In a world where every other film seems to be a sequel or based on some existing piece of intellectual property, it’s really refreshing when an original film like Free Guy comes along and provides you with something that’s just pure entertainment summer blockbuster fun. Free Guy is an absolute blast of a time and is the blockbuster film of the summer.
Ryan Reynolds plays Guy, a bank teller inside an open-world video game named Free City. It’s a bit like Grand Theft Auto where the plays can run around killing people, having car chases and doing pretty much anything they want. Guy spends his days at the bank and dropping to the floor every day when someone comes in to rob the bank. What he doesn’t realise though is that he’s actually an NPC (non-playable character). He thinks he’s real and living in the real world until he decides to re-write the story and becomes the hero.
Seeing the juxtaposition of all the violence going on in the background with guns firing and cars exploding whilst Guy is innocently walking to work is quite amusing. However, the opening of the film feels very reminiscent of The Lego Movie. Seeing Guy wake up every morning, say hello to his goldfish and get the same coffee every day on the way to work is exactly like Emmet from The Lego Movie. But then one day, just like Emmet, Guy sees a beautiful woman (played by Killing Eve’s Jodie Comer) who grabs his attention and forces him to see things differently.
Jodie Comer’s character, along with Joe Keery’s coder had previously created an incredible game and piece of code only for it to have been stolen by Taika Waititi’s evil corporate video game company owner Antwan. He’s hidden it away somewhere it’ll never be able to see the light of day and taken it for his own. Together, Comer and Keery in the real world, along with Guy inside the game will track down the pieces they need to expose Antwan before the game is lost forever.
Free Guy is full of funny jokes to make you laugh out loud and lots of exciting action scenes. Ryan Reynolds is no stranger to the action-comedy film having now done two Deadpool films and two Hitman’s Bodyguards and Free Guy does follow the same sort of route where Reynolds plays the same sort of charismatic character as usual. But it continues to work. Ryan Reynolds is always a joy to watch, and you can’t help but have a good time when he’s on screen.
But it’s not Reynolds that’s the standout. Taika Waititi is absolute brilliant and having such a fun time with his character Antwan. He’s got so many great lines, all delivered brilliantly. You can’t help but chuckle at the irony when in the film, Antwan says the line “IPs and sequels, that is the thing people want” and goes off on one about how people who like KFC would much rather have KFC 2 than an independent chicken shop. The whole film is setting him up as the villain and trying to be against the big corporations that only care about numbers and money. And then you remember the film’s made by the now Disney-owned 20th Century Studios (formerly 20th Century Fox).
That being said, there is a moment towards the end of the film that Disney fans will absolutely love. There’s a cinema moment up there with Captain America’s big scene in Avengers: Endgame to really excite fans. There are tons of cameos in the film, I won’t spoil any here, but it ranges from actors you haven’t seen for a while, video game streamers, as well a few huge celebrities too. It’s definitely worth staying through the credits just to look at which cameos you missed (although there are no post-credits scenes to stick around for).
As well as being a really fun time, surprisingly Free Guy actually has some touching and powerful scenes about what it means to exist. Guy’s buddy played by Lil Rey Howery isn’t just there for comic relief but he also has things to say about how important it is living in the moment. Whilst it’s nowhere near as philosophical and it’s presented in a much more light-hearted way, you can’t help but draw some comparisons between Free Guy and Peter Weir’s 1998 classic The Truman Show. There are quite a lot of films that it feels like Free Guy has drawn inspiration from including films like Ready Player One, The Matrix Wreck-it Ralph and even Groundhog Day at times. But it takes just the right amount from each of these, so it still feels entirely fresh, and it does actually have a lot to say for itself.
Free Guy has a lot of really great world-building showing how much thought and effort went in to creating the fictional Free City and making it feel like Guy really is living inside a video game. From picking up med packs when he gets injured to collecting the money from someone’s body after they get killed it really captures the essence of living inside a video game.
