The Voyeurs

Director: Michael Mohan
Starring: Sydney Sweeney, Justice Smith, Ben Hardy, Natasha Liu Bordizzo, Katharine King, Cameo Adele, Jean Yoon
Running Time: 116 min.
Rating: R

★★★ (out of ★★★★) 

Prime Video's aggressively unsubtle erotic thriller The Voyeurs is yet another reminder that few other films have been remade as much as Rear Window without being explicitly acknowledged as such. This latest hypersexualized twist on the premise won't be the last, incorporating elements from that and some other knock-offs through the years, many of which are inferior. A recent one, Netflix's problematic The Woman in the Window, was heavily criticized for taking itself too seriously and failing to fully embrace its absurdity, a cardinal sin when dabbling in this genre. Anyone turned off by that restraint should find much more to enjoy in writer/director Michael Mohan's far racier, adventurous escape since the last thing it'll be accused of is holding back.

There are some intriguing ideas here and even if a good amount of them seem casually discarded in favor of third act twists and shocks, it's at least craftly made and features a noteworthy lead performance. But while it may be fun to speculate what these actors could have done with more elevated material, the realization quickly sets in that's just not what this is. If a movie's trying to be a trashy modern day erotic thriller and is, does that make it a success? This isn't Hitchcock, much less Lynch or DePalma, but that's not the goal, as there's this strange pull to it's ludicrousness that makes it hard to turn away despite its obvious narrative missteps. In other words, you get what's advertised.     

Young couple Pippa (Sydney Sweeney) and Thomas (Justice Smith) are on cloud nine having just signed the lease to move into their first apartment together in Montreal. Noticing their windows give them an excellent view of the neighbors across the street, they've taken an increased interest in this mystery couple they've named "Margot" (Natasha Liu Bordizzo) and "Brent," (Ben Hardy). After seeing them having sex in the kitchen, Pippa and Thomas develop a bit of an stalkerish obsession with the pair that they know is wrong, even as they can't seem to control themselves, simultaneously repulsed and turned on by what appears to be a psychologically abusive relationship. But when they realize "Brent" uses the pad to bed models when "Margot" isn't home, things take a more serious turn with Pippa feeling obligated to expose the truth. Complicating matters is her burgeoning friendship with "Margot," leading Pippa to make a fateful decision that sends all four of their lives spiraling toward an unexpectedly tragic destination. 

Much of the opening act consists of Pippa and Thomas jokingly and nervously attempting to downplay their voyeuristic interest until letting their guard down and just proudly submitting to their curiosity. But it isn't all fun and games for long, as it's impossible to overlook the very obvious irony of us intently watching them watch this couple, waiting for the other shoe to drop. And it does. After assigning the impossibly attractive neighbors names, Pippa and Thomas get a little too close for comfort, their true lives coming into full view. "Brent" is Seb, a sleazy, succcessful photographer who prefers to go shirtless while shooting his models and "Margot" is actually a seemingly directionless ex-model named Julia who seems to be stuck in his web of gaslighting deceit.

That Pippa just so happens to be an optometrist might be the most notable example of Mohan's obsessive use of ocular symbolism and motifs, executed with all the subtly of a sledgehammer. But it helps that Pippa and Thomas are actually fairly likable, proving especially beneficial in the early going as their couple chemistry and banter is required to move the story along. Similarly, Seb and Julia do emerge as something more than the constructs they start as, at least before things start unraveling later on. 

The White Lotus and Euphoria's Sydney Sweeney has already been earmarked as a major breakout and watching this it's easy to see why since her performance outright carries the film, bringing a heartbreaking realism to some really crazy material and character choices that are questionable at best. But she handles it all, exposing herself in more than just the strictly literal ways, as the admittedly silly but fun script pushes and pulls in wild directions to deliver some decent-sized thrills. Her aforementioned scenes opposite Justice Smith carry a natural vibe to that of those with Bordizzo and Hardy, who are both effective in roles that could be considered bizarro opposites of the two leads.

