Heretic

Directors: Scott Beck and Bryan Woods
Starring: Hugh Grant, Sophie Thatcher, Chloe East, Topher Grace, Elle Young
Running Time: 111 min.
Rating: R

★★★ (out of ★★★★) 

The first observation everyone will make about A24's chilling horror film Heretic is how it features Hugh Grant "playing against type" in a rare villainous role. But that's only partially true since the English actor inhabits this sadistic part exactly as we'd assume, playing it politely and eloquently, much like the characters he's built a career portraying in romantic comedies like Notting Hill and Love, Actually.

If anything's certain, it's that Grant's evil antagonist loves to hear himself talk, subjecting his visitors to an unsettling theological lecture about belief and spirituality. And in doing this he sets up an elaborate scenario that's constructed with more time, effort and motivation than most normal, functioning people are capable of. Of course, he's far from normal. The set-up is bold and ambitious enough to fear a letdown, but even when the film takes a more traditional horror path, it at least preserves the ideas that got it there.

Sister Barnes (Yellowjackets' Sophie Thatcher) and Sister Paxton (Chloe East) are two young Mormon missionaries from the Church of Jesus Christ and Latter Day Saints who arrive at the house of Mr. Reed (Grant), a middle-aged man possibly looking to join their congregation. He invites them in, alleviating initial concerns by announcing his wife will be joining shortly with her blueberry pie.

As the young women inquire about his interest in the church, Reed responds with increasingly awkward and uncomfortable queries of his own, mostly aimed at discrediting their faith. With a wife that's still nowhere to be seen and his behavior growing more suspicious and confrontational, Barnes and Paxton attempt to exit a potentially dangerous situation, not knowing they're already pawns in Mr. Reed's lethal, sadistic game.

The script cleverly establishes the women as having two very different and distinct personalities, making it imperative for viewers to pay attention to casual banter that later becomes important in the context of Reed's trap. Unwavering in her loyalty to her religion, Barnes appears to be the stronger, more confident of the two, while the shy and naive Paxton is also devoted to a fault, though noticeably iffier about certain aspects of the church.

Pamphlets in hand, Barnes and Paxton arrive in the pouring rain, greeted by a seemingly warm, welcoming host on their last scheduled stop of the night. But writer/directors Scott Beck and Bryan Woods (who helmed 2019's grisly slasher Haunt) fill the film with small, visually important details, even down to how they drag their bikes up the hill. While the last thing both expect are Reed's attempts at dismantling organized religion with his verbal attacks and theories, that's only the beginning.  

Since he's played by Grant, all of it's done with a class and charm that continues up to and after imprisoning them in a small, innocuous cottage home containing enough timed locks and hidden passageways to double as Fort Knox. Dimly shot with a foreboding sense of dread by cinematographer Chung Chung-hoon, you can see and feel the women's escalating unease amidst a growing doubt they've taken all necessary precautions. It's only when Reed's lies become too much to ignore that concern turns to fear, and then, pure panic. 

The movie is all about belief, or more accurately, what people believe and why, with this atheist Jigsaw insisting the choice to leave is theirs. But there's a catch, or more accurately, a test. It begins with a speech broadly outlining his big philosophical theory involving The Hollies' 1974 hit "The Air That I Breathe" and various iterations of Monopoly. This is where the film peaks, still shrouded in mystery as Reed holds court in his pew-like study.

The script veers into gruesomely familiar territory from then on, but still manages to deepen the psychology of the two women in the process. What comes next is entertainingly preposterous, but the acting sells it, as does a crammed, claustrophobic setting that ups the tension. Still, the story's strongest when we're left in the dark, speculating about Reed's intentions.

Temporarily freed from the usual constraints, Grant's clearly having the time of his life tackling darker material few would ever associate with him. More reliant on suspense than gore, the first half centers around a constantly evolving game of human chess, with his performance hinting at a number of feasible outcomes, including the possibility Reed could let them go.  

Thatcher and East (both of whom actually had a Mormon upbringing) subvert expectations following their characters' memorable introductions when Barnes and Paxton's arcs diverge. While the film's first two acts emphasize the former's steely determination and resourcefulness, a sudden turn cause us to completely reevaluate East's Paxton, whose timidity isn't the sign of weakness we'd assume. There's also a Topher Grace cameo that appears to be leading somewhere huge, but instead reveals itself as window dressing to underscore the true helplessness of this predicament. 

Up until an ending where the villain describes his master plan in agonizing detail, there's an authenticity to Heretic that's only enhanced by the performances and creepy atmosphere. What we see in the final minutes may not be the entire truth and remains open for interpretation, but that's only fitting given its themes. An inspired approach makes watching this unfold thrilling fun, especially with Grant giving his best opposite a pair of up-and-coming actresses more than capable of matching him.

