Female Film Critics 24/375
Following the success of Barbarian, Zach Cregger brings us the most highly anticipated horror film of the summer, Weapons…and you won’t be disappointed. You may not be totally satisfied or even understand what you just watched, but you won’t be let down. Even though the narrative Cregger wrote is fictional, the emotional center is rooted in reality, inspired by social issues, real life events and Cregger’s personal experiences.
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In Fair Play, first-time feature filmmaker Chloe Domont introduces a workplace/erotic melodrama that exemplifies a contemporary dilemma facing many ambitious, highly competitive couples. The first scene introduces Emily and Luke, who are into carnal lust, if not love. And when an engagement ring drops out of Luke’s pocket, Emily realizes that he’s serious about marriage. When a coveted PM (portfolio manager) promotion opens up, there are rumors that Luke is next-in-line, but Emily gets the post, along with an impressive office.
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Fair Play is anything but fair. The new Netflix romantic thriller slices and dices its hard core players mentally and physically and then kicks them to the Wall Street curb showing us that despite our society’s attempt at progressiveness, the male-female power dynamic still exists. First time feature film writer and director, Chloe Domont has a sharp and sassy career ahead of her if she continues to bring this slick and steamy style to her very human stories.
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Chloe Domont makes a fantastic feature film debut with Fair Play, a taut film that moves from drama to comedy to horror and back to drama as in it’s depiction of gender power dynamics both in relationships, and in the workplace. The film is set in the pressure cooker of a hedge fund company, Anyone who has found themselves on the losing side of a work situation will relate to what’s going on. While the gender issue is central here, the film doesn’t tip into something too simplistic.
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Nolan pieces the film together out of chronological order, sometimes whipping between pre- and post-bomb at a clip, switching from colour to black-and-white. It doesn’t make the narrative hard to follow, but the frequent cutting doesn’t give scenes enough time to breathe, lessening their impact on the audience. The climax of the film is undoubtedly the desert Trinity test of the bomb capabilities. Arriving at around the two-hour mark, what makes this whole sequence of events stand out is that Nolan gives it time to build tension and unfold in front of the audience instead of time-hopping to the next scene.
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According to the news in 1985, 40 pounds of cocaine was dropped from a bungled aerial drug run into the Chattahoochee National Forest in Georgia in September; the 175-pound black bear that ate much of it was found dead in December. While the action-comedy caper Cocaine Bear is loosely based on that story, screenwriter Jimmy Warden depicts a much different situation – following a giant, cocked-up, apex predator on a rampage through the woods, hunting for as much blow as possible.
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It doesn’t really matter who the characters are or what their motivations are, because at the end of the day, this movie isn’t about them, it’s about a bear high on cocaine. We don’t need to care about any of the characters and Jimmy Warden’s script doesn’t really give us room to because it doesn’t matter. The high points of the story are all about the drugged-out bear looking for its next fix and the people are just around to inadvertently give it access to more cocaine and become snacks.
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>Alexandre Moors’ powerful drama shatters notions that going to war makes heroes of ordinary men. Neither Bartle (Alden Ehrenreich), age
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