To its credit, the plot hinges on a big twist that's fairly surprising and insane, destined to either induce unintentional laughter or praise at its sheer audacity. Lacking the typical problem of most modern erotic thrillers that tend to be neither erotic or thrilling, The Voyeurs deserves credit for putting forth an admirable effort in both departments, throwing back to tawdry 90's entries in the genre that used to run on late night TV. It's even clear from the opening title sequence, during which Danielle Steele-stylized credits appear on screen as Angel Olsen's cover of Billy Idol's "Eyes Without a Face" plays over the action. It's a pretty bold introduction, but also fitting for a film that walks right up to that line and practically dares you to mock it, unafraid of embracing its own campiness.

Kate

Director: Cedric Nicolas-Troyan
Starring: Mary Elizabeth Winstead, Miku Martineau, Woody Harrelson, Tadanobu Asano, Jun Kunimura, Michiel Huisman, Miyavi, Amelia Crouch, Ava Caryofyllis, Gemma Brooke Allen, Kazuya Tanabe
Running Time: 106 min.
Rating: R

★★★ (out of ★★★★) 

Netflix's Kate may as well be the intersection where Crank meets John Wick meets Kill Bill, but director Cedric Nicolas-Troyan's explosive, over-the-top, high octane thriller also serves as Mary Elizabeth Winstead's rite of passage into full-fledged action star. There were hints of it in Birds of Prey, but now the actress takes the next logical leap in what's been an unexpectedly adventurous career arc that seems to paint further outside the lines with each passing role. And much like Charlize Theron and Scarlett Johansson, who both frequently alternate between giving powerful dramatic performances in smaller films and taking ass-kicking action parts that diversify their portfolios, Winstead is just as perfect a fit for this genre. As for the film itself, it's the very definition of a "love it" or "hate it" affair, as certain fans will eat it up while others may slightly cringe at how derivative it is of some titles that preceded it. 

Troyan proudly wears his influences on his sleeve and if there are points where you wish things were a little less predictable or tidier, that's mostly offset by what he gets right, from the visuals to the sensationally choreographed fight sequences. But it's Winstead who carries it, bringing a Ripley-like tenacity to the title part that's only enhanced by another performance that's just as good, enabling both to pick up the slack when the narrative starts playing itself out. They also take one of the more tired action tropes and elevate it,  leaving viewers contemplating all the creative possibilities for the inevitable sequel or spin-off that must already be in the planning stages. There's a lot to like here, but where it earns most of its stripes is in the commitment to go all out with the kind of inspired lunacy an action vehicle like this requires.     

When Kate (Winstead) was orphaned as a young girl, mentor and father figure Varrick stepped in, training her as a member of his elite team, as she developed into an expert assassin. Now, complications arise when she's in Osaka to kill an officer of the dangerous yakuza syndicate, as a child is unexpectedly accompanying the intended target. Kate's decision to take the shot anyway and complete the job leaves her in emotional distress, vowing to Varrick that she will only do one final mission before calling it quits and retiring. But after experiencing dizziness and unable to hit her mark, Kate soon comes to the harsh realization she may have been poisoned by a mysterious man named Stephen (Michiel Huisman), whom she hooked up with at a hotel bar. 

The toxic cocktail of choice was apparently Polonium-204, a radioactive agent that will kill Kate within 24 hours, as all clues lead to the Kijima crime family being behind the poisoning. On a desperate mission to find the reclusive Kijima (Jun Kunimura) himself, she kidnaps his niece Ani (Miku Martineau) while injecting herself with stolen hospital stimulants to keep going. With the clock ticking away, Kate sets her sights on extracting revenge, unaware of the many emerging roadblocks that could jeopardize that.   