Unfrosted

Director: Jerry Seinfeld
Starring: Jerry Seinfeld, Melissa McCarthy, Jim Gaffigan, Max Greenfield, Hugh Grant, Amy Schumer, Peter Dinklage, Christian Slater, Bill Burr, Dan Levy, James Marsden, Jack McBrayer, Thomas Lennon, Bobby Moynihan, Adrian Martinez, Sarah Cooper, Mikey Day, Kyle Mooney, Drew Tarver, Tony Hale, Felix Solis, Maria Bakalova, Dean Norris, Kyle Dunnigan, Sebastian Maniscalco, Cedric the Entertainer, Fred Armisen, Jon Hamm, John Slattery, Andy Daly
Running Time: 93 min.
Rating: PG-13

★★★ (out of ★★★★) 

While it's almost impossible to believe it took Jerry Seinfeld until now to write, star in and direct his own feature film, he gives us Unfrosted, a comedy about the creation of Pop-Tarts. And in doing it he's unfortunately become sort of the critics' punching bag, as if attempting to tackle a biopic of America's most famous pastry treat were a crime.

Hardly anyone's typical dream project on paper, you can still see how the comedian famous for a "show about nothing" would be drawn to material this unapologetically silly. But even in falling considerably short of his TV benchmark, there's a refreshing simplicity to the premise that grows more humorous and absurd with each passing development.

In spinning nonfictional details into his own goofy version of events, Seinfeld even bookends the movie with a scene that shows him doing exactly that. Though the biggest surprise is how he's practically an afterthought amidst a packed cast of big name comedy stars. Anchored by vibrant, colorfully retro production design and some standout supporting turns, he actually does a lot right in his first outing behind the camera, or at least more than he's gotten credit for. 

After encountering  a young runaway ordering Pop-Tarts at a diner, Kellogg's head of development, Bob Cardona (Seinfeld) tells him the true story of how America's favorite breakfast snack came to be. It's 1963 when CEO Edsel Kellogg (Jim Gaffigan) and his corporate rival and ex-lover Marjorie Post (Amy Schumer) fight for brand supremacy in Battle Creek, Michigan, with Kellogg's again sweeping all competition at the annual Bowl and Spoon Awards. With Edsel basking in victory, Bob accidentally discovers that Marjorie's team is working on a new product initially created by his former colleague Donna "Stan" Stankowski (Melissa McCarthy).

As the conniving Marjorie makes plans to develop this treat and launch it into stores, Bob and Edsel bring Stan back to Kellogg's to help develop their own version, recruiting eccentric business innovators Jack LaLanne (James Marsden), Steve Schwinn (Jack McBrayer), Harold von Braunhut (Thomas Lennon), Chef Boy Ardee (Bobby Moynihan) and Tom Carvel (Adrian Martinez) to serve as "taste pilots." With both companies' tactics getting uglier and the feud soon carrying political ramifications, this big showdown will ultimately be decided by hungry customers when both products hit supermarket shelves.

Most of the pleasure comes in these speculative sub-plots involving real life public figures, some of whom probably had only tangential involvement in the actual founding of Pop-Tarts. But working with morsels of truth and a few obscure facts, co-writer Seinfeld is smart enough to know a script about the discovery of this famous treat will have to take extensive liberties in order to entertain. 

Under normal circumstances, the mere suggestion this material is even loosely based on historical events would induce groans, but Seinfeld's pretty upfront with what he's trying to do. It's an ongoing a game of "spot the star" until the wacky origin story kicks in and these cameos start taking shape, with many well known comic actors proving their worth with the screen time they're given. 

Whether it's Max Greenfield's hapless, abused Post assistant, Christian Slater's diabolical milkman, Bill Burr as JFK, or Kyle Dunnigan playing both Walter Kronkite and Johnny Carson, most of the appearances are cleverly incorporated into the narrative. And this doesn't even cover half of them, including a really memorable scene involving Jon Hamm and John Slattery as two very familiar fictional ad execs of the era. 

All this rests on Seinfeld's acting performance about as much as his sitcom did, which is to say not at all. Hardly known as a master thespian, he's rarely needed to be since the writing and supporting players always carried much of the load throughout that series. Now he's again playing the straight man who mugs for the camera and it works just fine, especially with McCarthy's timing and droll line deliveries selling even the corniest of jokes alongside an equally effective Gaffigan.

Amy Schumer also understands the assignment as Marjorie Post, losing herself in the film's hammiest, most over-the-top character. And you can't really come down too hard on any film featuring Hugh Grant as a snobby, disgruntled Shakespearean actor playing Tony the Tiger and leading a January 6th-like mascot mob through Kellogg's headquarters. Or a funeral where Snap, Crackle and Pop honor the deceased by pouring cereal and milk onto their casket. 

