There is a mixture of moving parts in this film. It feels scientific due to labs and experiments. There is also a component of poverty since there is a trailer park with many residents trying to make ends meet. On top of that, there is a small war in the works. Onslaught is directed by Adam Wingard who creates a desert setting filled with all kinds of vengeance. The dystopian direction is surreal. Yet in the midst of the chaos, Onslaught had me puzzled.
The rogue squad is controlled by an evil doctor named Hans Kammler (played by Dan Stevens), He brings soldiers back to life to do damage. His love is Hanna Kammler (Rebecca Hall), and she supports his bizarre vision. He engineers soldiers to cause damage for his satisfaction. The one caught in the middle is a young sniper, Celeste (Adria Arjona). Celeste’s main priority is her daughter Daisy (Blake Kennedy). With danger all around, she must put her efforts into stopping the soldiers from attacking her and her daughter.
This film is an end-of-the-world thriller on acid. The resources continue to multiply and become more deadly. A detective, Cyrus (Drew Starkey), comes on board to try to identify the appropriate solutions to the explosive matters. He follows the steps where the deadly soldiers leave their marks. He also follows the trail of Hans Kammler. With Hans and Hanna as the enemies, there is a possessive state-of-mind that overcomes the characters.
Onslaught is different from most thrillers because the scientific scenes are featured more than the treacherous moments at the start of the film. I found this foundation appealing since it created an understanding of what resources are risky to the plot of the film. There is no easy way to define the outcomes. Overall, the thrilling vibes are endless making Onslaught vivid and engrossing.
The film fits the definition of psychological suspense and offers an ample dose of adrenaline in the heart of the desert. It is a ninety-minute ride of unforgettable vengeance. Three-and-a-half out of four stars for Onslaught.
I always admired Anthony Bourdain. I followed his show on CNN Anthony Bourdain: Parts Unknown. I enjoyed following along on his travels and appreciated his inspirational words. He had a unique view of the world that he blended with his own perspective. Throughout the many places he traveled, I was enthralled by his food choices, the places he would visit, and the conversations he would have. Tony reminds audiences of where it all started for Bourdain.
When he took his own life in 2018, I was heartbroken. At the same time, however, it was a reminder that money and fame do not buy someone happiness. A life filled with food and travel was also a heavy road for Bourdain. Tony feels like the introduction to his journey—one of adventure, curiosity, creativity, but also an ego. Dominic Sessa plays the role of Bourdain very well. He embraces the younger Bourdain’s mindset with a passion that hits deeply.
Tony is set on getting a writer’s fellowship. He is convinced he is chosen. Based on his ego, words, and attitude, having a strong voice is how he shines throughout the film. He gets rejected but still has it in his head that he is on a mission. He finds himself working as a dishwasher at the Flagship Restaurant in Provincetown Massachusetts. His mentor goes by the name of Chef, and is played by Antonio Banderas. Tony’s days of new beginnings come around rapidly. Despite being very vocal, he finds meaning in the kitchen with those he finds himself surrounded by. I always remember that Bourdain connected with many people around the world, even in the smallest of settings. This side of his character has layers which are portrayed cinematically in Tony.
Tony also cares about a girl named Nancy, played by Emilia Jones. She is one of the reasons Tony ends up in Provincetown. Tony seems to be on a regular mission to create meaningful moments with someone who catches his eye. He may lie or may not seem like he has an artistic eye, but he has a vision and a purpose that is well-written throughout the film. The desire to be a unique artist is where Tony soars. Sessa is the king of admiration in his performance as Anthony Bourdain.
Hard ground is also present in Tony. Working for Chef, Tony learns that he is strict about being on time and taking kitchen work seriously. He also cares a lot about quality which Tony needs to focus on to keep growing in the kitchen at The Flagship. When the menu grows, the competition to be a favorite grows too. Tony even finds himself having a friendship with his colleague Sal, played by Leo Woodall. Sal is both a good and bad influence. Good in the kitchen, but bad on the outside. There are scenes when Tony and Sal experiment with drugs and party hard which leads to some tough times. Still, the characterizations and growth of Anthony Bourdain stays on track and is the primary focus.
Director Matt Johnson has an eye for capturing the human-side of competition. He mastered this with characterizations and dynamics in BlackBerry. He has an eye for showcasing the visuals of someone who wants to feel like a winner, even when the individual has some qualities which are lacking. In Sessa’s performance, it is clear that Tony’s quality involved staying true to himself. Nevertheless, Bourdain fully accepted that years later throughout his restaurants and his TV series. Finding one’s voice and staying motivated to achieve meaningful success while remaining empathetic is what makes Tony astonishing.
Filled with food quotes and conversations, the context of care was extraordinary and surreal in Tony. Audiences can hear it in the words of Sessa in his monumental performance. When he is trying to win the attention of Nancy, there is a time when he tells her, “I like the way I feel when you look at me.” That moment shows deeply that Tony cared about who he was as a person. There is also a scene where he talks about wanting to write. Since he tends to lack skills with words and positive flows of conversation, he presents his approach to writing as, “An idea for an idea.” Tony reminds viewers of the many unique elements of Anthony Bourdain that helped him reach new heights over the decades. The movie is about the kitchen days of Bourdain, and those days are where the special times really soared. Four out four stars for Tony.
Technologically brilliant is how I define The Death of Robin Hood. The rest of the film is hampered by a blurred storyline dominated by vengeance beneath the surface. The continuity of the film felt flat in spite of the grandeur of cinematography in a setting centuries ago. The acting is stunning, but I had issues with the pacing. Written and directed by Michael Sarnoski, this film is about a battle of grief past and present seen through the eyes of Robin (Hugh Jackman).
The plot involves Robin dealing with his dark history of murder and crime. He seeks redemption. However, at the same time he cannot put his past behind him. Jackman displays seriousness well in The Death of Robin Hood as he finds himself reeling from an injury. With the help of a lady named Sister Brigid (Jodie Comer), he sees some light ahead. Also, with a man named Edward (Bill Skarsgard), there is a theme of teamwork and redemption, yet the storytelling is confusing.
Jackman’s performance delivers a haunting message that his character is not to be messed with. Moments from his present and past spiral in ways that feel unpredictable. I struggled with what the director chose to emphasize in the film primarily because the backstory felt drawn out. Overall, it was very subtle and quiet. Unfortunately, the establishment of an understandable landscape was not truly there. I just felt there could have been more context established to explain why Robin Hood is facing so many perils. The film relies too much on technology and darkness for its selling points.
Sarnoski incorporates some effective storytelling, but it felt removed from the central conflict. He relies on cinematography and Jackman’s performance to create suspense. These scenes take on more importance than the dynamics between the characters played by Comer and Skarsgard. I felt they deserved more. I felt the film kept spiraling around an angry man looking back at his past with moments of brutal violence. In the end, the revolution fails to be supported by a compelling narrative. The movie starts off OK, but then slides down to flatness leading to a steady slew of disappointment.
Overall, there are some meaningful moments showing how grief and revenge take their toll. Sarnoski knows how to portray humanistic values. Still, the film failed to satisfy me. The historical components do not have the wonders I anticipated. Therefore, I only give it two out of four stars.
Movies with Tarek 