mummy movie was pretty boring, but people liked Fraser, and it had something called “CGI,” so Universal made a lot of money. Again, they said, “If it ain’t broke, don’t fix it” and made a sequel and a prequel and a prequel to the prequel, which itself had two sequels, and then another sequel, which had nothing to do with the prequels.

Several years passed. Disney started making movies about superheroes from Marvel comic books, all of which happened in the same universe and all of which made money. “Hey, we like money, too!” said Universal. “What if we took all of our movie monsters and put them in the same universe?” And so they made a movie about a vampire called Dracula Untold, and it was awful.

So Universal said, “Everybody forget about Dracula Untold!” and made a movie about a mummy called The Mummy. This time, instead of Boris Karloff, the Mummy would be played by a hot chick named Sofia Boutella, and instead of Brendan Fraser, the guy who says “Get a load of this mummy” was Tom Cruise, Captain of the Douche Canoe. And to help put flesh on the bones of the new universe, which Universal called the Dark Universe, they got Russell Crowe, who used to be a gladiator, to play Dr. Jekyll and also Mr. Hyde.

Then, a writer said “Hey, Universal! We used up all the good mummy ideas in The Curse of the Mummy’s Tomb, so how about we steal some scenes from An American Werewolf in London?”

And Tom Cruise said, “Steal some scenes from Mission Impossible, too. People like me in those movies.” Then he dove into a swimming pool full of money.

And Universal said, “If it ain’t broke, don’t fix it!”

And that, children, is why the new Mummy movie sucks.

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Film Features Film/TV

The Nice Guys

Shane Black made his bones in Hollywood by writing Lethal Weapon, which is still considered one of the quintessential buddy-cop movies. Superman director Richard Donner’s pairing of Mel Gibson as the borderline insane adrenaline addict Martin Riggs and Danny Glover as the veteran detective who is getting too old for this crap proved that people not named Eddie Murphy could mine the genre for thrills, laughs, and big box office. Black went on to become one of the highest paid screenwriters in Hollywood history, deconstructed the strongman action genre with 1993’s Last Action Hero, and then knocked around Hollywood for more than a decade before getting his first shot at the director’s chair with 2005’s cult classic Kiss Kiss, Bang Bang. That led to him getting tapped by Marvel for the hugely successful Iron Man 3.

Black’s latest film, The Nice Guys, represents something of a return to his buddy-cop roots. It’s the kind of movie you get to make when your last venture is No. 10 on the list of all-time highest-grossing pictures. Ryan Gosling plays Holland March, a private eye trying to make a living for himself and his daughter, 13-year-old Holly (Angourie Rice) by solving banally sordid cases for a client base of easily swindled old ladies. He’s the kind of guy who laments the drop off in his business caused by California’s adopting no-fault divorce laws. As usual for Los Angeles film detectives since Humphrey Bogart was slapping around gunsels, he stumbles into the biggest case of his life: The aunt of recently deceased porn star Misty Mountains (Murielle Telio) thinks she’s still alive and that a girl named Amelia (Margaret Qualley) knows where she is.

Amelia quickly catches on to Holland’s clumsy attempts at detective work and pays thug-for-hire Jackson Healy (Russell Crowe) to dissuade him from continuing. Jackson is the rare knee-breaker who takes pride in professionalism. He’s a white-knuckled teetotaler and only administers the exact amount of violence necessary to complete the job. As a professional courtesy, he explains to Holland what kind of fracture he’s about to receive before breaking his arm. That’s why Jackson is appalled at the sloppy thugmanship displayed by a pair of heavies (one of whom is played by the immortal Keith David) who break into his house and, in the process of interrogating him about his connection to Amelia, kill his two tropical fish. Vowing revenge for the piscine slaughter, he turns around and hires Holland to find out why Amelia is so important to so many people. The mystery that unfolds takes the unlikely pair of fast friends on a tour of the Los Angeles underworld during the high decadence of the 1970s. Black bounces his dim-witted duo off of the fading remnants of ’60s political radicals, a corrupt Justice Department official played by Kim Basinger, and a psychotic killer who looks like John Boy from The Waltons.

Gosling and Crowe are, perhaps unsurprisingly, naturals at this kind of material, and Black supplies them with some good gags, such as a memorable hallucination with a talking bee and a Richard Nixon cameo. The production designers clearly had a ball recreating disco-era L.A., and the highlight of the film is a porn star party where the band is a digitally recreated Earth, Wind, and Fire. As the film progresses, it becomes clear that something’s a little off. Jokes don’t land, the continuity is confused, and the rhythms are inexplicably jerky. Here’s a lesson: If you want to make a throwback to ’70s cop shows like The Rockford Files, don’t hire the editor of Transformers. Grumpy Gosling and growling Crowe are fun, but they can’t save The Nice Guys from feeling shoddy.