For a film enthusiast like me, May 2024 was promising in terms of movie releases. From literary adaptations to blockbuster sequels, the cinema offerings were both a thrill and a disappointment, often in the same breath. This month, I dove into the latest films to provide you with a comprehensive roundup of ten new releases, covering the highs, the lows, and everything in between.
Some films, like Turtles All the Way Down, Babes, and Kingdom of the Planet of the Apes, delivered solid performances, living up to or even exceeding expectations. Turtles All the Way Down, based on John Green’s beloved novel, captured the emotional depth and intricate character study that fans hoped for. Babes, a refreshing comedy with a unique twist, brought much-needed laughter and heart to the screen. And then there was Kingdom of the Planet of the Apes, a continuation of a storied franchise that managed to impress with its visual grandeur and thought-provoking narrative.
However, not all releases met the mark. Some films failed to capture the magic, leaving audiences underwhelmed or downright frustrated. The month had its share of disappointments, with certain movies failing to live up to their potential despite promising premises and star-studded casts.
Here, we cover ten movies we didn’t cover in separate reviews of their own.
Atlas
Rating: 5/10
Atlas, directed by Brad Peyton and starring Jennifer Lopez, is a sci-fi thriller that aspires to be a thought-provoking exploration of AI and humanity. Lopez plays Atlas Shepherd, a brilliant data analyst with a deep-seated mistrust of AI, who finds herself in a precarious situation when she must team up with a humanoid robot to combat a rogue AI threat. The film’s narrative draws from sci-fi classics like Minority Report and I, Robot, but despite its ambitious premise, Atlas struggles to carve out a distinct identity.
The CGI is competent but not groundbreaking, and the action sequences, though visually impressive, often feel disjointed. The film attempts to weave complex themes about technology and human dependency on AI, but it falls short in delivering a cohesive and engaging narrative. The pacing is inconsistent, with moments of high tension followed by prolonged lulls that detract from the overall impact.
Lopez’s performance, however, is a standout. She imbues Atlas Shepherd with a mix of strength and vulnerability, making her a compelling protagonist. Her interactions with Simon, the humanoid robot voiced by Sterling K. Brown, add depth to the story and highlight the film’s central theme of trust and collaboration between humans and AI. Brown’s performance as Simon is equally compelling, bringing a sense of warmth and humanity to the robotic character.
Despite these strong performances, Atlas ultimately feels like a missed opportunity. The film’s disjointed plot and lack of narrative cohesion prevent it from fully realizing its potential. While it offers glimpses of brilliance, particularly in its exploration of the ethical implications of AI, these moments are overshadowed by the film’s overall lack of focus and direction. Atlas may appeal to fans of the sci-fi genre, but it falls short of being a memorable or impactful addition to the genre.
Turtles All the Way Down
Rating: 8/10
Hannah Marks’ adaptation of John Green’s Turtles All the Way Down is a masterful exploration of mental health and adolescence. The film follows Aza Holmes, played by Isabela Merced, a teenager grappling with severe OCD and anxiety. Marks captures the essence of Green’s novel with a delicate and empathetic touch, presenting Aza’s struggles in a raw and authentic manner that resonates deeply with the audience.
Merced’s performance is a tour de force, portraying Aza’s internal battles with nuanced sensitivity. She brings to life the character’s constant anxiety and compulsive thoughts in a way that is both heartbreaking and profoundly relatable. The film’s portrayal of OCD is unflinching, avoiding glamorization and instead presenting the condition in its raw, often uncomfortable reality. This authenticity is one of the film’s greatest strengths, offering a genuine portrayal of mental health that is rarely seen in mainstream cinema.
The supporting cast, including Cree Cicchino as Daisy and Judy Reyes as Aza’s mother, adds warmth and depth to the narrative. Cicchino’s portrayal of Daisy, Aza’s loyal and supportive best friend, provides a much-needed balance to the film’s heavier moments. Reyes, as Aza’s mother, delivers a touching performance that highlights the struggles of a parent trying to support a child with a mental illness.
The film’s direction and cinematography are equally noteworthy. Marks creates a visually striking representation of Aza’s inner world, using creative camera angles and visual effects to convey her anxiety and compulsions. The narrative is well-paced, with a perfect blend of tension and introspection that keeps the audience engaged throughout.
Turtles All the Way Down stands out as a heartfelt and relatable depiction of mental health, making it a must-watch for those seeking a thoughtful and compassionate cinematic experience. It’s a testament to the power of representation and the importance of telling stories that resonate on a personal level. By capturing the intricacies of living with OCD, the film offers a window into the challenges faced by those who struggle with mental health issues, fostering empathy and understanding in its audience.
