Movie Trailer Reviews MTR Network

 

Richard Donner's The Omen (1976) follows American diplomat Robert Thorn (Gregory Peck) as he investigates his adopted son’s, Damien, background once tragedy befalls those close to him. Thorn's quest for answers ultimately leads him to Italy and the unsettling revelation that his son may be the Antichrist. Sadly the subsequent installments never quite duplicated the impact of the first chapter in this genre-disrupting religious horror saga. So he idea of a compelling legacy-prequel seems like a non-starter. Well, director and co-writer Arkasha Stevenson would like a word. Because, The First Omen is an absolute master class on how to create a stunning in-canon prequel to a horror classic.

Fresh Eyes Brings Fresh Perspective on the Horrific

Stevenson's feature debut follows Margaret (Nell Tiger Free), a young American novitiate, as she arrives in Rome, Italy (1971) to complete her probationary period at a Roman orphanage before taking vows. For those new to the Omen universe, this prequel is a fresh-eyed, gnarly lure into the dark and twisted world of religious horror and one of the foundational storylines in the genre. Margaret encounters Carlita (Nicole Sorace), a troubled orphan, living in practical isolation. Reminded of her own turbulent childhood, she befriends the young girl in the hopes of acting as her champion. As increasingly disturbing happenings swirl around Carlita, Margaret stumbles into a dark and gruesome unfolding conspiracy. Just as Margaret connects with Carlita, a rogue priest (Ralph Ineson) approaches, demanding her help. He's on the hunt for proof of a plot by a corrupt sect within the Church. Margaret soon second-guessing herself. Nowhere is safe.

Unlike in The Omen, the women carry the bulk of the plot development. Tiger Free's Margaret is a convicing mix of ingénue and fervent acolyte. Shifting the story progression to her point of view adds layers to the terror of being in a new city, trying to integrate into an established social dynamic and feeling unsettled by a sense of danger dogging your every step. Stevenson relies less on the obvious jumpscares and more on discomfort, paranoia and the pay off is utterly next level. 

The First Omen breathes menacing new life into religious horror 

Under Stevenson's direction The First Omen comfortably resides at the intersection of fanatical secret societies and unholy dark arts. From the period-accurate production design and costuming, to the religious iconography and symbolism deftly sets the stage for a harrowing spiral into the heart of darkness with precision. Cinematographer Aaron Morton employs an earthy color palette and savvy use of light, shadow, and scene staging ably assisting Stevenon’s unabashed commitment to blending its paranoid-thriller and supernatural horror roots into a trauma-inducing story. Through a combination of awkward physicality, unworldliness, and bouts of inexplicable agitation Tiger Free creates a captivating picture of a woman pushed to the absolute brink.  There's an increasingly demented energy of danger driven by the score and sound desighn that, alongside her character development, that acts as razor then thin tether to realty and a visually entralling fever dream. 

Listen as Ro and special guest Richard Newby discuss (spoiler-free) the thematically rich and incisive allegories baked into The First Omen. 

The First Omen opens in theaters, April 5, 2024

Director: Arkasha Stevenson

Writers: Tim Smith, Arkasha Stevenson, Keith Thomas

Starring: Nell Tiger Free, Tawfeek Barhom, Sonia Braga, Ralph Ineson, Bill Nighy

Runtime:  2 Hours

Synopsis: A young American woman is sent to Rome to begin a life of service to the church, where she encounters a darkness that outs her own faith in jepardy, 





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Quick Take: Dev Patel's directorial debut, Monkey Man, is a full-throttle, heartbreaking, brutal quest for vengeance. Patel and his co-writers weave ancestral lore and a biting challenge to the socio-political status quo into a underdog tale that wears its cinematic influences and cultural aesthetic on its sleeve. What starts as tale of a street-smart grief-striken man living only for revenge slow morphs into the journey of a man who learns to stand for something greater than himself. Monkey Man pulls no punches and takes no prisoners. Although far from technically flawless and clearly not attempting to reinvent the revenge tropes, in Monkey Man Patel firmly establishes his ability to straddle the line of action star and beguiling leading man with an almost supernatual grace. 

Come for the fights and stay for the intense character arc. 

Listen as Phenom and Ro discuss (spoiler-free) just how brash Monkey Man is from start to finish. 

Monkey Man opens (wide) in theaters, April 5, 2024

Director: Dev Patel

Writers: Dev Patel, Paul Angunawela, John Collee

Starring: Dev Patel, Sharlto Copley, Pitobash, Vipin Sharma, Sikandar Kher, Sobhita Dhulipala, Ashwini Kalsekar, Adithi Kalkunte, Makarand Deshpande

Runtime:  1 Hour 53 Minutes

Synopsis: After years of suppressed rage, Kid discovers a way to infiltrate the enclave of the city’s sinister elite. As his childhood trauma boils over, his mysteriously scarred hands unleash an explosive campaign of retribution to settle the score with the men who took everything from him.

Note for podcast episode: Monkeypaw Productions and Jordan Peele came on board towards the end of shooting. 