Free Guy is the crowd-pleasing movie of the summer. Even if you’re not into video games, there’s still tons of fun to be had in this wacky and hilarious film. And beyond all the fun, explosions and the gunfire, there’s also some philosophical thoughts about free will and about our own existence. It goes beyond what studio films of this scale generally tend to do making it a really charming summer blockbuster.
Free Guy is released in cinemas on August 13th
Choose or Die – A Miss For Netflix
Netflix’s home page suggestions can always be hit or miss, and unfortunately its latest release ‘Choose or Die’ falls into the category of the latter. Captivated by Asa Butterfield on the poster, I was curious to see what this film had to offer and begrudgingly it didn’t have a lot.
We follow Kayla, a broke student who has a lot to deal with in terms of her family situation and being the sole provider for herself and her mum. She then stumbles upon a retro video game from the 80s which forces her to choose and ultimately leads to various chain reactions of horrific events involving people close to her.
The premise of the film sounds interesting, however, I think it swings and misses quite early into the film’s first act. Eddie Marsan sets the tone and trail of interest for Choose or Die as we are introduced to this sadistic game and the chain of events it will inevitably pursue.
Choose or Die doesn’t make it easy to empathise with its characters, finding any connection to Kayla or Isaac was difficult. This ‘are they aren’t they’ subplot lingers throughout the film’s narrative but adds nothing to the overarching story. The supporting characters, such as Thea and Laura, are much more interesting and genuinely have you intrigued as to what decisions they will make.
What stood out to me was the violent and gore-like scenes of 80s horrors, with some pretty good stomach churning special effects make-up. Those intense scenes, one involving a rat, had me genuinely glued to the screen, anticipating what may happen next. Choose or Die’s strongest component are the early moral decisions Kayla has to make and ultimately demonstrate Meakin’s passion for the horror genre.
The way in which this film is shot, felt very “student-esque” with its lackluster camera movements and setting. The set design lacked little depth, except for Isaac’s room which is full of detail, therefore making the world feel small and less three dimensional. An element which pulled me out of this cinematic experience, was the fact that this was evidently filmed in the United Kingdom, and the cast contained predominantly a lot of British actors doing an American accent so I wasn’t fully immersed into this world.
Meakins clearly uses his passion for the horror genre to influence this film’s dark tone, from it’s leading characters’ moral compass as well as the gorey visuals that inevitably come with those decisions. The whole world feels cold and derelict, be it the place in which Kayla cleans or the housing estate of which she lives in, this is an unwelcoming world that no-one wants to comfort you in.
Choose or Die isn’t a film that will stick out as one that defined 2022, however I’m sure someone will take something away from this film, be it’s reference to 80s gaming or the violent and graphic elements that the director is clearly passionate about.
Anaïs in Love Review | The Worst Person in France
Right on the heels of the stellar film, The Worst Person in the World, a film about a woman named Julie (Renate Reinsve), who is in a transitional state in her life and going through a millennial “mid-life” crisis. Enter Charline Bourgeois-Tacquet’s Anaïs in Love, a film about a 30-year-old woman named Anaïs (Anaïs Demoustier) who is down on her luck and can’t find true love. Both Joachim Trier’s capper to the Oslo trilogy and Anaïs in Love tell authentic stories about millennials, and while the latter doesn’t pack quite as much of an emotional punch as The Worst Person in the World, it’s a strong character piece about not just finding what you want in life, but taking it.
The similarities between Julie and Anaïs, while perhaps a tired comparison, are too prominent to ignore (lead actress Anaïs Demoustier could even be mistaken for Renate Reinsve in a certain light). For one, they are similar in age; perhaps resulting in their similar struggles. While Anaïs doesn’t go on quite as experimental of a sexual journey as Julie, neither can find true love. Neither feel ready for kids—at least at the beginning of their respective films. The former can’t even sleep in the same bed as another guy (or ride an elevator, for that matter), much less stay committed to a guy. They also both work in a bookstore but this similarity isn’t as important as it was amusing for me. And yet, despite wanting someone who knows what they want, Anaïs struggles with this.
