As we enter the spookiest month of the year, the most horrifying prospect has been less films to go see. However, as of this deadline, the Writers’ Guild has come to an interim agreement with the five major studios. Great news! This doesn’t affect films that have been delayed, so we will have to wait to see Paul Atreides ride that sand worm. Looking at you, Warner Bros. Regardless some studios are still putting out movies this fall. Here are a couple that may pique your interest.
Kenneth Branagh has made a career of adaptation. In the 90s he was the foremost heir to Olivier’s throne, filming more than five Shakespeare plays for the silver screen. My personal favorite was Hamlet, which clocked in at a whopping three hours long. If you have the patience, I would suggest watching it. Of late, his turn as Hercule Poirot has had a rocky road for some. Personally, my enjoyment has stemmed from observing the wonderful actors flaunt themselves in brilliant costumes around impressive scenery. A Haunting in Venice is no exception.
Taken from Agatha Christie’s novel Hallowe’en Party, Branagh transports us to the Floating City post World War II. Here Poirot is retired, living a quiet existence away from solving murders. That is until an old friend, a mystery writer played by Tina Fey, urges him to come to a party where a seance will take place. She wants to find out if the medium, played by Michelle Yeoh, is a fake or not. But what starts as an investigation into the supernatural turns into a very mortal affair.
Branagh rounds out his usual suspects with a solid cast. Jamie Dornan and Mary Reilly are standouts as are the aforementioned two ladies. Jude Hill, previously in Branagh’s Belfast, shows range as Dornan’s son once more. Everyone is giving their all, leaving you guessing what their true motives are.
As a director, Branagh’s use of canted camera angles work even better here than in his last time. Unlike Death on the Nile, we are mostly confined to one villa. DP Haris Zambarloukos never misses a chance to use shadow and candlelight, setting a mood perfectly before the scare happens. A sense of claustrophobia permeates every scene as the party continues, never letting up until the final moments. It is easy to see why this novel isn’t adapted as much, but Branagh puts so much panache that you can’t help but love the movie ultimately.
From 1950s Venice to 1980s Mexico, Cassandro follows wrestler Saul Armendáriz as he tries to make a name for himself in the world of lucha libre. He fails until his trainer suggests that he becomes an exoticó, a drag performer who usually loses matches. But when as he trains, his style and strength changes that notion.
Based on a true story, Gael Garcia Bernal gave a heartfelt performance. His eyes and face convey all the hardships he goes through, making the ending all the more triumphant. Kudos to Perla De La Rosa who plays his mother Yocasta; she left tears in my eyes during a pivotal match near the halfway point.
Director Roger Ross Williams, in his first narrative film, crafted an amazing look into the world of lucha. There are the typical story beats of the sports underdog film. He utilizes more interesting camera work reminiscent of his documentaries. I especially loved the use of handheld in the flashback sequences, having the audience feel like they are drifting through Saul’s memories. Check it out on Prime Video.
As I close out this review, I will leave a reminder that the Chicago International Film Festival will be starting on October 11. Hopefully there will be some more tickets available so you all can get a sneak peek at films before they hit theaters this winter. Happy viewing, y’all.