Much like recent product biopics Air, Tetris, The Beanie Bubble and Flamin' Hot, this does seem on the joke, taking twice as much creative license when reimagining material originally based on some semblance of reality. In this sense, the decidingly uncontroversial Seinfeld acquits himself well in a tough spot, delivering the type of fun, throwback comedy that's gone missing of late.  

Wonka

Director: Paul King
Starring: Timothée Chalamet, Calah Lane, Keegan-Michael Key, Paterson Joseph, Matt Lucas, Matthew Baynton, Sally Hawkins, Rowan Atkinson, Jim Carter, Natasha Rothwell, Olivia Colman, Hugh Grant, Rich Fulcher, Rakhee Thakrar, Tom Davis
Running Time: 116 min.
Rating: PG

★★★ (out of ★★★★) 

As the latest cinematic take on Roald Dahl's legendary children's book, Wonka surprisingly represents a best case scenario for another go-around with the material. Now far more associated with Gene Wilder's performance in 1971's Willy Wonka & the Chocolate Factory than the novel itself, the actor's iconic turn would always be impossible to top. Johnny Depp took a stab at it, attempting something completely different in Tim Burton's 2005 reimagining, but still found himself in the shadow of an instantly recognizable, universally beloved work that's already ingrained into pop culture. 

The unexpected selection of Timothée Chalamet to play this role did little to quell fears of a bloated, miscast cash grab, causing even more groans and skepticism than you'd anticipate ahead of Paul King's musical fantasy prequel. But the involvement of Paddington's imaginative director at least signaled the chance this could amount to more. And as it turns out, King and co-writer Simon Farnaby deliver, concocting an origin story that does justice to its predecessor's spirit, while still straying from the source in inspired ways.

Upon arriving in Europe, eccentric inventor and magician Willy Wonka (Chalamet) dreams of honoring his late mother (Sally Hawkins) by opening a chocolate shop at The Galéries Gourmet, home to the world's best confectioneries. But after quickly burning through his savings, a homeless Wonka is persuaded by oafish henchman Bleacher (Tom Davis) to stay at Mrs. Scrubitt's (Olivia Colman) boarding house, unwittingly signing a contract full of expensive hidden fees. Trapped in her basement laundry working off his debt, he meets five other "employees," including young orphan Noodle (Calah Lane) with whom he shares his chocolate making secrets. 

Planning his escape, Wonka must contend with rival shop owners Slugworth (Paterson Joseph), Prodnose (Matt Lucas) and Fickelgruber (Matthew Baynton) who bribe the corrupt, chocolate addicted Police Chief (Keegan-Michael Key) into running him out of town. As Wonka and Noodle attempt to expose this conspiracy, he also faces off with a determined Oompa Loompa named Lofty (Hugh Grant) who's been stealing his sweets to settle a past score. With Wonka's chances of achieving his lifelong dream slipping away, he'll need to get creative, enlisting the help of some new friends.

This opens with a show stopping musical number that establishes Wonka's situation in only a few minutes, successfully grabbing those who may know nothing of the character at all. But it doesn't rely on previous films or even the book, instead using both as a jumping off point to explore what the early incarnation of this wacky inventor could have been. This helps set the tone, with King striking a strong balance between story and song, knowing exactly how to present these sequences so they don't feel forced or shoehorned in. 

Infusing young Wonka with a wry, off-putting sense of humor, Chalamet gives us a sense of how unlucky beginnings inform the aspiring entrepreneur's instincts. Determined, but not completely sure of himself, he's in need of some aid and motivation while stumbling into enemy territory, sabotaged at every turn by the hilariously crooked chocolate cartel. 

In a story driven as much by over-the-top villains as its protagonist's heroics, Olivia Colman hams it up as the nefarious Mrs. Scrubitt, whose long suffering laundry workers are at least afforded the luxury of a catchy theme song. As her nasty hotel owner gives off vibes of Annie's Miss Hannigan, Paterson Joseph's conniving ringleader Slugworth makes for the most memorable of the three chocolatiers, with Keegan-Michael Key also stealing scenes as the bumbling, overeating lawman. 

Much of what works can be attributed to the pairing of Chalamet with Calah Lane as the orphan Noodle. Lane's just a total natural in the role and the writers are clever enough to give the character a purpose beyond merely serving as Wonka's junior sidekick. You get the impression he needs her more, with their joint efforts culminating in an elaborate, cleverly choreographed last act heist that's heartfelt and funny. It also feels right on brand, as does the casting of Hugh Grant as an Oompa Loompa, which isn't something anyone knew they needed until seeing it. He definitely doesn't disappoint, playing little orange Lofty as condescendingly as you'd hope.

