The latest film releases include Abigail, The Ministry of Ungentlemanly Warfare, We Grown Now, and The People's Joker. Weighing in are Christy Lemire, film critic for RogerEbert.com and co-host of the YouTube channel Breakfast All Day, and Shawn Edwards, film critic for FOX-TV in Kansas City and co-founder of the African American Film Critics Association.
Abigail
This vampire horror film follows a group of people who kidnap children for ransom. It’s based on the 1966 film Dracula's Daughter.
Edwards: “This movie is basically designed to scare teens and mostly appeal to people who haven't seen very many movies because it's all pretty much stereotypical stuff you see in horror movies. … The one thing that is fun about the movie is when the action starts, it is pretty cool. And there is more blood used in this movie than plot. I mean, actually, lots of blood. I think the filmmakers use more corn syrup than at a Coca-Cola bottling plant. … Is it entertaining? Yes. Is it completely stupid? Yes. Is it scary? Somewhat. But the scariest thing is actually how well the movie works, despite being a super weak narrative, and delivering nothing that you haven't seen before.”
Lemire: “It's really fun. And there are moments in this movie that you're probably going to want to see with other people because they're just so insane. There's a thing that happens. They don't want to say what it is. Because when it happens the first time, it's like, ‘Whoa, what did I just see?’ And then they do it again. And then they do it again. And so that's indicative of how the whole film flows: Things that seem novel and cool eventually grow tiresome and repetitive.”
The Ministry of Ungentlemanly Warfare
This action-comedy from Guy Ritchie is based on real-life British soldiers who conducted espionage in Germany during World War II. Henry Cavill stars as Major Gus March-Phillipps.
Lemire: “It's fantastic-looking men, and they're wisecracking, and they have this extremely violent mission that they have to go on. But compared to the best examples of the kinds of movies that [Guy Ritchie has] made in the past … this feels like the pacing is just always a little off. And the banter is never as snappy as everyone involved seems to think it is. And it's a lot of just hunky guys sitting around in cozy sweaters on a boat. But there's just something off all the time. And then the violence is incredibly brutal and blunt and quick. And the shifting of gears is always unsettling.”
Edwards: “It is amusing at times. Its biggest problem is it lacks genuine depth. It has zero character development. … You know what you're gonna get when Guy Ritchie directs a film. Sadly, he seems like he's repeating himself.”
We Grown Now
This follows best friends Eric and Malik as they grow up in a 1990s public housing complex in Chicago, which is the hometown of the film’s writer/director, Minhal Baig. Jurnee Smollett and Lil Rel Howery are part of the cast.
Edwards: “I was not only tearing up during the trailer, I teared up several times during the entire film. … I was completely blown away by every aspect of this film — about two young friends, two Black boys who are growing up in Chicago. They're looking to escape the mundaneness of school, the hardships of growing up in public housing. They live in the notorious Cabrini-Green public housing, which has been mentioned several times in the realm of pop culture. … They soon find that there's some challenges they have to deal with … after a tragedy happens in their community.
… The thing that I really loved about this film is it's void of stereotypes and it's void of racial tropes. The dialogue is so authentic. It beautifully, and smartly deals with the effects of crime and violence and death, and presents this unique observation on religion, while also presenting the grim realities of these two young boys dealing with what happens when you die? What happens to you when you witness … things that happen to people your same age?
There's also this strong subplot that deals with trying to obtain the false narrative of the American dream. And it's a beautiful portrait of Black life in a grim urban environment that you rarely ever see that delivers heart. It's done at such a high intellectual level that I've never really seen anything like this done before.”
Lemire: “It's visual poetry. … [The] score … is propulsive, and it's very cello and string-heavy. And it really encapsulates the constant state of flux that these kids are in, and the wonder, but also the danger that they find themselves in. … Both the kids are excellent. … Their friendship feels so true, and the authenticity of the adventures they get themselves into. … There’s just real care with innovative ways of depicting their daily existence, and the adults are all great in it too. So yes, very much a must-see, it's beautiful.”
The People's Joker
Trans filmmaker Vera Drew created and stars in this superhero parody. She reimagines the story of the Joker as a trans, coming-of-age story. Comedians Maria Bamford and Bob Odenkirk play supporting roles.
Lemire: “This movie is so strange and singular and original and funny, but also unexpectedly poignant because what Vera Drew is doing here … is exploring her own transgender journey, but through the prism of the Batman world. And so it's how she, as a kid growing up, felt different, knew that she didn't totally belong, but through comedy and through becoming this joker figure, figures about who she wants to be.
… There's different kinds of animation, different kinds of puppetry, and so it's constantly alive and changing. But Vera Drew is so likable and so funny. And then, by telling her own story in this way, all these deep, vulnerable truths emerge from within this very artificial setting.”
Edwards: “This may be the best comic book movie ever made. … It feels like how a comic book movie should be. It just has that vibe. And I will say we need more unauthorized parodies, especially if they are as sharp, insightful, and delightfully entertaining as The People's Joker. … I love this coming-of-age tale that pushes the boundary of intellectual property laws, and allows the filmmaker to tell their story in such a unique and authentic way.”