The Idea of You
Rating: 8/10
Michael Showalter’s The Idea of You, inspired by Robinne Lee’s novel, is a romantic drama that explores the unexpected romance between a recently divorced gallery owner, Solène Marchand (Anne Hathaway), and a young pop star, Hayes Campbell (Nicholas Galitzine). The film navigates the complexities of age, fame, and love with a fresh perspective, delivering a story that feels both contemporary and timeless.
Hathaway delivers a captivating performance, balancing vulnerability and strength in her portrayal of Solène. She embodies the character’s internal conflict and longing, bringing depth and nuance to the role. Her chemistry with Galitzine, while not electrifying, is believable and endearing. Galitzine’s portrayal of Hayes is equally compelling, capturing the charm and innocence of a young star on the rise.
The film’s exploration of fandom, aging, and the fleeting nature of youth is compelling, even as it occasionally leans into clichés. Showalter’s direction is competent, though the narrative sometimes feels more like a daydream than a grounded story. The fantasy of falling for a pop star is less about the eroticism and more about the escapism it offers to Solène, providing a respite from her adult responsibilities and emotional baggage.
The cinematography and production design are visually appealing, capturing the glamorous yet isolating world of celebrity. The film’s soundtrack, featuring a mix of contemporary pop and classic hits, adds to the overall ambiance and helps to underscore the emotional beats of the story.
While The Idea of You may not break new ground in the romance genre, it succeeds in telling a charming and wistful love story that allows its characters—and the audience—to indulge in a delightful escape from reality. The film’s strength lies in its ability to balance the fantasy of a whirlwind romance with the grounded realities of life and love, making it a compelling watch for those looking for a feel-good romantic drama.
The Fall Guy
Rating: 7/10
David Leitch’s The Fall Guy revitalizes the classic TV series with a blend of action and comedy, featuring Ryan Gosling as Colt Seavers, a stuntman who finds himself embroiled in a real-life criminal conspiracy. Leitch’s expertise in crafting high-octane action sequences is evident, making the film a visual treat that keeps the audience on the edge of their seats.
Gosling’s performance is a masterclass in charisma and humor, bringing a likable charm to his character. He effortlessly balances the physical demands of the role with the comedic elements, creating a character that is both relatable and entertaining. Emily Blunt, playing his ex-girlfriend and fellow stunt performer, adds depth and chemistry to the film’s emotional beats. Blunt’s portrayal is nuanced and compelling, providing a perfect counterbalance to Gosling’s charm.
The action scenes are thrilling and well-executed, showcasing Leitch’s skill in choreographing complex stunts and fight sequences. The film’s pacing is brisk, with a perfect blend of action and comedy that keeps the audience engaged from start to finish. The plot, while occasionally taking a backseat to the spectacle, is intriguing and filled with twists and turns that add to the overall excitement.
The Fall Guy excels as an entertaining and escapist adventure, offering plenty of laughs and adrenaline-pumping moments. The film’s production design and cinematography are top-notch, capturing the glitz and glamour of Hollywood’s stunt industry while also highlighting the dangers and challenges faced by stunt performers.
Despite its narrative weaknesses, The Fall Guy is a fun, escapist adventure that pays homage to the original series while carving out its own niche. It’s a film that doesn’t take itself too seriously, allowing the audience to sit back and enjoy the ride. For fans of action-comedies and those looking for a light-hearted, thrilling experience, The Fall Guy delivers in spades.
Kingdom of the Planet of the Apes
Rating: 8/10
Wes Ball’s Kingdom of the Planet of the Apes continues the legacy of the iconic franchise with a visually stunning and thematically rich narrative. Set generations after War for the Planet of the Apes, the film explores the evolving dynamics between humans and apes in a post-apocalyptic world. Ball’s direction brings a fresh perspective to the franchise, while also paying homage to its roots.
The visual effects are breathtaking, bringing the apes to life with remarkable realism. The motion-capture performances are particularly noteworthy, with actors delivering emotionally resonant portrayals that add depth and nuance to their characters. The film’s production design is equally impressive, creating a richly detailed and immersive world that feels both familiar and alien.
The narrative delves into themes of power, conflict, and coexistence, with a rich political allegory underpinning the story. The film explores the complexities of leadership and the moral dilemmas faced by those in power, drawing parallels to real-world issues. The plot is well-paced, with a perfect balance of action and introspection that keeps the audience engaged throughout.
Performances, particularly from the motion-capture artists, are compelling and emotionally resonant. The film’s central characters are well-developed, with each one grappling with their own internal conflicts and motivations. The human characters, though secondary to the apes, also deliver strong performances that add to the overall depth of the story.