It's really hard to nail a musical, much less one with an established lineage, but this has a distinctive visual flair and solid pacing that lends well to the format, harkening back to the genre's glory days. Better still, Nathan Crowley's production design is top notch and the plot makes sense, making it easy to care for the humorous heroes and dastardly scoundrels populating King's fantastical world.  

While Wonka lacks the darker, creepier undertones of the previous two films, it adds just the right dose of mischievous cynicism, abiding by the franchise's unwritten rule that things should be a little weird, keeping with the story's spirit. But the biggest shock might be Chalamet, who's delightful in a part most wouldn't think he'd have any business in, emanating just the right mix of innocence and lunacy. Knowing it's a fool's errand attempting to channel Wilder, he instead lays a believable foundation for what we know comes next, bolstering an already enjoyable companion piece to the classic film.                   

American Dreamz

Director: Paul Weitz
Starring: Mandy Moore, Hugh Grant, Dennis Quaid, Willem Dafoe, Sam Golzari, Chris Klein, Judy Greer
Running Time: 107 min.
Rating: PG-13

**1/2 (out of ****)

Imagine a movie where every character is in some shape or form a spoof of a real person. Okay, got that? Good. Now think about someone you know who just keeps talking, but really never says much of anything. Then combine the two and you have Paul Weitz's American Dreamz, a movie that's supposed to be a dark comedy, but by the end, just like that friend you know, it doesn't say anything particularly interesting or memorable. I cannot lie though when I tell you it's still pretty good and if you watch it you'll probably be smiling most of the way through. The actors are having alot of fun and it shows, taking a really awful concept and almost making it work. The whole thing is ridiculous for sure, but it's also strangely compelling.

Sally Kendoo (Mandy Moore) from small town Ohio has just won a spot on the number one reality show in the country: American Dreamz, hosted by Simon Cowell clone Martin Tweed (Hugh Grant). That the movie attempts to spoof Cowell, who is essentially a spoof of himself anyway, is ludicrous, especially since he does a far better job doing it on American Idol than Grant does here. The show's so popular it even attracts the attention of the White House, which is inhabited by President Stanton (Dennis Quaid) who just won reelection, is southern, and also happens to be a bumbling idiot. Sound familiar? His Cheney-like Chief of Staff (Willem Dafoe) thinks it would be a great p.r. move for him to judge the finals of American Dreamz, even if he has to feed him everything to say since he has no brain. Complicating matters, the very likable Omar Obeidi (Sam Golzari), a middle eastern terrorist living with his family in California, is accidently discovered for the competition when it was actually his cousin who earned the spot. Omer is then recruited by his terrorist cel to make it to the finals and kill the President with a bomb. Hilarity ensues.

In a way, this movie kind of reminded me of Wag The Dog. That satire was about how the media can manipulate and skew our view of reality. Except this is about...well, nothing really. It seems to be about the media and their power over us, or our addiction with it. Is this trying to mock us for watching too much reality tv or taking it too seriously? We do. Big deal. Or is this a poltical satire? I'm not sure, and neither is the movie. It introduces so many satirical elements that by it's dark, twisted ending we're not at all sure what any of it is about. Nothing seems to come together like it should, or in a way that connected with me at least.

Terrorism and American Idol don't exactly go together like peanut butter and jelly for a motion picture comedy, so the movie really has no choice but to give us some kind of idea about what it's trying to convey. Yet, it doesn't. It's a shame too, because there is alot to admire about the sometimes clever film, mainly Mandy Moore. She's beautiful, a great actress and an even better singer. She takes what should be, and was likely written as, a caricature and turns it upside down, slyly spoofing her own good girl image. Looking at her you don't figure she could pull off a villainous role, but here, as in Saved!, she's definitely proven to be up to it. I loved the sub-plot of how she used her injured war hero boyfriend (Chris Klein) to help her win the competition at the urging of her scheming manager (well played by SNL's Seth Myers). I also have to admit the title song of the show is also pretty hilarious. Even though the target is way too easy, Quaid must have spent many late nights studying tapes of George W. Bush because he does pretty much nail it. There's a great scene toward the end where he loses the connection in his earpiece to the Chief of Staff and he can't even talk, much less even function. The look on Quaid's face is priceless.

Paul Weitz previously directed the American Pie movies, and more recently one of the best romantic comedies of the past few years, In Good Company. This movie isn't nearly as funny as the former and it doesn't have nearly as much to say about life as the latter, but it will keep you entertained for sure. The movie is so "of the moment" in it's satire and pop culture targets you have to wonder if it will look even more ridiculous (if that's possible) in like, say, twenty years. While I'm sure Weitz thought he had a lot to say about something, what that is isn't exactly clear.