While you could quibble about its originality, there's little room to deny this as a visually stimulating experience with an almost dizzying array of neon and blacklight coming at you from all directions to create this kinetic, propulsive nighttime Tokyo atmosphere. Early on, an exhilarating car chase through the busy streets evokes an aesthetic straight out of TRON: Legacy or Speed Racer. It's only when you get into the mechanics of the plot when Umair Aleem's screenplay exposes itself as treading over some familiar territory, but even that's done fairly well, as Winstead's intensity and the maternal connection Kate forms with Ani more than making up for those shortfalls. 

There are echoes of The Professional and probably dozens of other titles featuring a hitman or assassin as reluctant child protector, but there's something about how this one develops that really elevates the story, with Kate's hard exterior slowly cracking the more she sees of herself in this kid. Part of that's Winstead, but young newcomer Miku Martineau is a spunky revelation as Ani, peeling back the layers of her tough, outwardly rebellious character to show she's not quite as in control as she thinks, disregarded in much the same, sad way as Kate. Harrelson isn't incredibly involved until the last third of the picture, but leaves a sufficient enough impact with the screen time he's given.

With Kate as fixated on finding her favorite energy drink as she is hunting Kijima, amongst Winstead's many accomplishments is her ability to infuse as much deadpan humor into the material as possible. Say what you will about the 24-hour poison plot but there's a reason it's used so frequently in action films. When executed right, it works, helping here to give a sense of real-time immediacy to the events, aided in no small part by two wildly choreographed fight scenes that stand as the film's anchors. One in a restaurant, during which Kate battles a gang of yakuza, and another thrilling apartment fight with flamboyant assassin Jojima (Miyavi), both leading her closer to Kijima and possibly some answers. Of course, the answers she finds may not be what she was looking for.

This all does start losing some steam as it approaches a somewhat predictable, but still undeniably exciting finale carried by the Kate and Ani dynamic, not to mention a lot of gunfire and hand-to-hand combat. If nothing else, it's the genre film most likely to appear atop Quentin Tarantino's favorites of the year, which is less a testament to enduring quality than it being the exact kind of in-your-face female-driven action escape he'd likely overpraise. But this case, he'd kind of be right, with eye-popping visuals, some great fight scenes, and a coolness factor provided by Winstead's performance that powers Kate to a far less disposable level than most of the other action junk we're used to being served. 

Worth

Director: Sara Colangelo
Starring: Michael Keaton, Stanley Tucci, Amy Ryan, Tate Donovan, Shunori Ramanthan, Laura Benanti, Talia Balsam, Marc Maron, Chris Tardio, Victor Slezak
Running Time: 118 min.
Rating: PG-13 

★★★ (out of ★★★★) 

For the longest time any discussion about a movies focusing on 9/11 would revolve around one question: "Too soon?" But as years passed and more were released, those concerns eventually faded into the background, replaced with conversations about how accurately and tastefully this particular part of history would be handled. Paul Greengrass' United 93 set the gold standard in 2006, with most others that followed falling short, even occasionally using the tragedy as mere window dressing to tell another story altogether. With Worth, director Sara Colangelo takes a slightly different approach, zeroing in on a controversial aspect of its aftermath that's never been this exhaustively dramatized. The legalities and ethics related to the September 11th Victim Compensation Fund is fertile territory, with many still somewhat unaware of the exact complications and challenges surrounding it. And you'd be hard-pressed to find a more accurate title for the film than Worth, as it most definitely addresses the many meanings and implications that word carries. 

If this has a deficit, it's that some may find it clinical or dry in how it hits the same note repeatedly, albeit in slightly different ways. Luckily, that's offset by not only how elegantly and efficiently that note is struck, but a compelling lead performance that helps in juggling such a sensitive topic. This just so happens to echo the ethical dilemma its protagonist is faced with, attempting to quantify something so steeped in human emotion that any decision he makes will at least feel wrong. What's the monetary value of a human life? That's the big question, and whatever formula he and his legal team can come up with to please the powers that be simply won't hold in this scenario. It's only when he truly comes around to acknowledge and listen to the victims' families and their needs that some kind of path to justice can be forged. The story's best when focusing directly on that, walking us through the messy, uncomfortable process of eventually getting there.