Ball’s direction maintains a gripping pace, though the film’s darker tone may not appeal to all viewers. The action sequences are thrilling and well-executed, but it is the film’s quieter moments that truly shine, offering a profound and thought-provoking exploration of its themes. Kingdom of the Planet of the Apes is a worthy addition to the series, balancing action with deeper philosophical questions and delivering a memorable cinematic experience.
The film’s conclusion leaves the door open for future installments, hinting at further conflicts and challenges to come. Kingdom of the Planet of the Apes successfully continues the franchise’s legacy while also setting the stage for new and exciting developments. It’s a film that will resonate with fans of the series and newcomers alike, offering a thought-provoking and visually stunning experience that is sure to leave a lasting impression.
Mars Express
Rating: 8/10
Mars Express, directed by Jérémie Périn, is an animated sci-fi noir that takes audiences on a thrilling journey to Mars. The film follows private detective Aline Ruby and her android partner, Carlos, as they unravel a conspiracy on the Red Planet. The animation is a striking blend of traditional and digital techniques, creating a unique visual style that sets it apart from other animated films.
Set in 2200, Mars Express paints a future where Earth is a slum and Mars is a sanctuary for the wealthy. The story revolves around Aline and Carlos, who are hired to find a missing university student, only to uncover a larger conspiracy involving synthetic beings. The film masterfully balances a pulse-pounding plot with philosophical musings on the autonomy of synthetic life.
The worldbuilding in Mars Express is exceptional, with sleek autonomous cars, bizarre foldable computers, and a variety of synthetic beings that add depth and realism to the futuristic setting. The animation is top-notch, with a style reminiscent of Moebius and a level of detail that immerses the viewer in its richly crafted world.
The narrative is fast-paced and filled with twists, though it occasionally leans on familiar genre tropes. The voice acting is top-notch, bringing depth to the characters and enhancing the film’s emotional impact. Périn’s direction keeps the story engaging, balancing action with moments of introspection.
Mars Express is a visually inventive and entertaining film that offers a fresh take on the sci-fi noir genre. It’s a captivating and stylish adventure that stands out in the animated landscape. The film’s exploration of themes such as identity, autonomy, and the ethical implications of synthetic life adds depth to the narrative, making it more than just a visually stunning experience.
The film’s conclusion is satisfying, tying up the main plot points while leaving room for potential sequels. Mars Express is a testament to the power of animation in storytelling, proving that animated films can be just as compelling and thought-provoking as their live-action counterparts. It’s a must-watch for fans of sci-fi and animation, offering a unique and engaging cinematic experience that will leave a lasting impression.
If
Rating: 4/10
John Krasinski’s If is a heartfelt yet melancholic exploration of imagination and loss, aimed at the girl dads Krasinski mentions in his introduction. The film follows Bea (Cailey Fleming), a young girl who begins to see people’s imaginary friends, or IFs, after the death of her mother and her father’s hospitalization. This premise sets the stage for a visually rich, albeit emotionally heavy, family film.
Krasinski’s direction brings a sense of wonder and adventure, but the narrative sometimes feels disjointed and overly sentimental. The film’s darker tones, reminiscent of Guillermo del Toro’s more whimsical works, create an intriguing atmosphere, yet they might be too heavy for younger audiences. The human cast, including Fiona Shaw and Ryan Reynolds, deliver solid performances, though Reynolds’ character often feels like a stand-in for Krasinski’s own fun dad persona.
The IFs themselves are creatively designed but lack the charm and depth of classic imaginary creatures from other films. Steve Carell voices Blue, the central IF, but his performance doesn’t quite capture the whimsy one might expect. The film’s pacing is inconsistent, with moments of magic and wonder often interrupted by heavy-handed emotional beats that can feel manipulative rather than genuinely moving.
The production design and cinematography are visually appealing, capturing the fantastical elements of the story with a vibrant and imaginative flair. However, the film’s reliance on clichés and predictable plot points detracts from its overall impact. If attempts to explore complex themes of grief, imagination, and the bond between parents and children, but it often falls short in delivering a cohesive and engaging narrative.
Despite these shortcomings, If is an earnest attempt to explore complex themes through a family-friendly lens. It offers moments of genuine emotion and wonder, but these are often overshadowed by the film’s uneven pacing and lack of narrative focus. For adults, particularly parents, If may offer a thought-provoking and introspective viewing experience, but it is unlikely to captivate younger audiences.