Anaïs Demoustier is a great leading actor and plays the character of the same name with the right balance of indecision and innocence. There’s also a wide-eyed, cheery aura about her akin to a young child. Take, for instance, the scene where Anaïs first encounters Emilie. She is overjoyed to be speaking with her, and she’s overjoyed as if she has just seen a face that she won’t forget the time or place where they met (yes, that’s a Beatles reference). Demoustier is an experienced actress with plenty of credits to her name, yet she is someone that I was not familiar with coming into Anaïs in Love but am now eager to check out some of her other roles as she is really good in Anaïs in Love.
Opposite Demoustier is Valeria Bruni Tedeschi as Emilie, the woman that Anaïs falls in love with in the film. She is also great, with her playing the more mature one in the “fling.” At some point in the film, she exclaims that at the age of 50, she’s no longer scared by much, if anything at all. It’s a reflection of what Anaïs strives for, and yet, in the end, Emilie is not able to hold back as much as she’d like. But Bruni Tedeschi’s cherry on top comes in the form of a monologue towards the end. What is said will not be spoiled here, but both Bruni Tedeschi and Demoustier give great performances in this scene. It’s by far the most human and relatable part of the film, and applause is deserved for the directing, writing, and acting in this particular scene.
Imagine this: You’re sleeping with someone and then end up falling for their partner. As absurd as it sounds, this is exactly what happens to our titular character, Anaïs. Emilie is one of Anaïs’ favorite authors and just so happens to live with Daniel (Denis Podalydès). After following her to a stop on her book tour, Anaïs only falls harder for Emilie like a teenager and their first love.
Smartly, Anaïs in Love doesn’t just hand the audience what they want. Reading the synopsis of the film, it’s clear that Anaïs is going to fall for Emilie at some point or another, but Bourgeois-Tacquet takes her time getting to this—the two don’t have a substantial encounter until about an hour in—and as Billy Joel said, “she only reveals what she wants you to see.” There is a lot of scenes of “sexual tension” as the kids say, and it does eventually pay off, but one can appreciate the choice to make the film a marathon, not a sprint.
Within the span of a few months, there have been two movies for millennials that are going through crises. While it doesn’t quite reach as much of millennial life as The Worst Person in the World, Anaïs in Love tells a story of love and maturing on its own terms; and that’s quite special. Excellent film and one that should not be slept on.
Anaïs in Love is in select theaters now and will be available on VOD Friday, May 6.
Doctor Strange in the Multiverse of Madness | Non-Spoiler Review |
If nothing else, Doctor Strange in the Multiverse of Madness is a reminder of how the theatrical experience and the MCU go together like Al Pacino and screaming. With the sheer number of MCU projects to keep tabs on, it can feel overwhelming and redundant in all honesty. For as well-acted as Moon Knight is and as unique WandaVision was — at least for the first eight episodes — but something about a tentpole film needs the big screen to fully do it justice. No, Multiverse of Madness is not as good of a multiverse movie as Everything Everywhere All at Once, but Sam Raimi’s stylistic panache bleeds through enough to make it feel different than other MCU projects; at least for portions of Multiverse of Madness.
Maybe it’s just the comfort of seeing a character such as Dr. Strange (Benedict Cumberbatch), who has really grown into the likable hero that the MCU needs to lead them into the foreseeable future. His first outing was rough; it felt as if the MCU was trying to force him into being the next Tony Stark like the WWE did with Roman Reigns and John Cena way back when. But over time, with cameos in Thor: Ragnarok and a prominent role in Infinity War, Cumberbatch and the creative teams have worked to make the character more likable. They have succeeded for my money, and while Cumberbatch is capable of so much more, he’s a really good Dr. Stephen Strange for what it’s worth.
Joining Strange on his quest across the multiverse are Wong (Benedict Wong), the Sorcerer Supreme, and newcomer America Chavez (Xochitl Gomez). The former plays the same role he has in all of his other appearances, that’s not a critique as much as an honest observation. The banter you’ve been hearing since Infinity War (perhaps the first Dr. Strange film as well, I loathe it and didn’t rewatch it ahead of time) is found in the Multiverse of Madness. Gomez brings much-needed youth to the forefront, and while she is a damsel in distress and the MacGuffin of the film, her energy and chemistry with Cumberbatch make her a stand out.