Selected by the Attorney General to serve as special master to disseminate funds to the families and victims directly impacted by the 9/11 attack, lawyer Kenneth Feinberg (Michael Keaton) eagerly accepts the appointment, believing his extensive experience in dispute resolution make him an ideal fit for the position. But the primary purpose of the fund is for the government to avoid the inevitable barrage of impending lawsuits that would potentially cripple major industries and destroy the economy. Working pro bono with co-counsel Camille Biros (Amy Ryan) and the rest of his assembled team, Feinberg must determine proper compensation using a fairly inflexible plan he's objectively devised based on variety of socio-economic factors and circumstances under the law. 

Feinberg's given a limited amount of leeway from the government as he's faced with an almost impossibly tight deadline to get these families on board. After a chilly start that sees him scientifically discounting any emotion from his stringent equation, he draws the ire of Charles Wolf (Stanley Tucci), whose wife died in the north tower.  Becoming the program's harshest critic, he creates the web site, "Fix The Fund," but it isn't until Feinberg stops calculating and actually listens that he wakes up to the true enormity and purpose of the job put in front of him.    

Sitting on the shelf for over a year before finally dropping on Netflix, this is noticeably more intelligent and restrained than anyone could expect given its extended post-production history. Keaton's in nearly every scene, sporting a noticeably thick Massachusetts accent for what's probably his most prominent leading turn since 2015's criminally underrated The Founder, even as the material's likelier to remind audiences of Spotlight. But more like the former, he's again inhabiting a character on shaky moral ground throughout, regardless of his intentions. It's a tricky part, but one that again benefits from the actor's fast-talking edginess, as Feinberg constantly straddles that line between hero and villain while still remaining relatably human. On one hand, he can be viewed as a dedicated public servant, taking on a Herculean task no one in their right mind would dream of signing up for. Then again, must of that is quickly erased once we realize how he's going about it, which marks him early on as another disimpassioned bureaucrat looking to cut corners just to save a buck.

Keaton excels at conveying Feinberg's lack of self-awareness, plowing through his formula while displaying little regard for the mitigating factors involved. It's not that he doesn't care, it's that he cares in the wrong way, and it isn't until Charles Wolf enters the picture that he starts second-guessing his entire approach. Tucci's plays Wolf refreshingly against type, his character approaching the situation with common sense and respect rather than hostility. He aims to meet Feinberg on a certain level as opposed to merely reprimanding him and it works since the attorney doesn't have much of a choice. He's taking a pounding from all sides, whether it's the families, the government or the airline industry. 

Keaton's most memorable moment finds him in front of a room of distraught, grieving families attempting to explain his plan, soon looking as if he's about to crawl into a hole after unintentionally offending everyone with his business-like demeanor and condescending word choices. An unexpected phone call from President Bush sarcastically and almost comically "congratulating" him lets the lawyer know exactly what he's gotten into. There are also some strong supporting performances from Laura Benanti and Chris Tardio as the surviving wife and brother of a firefighter who died in the tower, Tate Donovan as an opposing lawyer looking to launch a class action suit and Shunori Ramanthan as a member of Feinberg's team with a personal connection to the attacks.

Max Borenstein's screenplay suceeds in making the realizations that Feinberg reaches seem as organic as possible, even if it's due mostly to Keaton's mastery at juggling a complicated range of emotions and reactions that sell an ending that may seem a little too pat for some. But it works, largely because Colangelo (no stranger to challenging material having directed The Kindergarten Teacher) ackowledges there's little about this fund that will ever be celebrated given the context, managing to strike an appropriate tone that stops short of over-sentimentality. She also wisely refrains from using reenactments, choosing instead to sparingly intersperse actual news footage when it's called for.  As an overlooked corner of the 9/11 story that hasn't properly been given its due, Worth proves to be a low-key, eye-opening examination of those who were left to pick up the pieces of what happened that day.