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Director: Denis Villeneuve

Writers:  Denis Villeneuve, Jon Spaihts, Frank Herbert

Starring: Timothée Chalamet, Zendaya, Rebecca Ferguson, Javier Bardem, Josh Brolin, Austin Butler

Runtime:  2 Hour 46 Minutes

Synopsis: Paul Atreides unites with Chani and the Fremen while seeking revenge against the conspirators who destroyed his family.



Kriss, Ro, Brandon review Dune Part 2.



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Quick Take: Madame Web should've been a fun and fantastical origin story for a dynamic comic character with real spin-off potential. Instead it’s a mishmash of barely interesting plot points, disjointed visual trickery, and underwhelming performances. More than anything else, Madame Web proves it’s not enough to throw all the “expected” set pieces in a movie, you actually need to know what to do with them.

**

Official Synopsis: Cassandra Webb develops the power to see the future. Forced to confront revelations about her past, she forges a relationship with three young women bound for powerful destinies, if they can all survive a deadly present.

Director: S.J. Clarkson

Writers: Matt Sazama, Burk Sharpless, Claire Parker, S.J. Clarkson

Starring: Dakota Johnson, Sydney Sweeney, Isabela Merced, Celeste O'Connor, Tahar Rahim, Mike Epps, Emma Roberts, Adam Scott



**

Madame Web, Sony’s third standalone spin-off of a Marvel comic character, opened the door for the studio to fully reimagine the origins of its titular character and set the stage for robust worldbuilding in its Spider-Man Universe. The Cassandara Webb of the comics is an elderly woman, with a neuromuscular disease, connected to a life support system that resembles a spider web. She’s fully in control of her clairvoyance and precognition.  Webb’s an exceptionally powerful mutant and infrequent supporting character in the Spider-Man comic book series. There’s very little known of her beginnings. When carving a lane for future stories, it doesn’t get much better than having firm grounding in source material but an otherwise clear field to play. 

There’s something to be said for nostalgia in movie styling (we won't talk about those reshoot blunders). Setting a story in the recent past opens the way for the sleight-of-hand of soft revisionist storytelling often beneficial when telling a story with supernatural elements. For audiences, everything feels familiar and contemporary but the edges are just blurry enough to make way for a world full of magic, mystery, and untold danger existing alongside the mundane. What Madame Web gets right(ish) is blending an intentionally pulp-esque vibe into a recognizable version of the contemporary New York City circa 2003. The story moves at a digestible (and thankfully relatively quick) pace of a thriller. So it’s a shame that absolutely nothing else; not direction, editing, character arcs, visual effects, cast performances, or story direction, amounts to more than a “comic movie” checklist neither the screenwriters nor the director knew how to navigate.

The movie opens with a flashback, because of course it does, of a pregnant Constance Webb (Kerry Bishé) deep in the Peruvian Amazon in 1973. She’s on the hunt for a spider said to have miraculous healing properties. She’s whip smart, driven, and desperate. So desperate she misses all the glaring red flags that her impatient head of security, Ezekiel Sims (Tahar Rahim), isn’t really there to protect her waving in her face. Through hamfisted dialogue, a lore info-dump about a secretive indigenous people with powers, known as Las Aranas, (that would’ve carried more weight as naturally occurring revelations), and scenes of a furtive tent search practically lifted from Tomb Raider, it’s obvious Sims’ intends to acquire the spider for his own ends. The action sequences that follow shortly after the expected doublecross are a reminder that staging and filming action and stunts is a skill not all directors possess. Director S.J. Clarkson relies on quick cuts, odd camera angles, and bouncing shots of rustling foliage and blurred glimpses of people leaping from great heights to simulate action and fast-moving “spider people” traveling through the trees coming to the rescue. It’s the first sign, of many, that Madame Webb’s practical and visual effects are a detriment to an already poorly conceived storyline.

Director: Todd Haynes

Writers: Samy Burch, Alex Mechanik

Starring: Natalie Portman, Charles Melton, Julianne Moore, Gabriel Chung, Andrea Frankle

Runtime:  1 Hour 57 Minutes

Synopsis: Twenty years after their notorious tabloid romance gripped the nation, a married couple buckles under pressure when an actress arrives to do research for a film about their past.



2023 was really the year of the terrible parent when it comes to movie. In May December, Julianne Moore and Natalie Portman have a "terrible off" to see which one plays the worst person. Charles Melton's character unfortunately is the one taking the brunt of just how terrible those other characters are. This is a very solid film that's bound to make your skin crawl because of just how realistic it is. The gaslighting and victimization that Julianne Moore's character Gracie does in this film is top notch. You're definitely going to need to take a shower after this one.

Listen as the crew review May December.



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Director: William Oldroyd

Writers: Luke Goebel, Ottessa Moshfegh

Starring: Thomasin McKenzie, Shea Whigham, Anne Hathaway, Sam Nivola

Runtime:  1 Hour 37 Minutes

Synopsis: A woman's friendship with a new co-worker at the prison facility where she works takes a sinister turn.





Who doesn't love a "leave them crazy white women alone" film? Eileen is a great film that uses the alway fantastic Anne Hathaway perfectly by pairing her up with Thomasin McKenzie who does a great dead-face, on the cusp of crazy (right about to head over the deep end) young woman looking to impress. Eileen is short, simple and hits all the right notes. Listen as the crew review this film.







 



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