Promos for the Multiverse of Madness made it appear as though this was Wanda’s origin story. There’s a brilliant line about how Wanda bending the rules gets looked down upon as compared to when Strange does, and the conflict between the two is gripping. Elizabeth Olsen has come so far as Wanda and is becoming one of the best parts of the entire MCU. This is her best performance by a long shot, even better than WandaVision, due in big part to the turn she takes. There isn’t much more to say without spoilers, but it’s the Elizabeth Olsen show.
[Insert Raimi camera swerve] In regards to Sam Raimi’s vision, for those concerned, there are the signature camera movements expected from a Sam Raimi film. And there are some actual horror elements for what feels like the first time in the MCU. It’s not a PG-13 horror film on the same level as Lights Out, but it’s a refreshing change of tone when the scenes of horror play out. And leave it to the creator of the Evil Dead franchise to have a character covered in blood for an entire fight sequence. Many directors have come and gone in the MCU, but Raimi undoubtedly makes his presence known more than the rest.
Again, Everything Everywhere All at Once really nailed the multiverse in a way that makes it hard to top. There’s an emotional weight in that film that is absent from the Multiverse of Madness. Yes, I get it, Wanda is still recovering from the events of WandaVision and Dr. Strange is dealing with the aftermath of past decisions in his first solo venture and Infinity War, but the film keeps up a fast pace and doesn’t stop to marinade in the sorrow for very long. One similarity the film does share with Everything Everywhere All at Once is how Wanda channels other variants of herself. No, there are no paper cuts or chewing gum from beneath a desk, but it was a similarity worth noting.
Perhaps above all of the other minor issues that are found in the Multiverse of Madness—a lackluster script, spotty CGI, failing to set something exciting up for the future of the MCU—the biggest one of all is that for as good of an effort as Raimi puts in to make the film feel outside of the box, the Multiverse of Madness still fits into that box more often than not. It’s very much a dog scared of its own shadow in the way that Raimi’s style only carries the film so far. There is some extra gore, a few PG-13 jump scares, and far more dark elements than other MCU projects, but the action sequences feel like an MCU action sequence and the film very much follows a linear three-act structure.
The film hits the ground running, getting right to its first action sequence within minutes, but it follows the basic formula of a nightmare proceeded by the hero waking up in a panic, attending some mundane event (a wedding in this case) before it is interrupted by some big force that requires the help of a superhero. From there, Strange fights the giant squid which reminds me of the giant eye in The Suicide Squad. Oh, and to clarify, that nightmare “wasn’t just a dream, it’s the multiverse” as America Chavez states.
Another common flaw that the film, with just about every other MCU movie, has is that there are no real stakes. Not every film needs world-ending stakes, but being that this is a sequel film to an established character, you could play with the audience. For example, how fun is it to watch professional wrestling if you’re sitting there thinking, “Hey, this stuff is fake!”? There has to be suspension of disbelief in the case of professional wrestling, and MCU movies need to add stakes in films that don’t have the scope of films like Infinity War or Endgame.
In the end, Doctor Strange in the Multiverse of Madness is a really cool comic book flick. You can’t take away the fact that it can sometimes feel different from other MCU projects and is likely the closest thing the MCU will make to a horror film. And while it doesn’t always work or land with the emotional punch it wants, the film is able to entertain and is unlikely to bore casual MCU viewers. It should be stated that while there are some awesome cameos, don’t go in expecting cameo galore (the best one shines in the post-credits scene, by the way). Danny Elfman’s score also kicks all kinds of ass with a guitar riff that features the level of tenacity The Edge had on Love is Blindness. Good stuff, Marvel.
Dr. Strange in the Multiverse of Madness will be released on May 6.
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YOU'LL LIKE HER WHEN SHE'S ANGRY