Monthly Archives: August 2021

The Last Letter From Your Lover

The Premise: Journalist Ellie (Felicity Jones) stumbles upon a stack of vintage love letters and is inspired by their contents to unravel the mystery of their forbidden romance.

The Verdict: The film covers two distinct stories: that of Ellie in present day, whose passion for the archives may have as much to do with the sensitive and hunky administrator as the love letters, and of Jennifer (Shailene Woodley) in the past, falling in love with a man who is not her husband before an accident derails the relationship. The film is pretty, often sumptuous actually, particularly the period pieces (people haven’t truly dressed well since the 60s), but the story isn’t exactly original. Jones is sweet as ever, but her character’s flat; Woodley is respectable but not quite believable as a glamorous adulterer. The highly contrived events are predictable of course, as all romances tend to be. But if they’re your jam, The Last Letter From Your Letter offers two for the price of one.

Check out this semi-steamy period romance on Netflix.

Director: Augustine Frizzell

Starring: Felicity Jones, Shailene Woodley, Joe Alwyn, Callum Turner,
Nabhaan Rizwan

Based on the book by Jojo Moyes

Vivo

Huzzah! Netflix has a new animated film out this weekend, and it’s perfect for a family movie night.

The Premise: An old man named Andrés gets a second chance at love when his old flame reaches out to him in Cuba, inviting him to her final show in Miami for a lovers’ reunion. Andrés is touched, and has just the thing: a love song he wrote for her when they parted ways years ago. Unable to deliver it to her himself, his new partner (in life and in business, but not in love), a singing monkey named Vivo (voiced by Lin-Manuel Miranda), takes it upon himself, with a the help of a little girl named Gabi (Ynairaly Simo), to make Andrés’ last wish come true.

The Verdict: I don’t expect much from Netflix animation, but clearly I need to revise my bias as the last few examples have proven me wrong. I hoped Vivo might be good, but I was delighted to find myself loving it. The animation was quite pleasant, and the songs were nearly first-rate – some of them may even live lives outside of streaming. I even learned a little something: the monkey Vivo isn’t a monkey at all. He’s actually a kinkajou, also known as a rainforest honey bear, a nocturnal, fruit-eating tree-dweller more related to raccoons than to monkeys. They’re also surprisingly good singers and look quite dashing in small hats and foulards. Enjoy.

The Vault

We wondered whether to actually watch this movie as it sounded extremely similar to a show we watched (also on Netflix) called Money Heist, which Sean chose solely for its ridiculous title.

The Premise: College ‘boy genius’ Thom (Freddie Highmore) is recruited into a gang of thieves needing his help to crack the world’s most uncrackable safe, located in the Bank of Spain.

The Verdict: The most interesting thing about this movie is that this vault is fact, not fiction. Called the Chamber of Gold for good reason, it contains most of Spain’s gold reserves and is located 38 meters underground. Should anyone breach its barriers, the 16-tonne steel door closes, sealing off the chamber, and then it floods. Instant death for would-be thieves. Madrid’s famous fountain, La Cibeles, would feed it in case of emergency. What a beautiful, beautiful death trap. The movie thieves (including Astrid Bergès-Frisbey, Sam Riley, Liam Cunningham, Jose Coronado, and Luis Tosar) are bizarrely confident they can be the first, indeed the only, successful robbers, using the World Cup as cover. Will they penetrate the vault? Will they drown trying? The answers are all on Netflix, baby.

Pray Away

The Premise: By now you’ve heard about conversion “therapy” – church groups with the audacity to not only claim that Jesus has no love for gays and that homosexuality is a sin, and inherently wrong, but that it’s also a choice, something that can be overcome through traumatic and soul-crushing “therapy” by unqualified, untrained individuals. This documentary gives survivors the chance to tell their haunting stories, but we’ll also hear from “ex-gay” leadership on the other side of the table, granting us a fuller picture of a story that’s been hiding in the shadows.

The Verdict: Director Kristine Stolakis isn’t afraid to confront both sides of the issue, nor does she overtly try to convince us that the notion of “praying away the gay” is wrong or stupid or impossible. She trusts that her audience has already come to that very obvious conclusion themselves. Her goal here is to let us hear directly from not just survivors, but the administrators of this very harmful practice – some who have seen the error of their ways, some who haven’t, all of whom are either ex-gay or ex-ex-gay themselves. What their stories amount to, rather importantly, is a reminder that this is not just some shameful part of the church’s history, of our history, but a continued practice that still takes place today – albeit underground. The truth is, almost no one commits suicide because they’re gay. Having warm, tingly feelings about another person is a thrilling thing – it feels good. Who wouldn’t want that? Only people who are then told that feeling this way about the same sex is somehow intrinsically bad, and that Jesus would deny his love because of it. People commit suicide because they experience virulent homophobia. They feel rejected by their communities and that their very personhood is corrupt and illicit. The only solution the church offers is dangerous and destructive. Conversion therapy has never had success in eradicating homosexuality; it merely creates trauma and scars and a lifetime of bad memories. It sounds barbaric and archaic, because it is, and through this doc you’ll find that the church has never stopped performing it, they merely got better at hiding it.

Wrath of Man

Jason Statham.

Need I say more? I know for many of you, that’s enough. If so, proceed. This movie is pretty darn Jason Stathamy. If not, read on.

The Premise: H (Jason Statham) is the new guy at a cash truck company, but suspiciously, his skills don’t exactly match his resume. H, as you may have guessed, has an ulterior motive.

The Verdict: Since Guy Ritchie directs, so you know what you’re in for. Violence and revenge, basically. Lots of both. Nothing surprising from Ritchie’s corner, nor anything too outside of his wheelhouse for Statham – but then again, isn’t that why you’re watching? To see Statham, still in peak tough guy shape, do what he does best: coldly and methodically avenge fictional deaths by creating yet more havoc and death. He tears through action scenes like a man on a mission. A certain type of man, a type-cast kind of man, but Statham knows his niche and he fills it with such precision and panache that we aren’t tired of watching yet. Wrath of Man is too long; the conclusion takes forever to actually conclude. The pay-off is small, and predictable; you won’t have to look too hard to find flaws in this film. But if you’re looking for some action and you don’t mind taking some stylistic detours to get there, Statham and Ritchie are a pretty effective pairing.