Babes
Rating: 9/10
Pamela Adlon’s Babes is a bold and provocative comedy-drama that tackles issues of identity, fame, and self-discovery in the age of social media. The film follows best friends Dawn (Michelle Buteau) and Eden (Ilana Glazer) as they navigate the chaos of modern womanhood in New York City. Adlon’s direction is sharp and stylish, and the script, co-written by Glazer and Josh Rabinowitz, is both witty and insightful.
The ensemble cast delivers strong performances, with standout moments that highlight the complexities of female friendship. Buteau and Glazer share a palpable chemistry, balancing each other’s characters perfectly — Dawn is the responsible dentist and mother of two, while Eden is a free-spirited yoga instructor. The film’s humor is unabashedly raunchy, reminiscent of Bridesmaids and Girls Trip, with scenes that are laugh-out-loud funny and boldly candid about the messiness of life.
Babes embraces the weirder aspects of female friendship, from candid conversations about bodily functions to the intimate support they provide each other. This dynamic makes for sequences that are both hilarious and heartwarming. Wilde captures the essence of New York, blending its gritty realities with moments of unexpected beauty, creating a vivid backdrop for the characters’ adventures.
The film’s exploration of social media and the pressures of contemporary life adds depth to the narrative, making it a timely and relevant film. The supporting cast, including Hasan Minhaj and Stephan James, deliver strong performances that add to the film’s overall charm. The cinematography and production design are equally impressive, capturing the vibrant and chaotic energy of New York City.
Babes is a timely and relevant film that offers a candid look at the pressures of contemporary life. It balances humor with poignant social commentary, making it a thought-provoking and entertaining watch. Wilde continues to prove herself as a talented director with a keen eye for capturing the zeitgeist. Babes is a film that resonates with its audience, offering a heartfelt and humorous exploration of friendship, identity, and the complexities of modern womanhood.
Back to Black
Rating: 3/10
Back to Black, directed by Sam Taylor-Johnson, is a biographical drama that attempts to chronicle the life of iconic singer Amy Winehouse but falls short of capturing her essence. The film, which has faced skepticism from fans and critics alike, stars Marisa Abela as Winehouse and aims to provide an intimate look at her tumultuous life. However, it often feels more like a series of vignettes than a cohesive narrative.
Despite Abela’s dedicated performance, the film struggles with the weight of Winehouse’s complex story. Critics have noted that Back to Black tries to sanitize Winehouse’s life, glossing over the harsher realities she faced. Key relationships, such as those with her father Mitch (Eddie Marsan) and ex-husband Blake Fielder-Civil, are portrayed in a way that seems to absolve them of their more controversial actions, a choice that undermines the film’s credibility.
The film’s focus on Winehouse’s personal struggles rather than her artistic achievements leaves out significant aspects of her career, such as her collaborations with producers Mark Ronson and Salaam Remi. This omission, along with a sanitized portrayal of her battles with addiction and the media’s relentless scrutiny, results in a biopic that feels incomplete and somewhat disingenuous.
The narrative is disjointed, with scenes that feel episodic and lacking in emotional depth. The film’s attempt to balance Winehouse’s personal and professional life often feels clumsy, failing to provide a comprehensive view of her as an artist. The cinematography and production design, while visually appealing, do little to enhance the storytelling.
Back to Black highlights the challenges of creating a biopic about a beloved and complex figure like Amy Winehouse. While it aims to celebrate her talent and legacy, it ultimately fails to fully capture the raw and unfiltered essence that made her a cultural icon. The film’s shortcomings are particularly disappointing given the rich material it had to work with. Instead of offering a nuanced and empathetic portrayal of Winehouse’s life, Back to Black feels like a missed opportunity to honor her memory and legacy.
Tarot
Rating: 3/10
Tarot, directed by Spenser Cohen and Anna Halburg, attempts to capture the essence of supernatural thrillers but ultimately falls flat, coming off as a lackluster Final Destination knockoff devoid of intensity and originality. The film revolves around a group of friends who discover a cursed tarot deck that predicts their deaths, leading to a series of unfortunate and predictable events.
The narrative is riddled with clichés, failing to deliver any fresh or creative spins on the familiar tropes of the genre. The characters are one-dimensional, and their actions are often driven by contrived plot points rather than genuine motivations. This lack of depth and character development leaves the audience disconnected and indifferent to their fates.
The direction and pacing of the film are also points of contention. The suspense feels forced, and the scares are predictable, relying heavily on jump scares rather than building genuine tension. The film’s attempts at creating a dark and foreboding atmosphere are undermined by its formulaic approach, making the viewing experience feel stale and uninspired.
Tarot also struggles with its execution of special effects and set pieces. The death scenes, which are central to the film’s premise, lack creativity and fail to leave a lasting impact. Instead of delivering shocking and memorable moments, they come across as bland and unremarkable.