Review: 'Hatching,' from Finland, is a smart suburban satire wrapped in a chilling body-horror thriller

A girl and her egg are the launching point for “Hatching,” an expertly turned body-horror thriller from first-time Finnish director Hanna Bergholm.

Bergholm starts with a family showing off their picture-perfect life in the suburbs. Mother (Sofia Heikkilä) narrates the tour, which features her smiling husband (Jani Volanen), their too-cute younger son Matias (Oiva Ollila), and the pride of the family, 12-year-old budding gymnast Tinja (Siiri Solalinna). We soon realize this perfection is for show, specifically for Mother’s homemaking vlog. 

While Mother is shooting the introduction for her vlog, cracks appear in her carefully orchestrated pastel-colored world, when a bird flies into the house and starts breaking things. Tinja captures the bird in a blanket, and before she can take it outside to free it, Mother snaps the creature’s neck and tells Tinja to take the body to the compost bin.

Later, Tinja discovers the bird wasn’t quite dead, and crawling out to the backyard woods. It’s there that Tinja discovers the bird’s egg — which she takes into her room to incubate. The egg grows to the size of a coffee table before a scraggly black-feathered beast emerges, and imprints on Tinja, who becomes Elliott to the bird’s E.T.

But the real monster here is Mother, pushing Tinja to the breaking point in her gymnastics practices. When a new girl in the gymnasium, Reetta (Ida Määttânen), moves in next door and befriends Tinja, Mother sees her as a challenger and therefore an enemy. This adds to Tinja’s stress, and when she’s feeling the pressure, the creature does, too — with alarming results.

Bergholm and screenwriter Ilja Rautsi turn this premise into a disturbing changeling tale, as Tinja’s bond with the creature fills in the psychic hole left by her mother’s harsh perfectionism and hypocrisy. (Did I mention Tinja catches Mother making out with the handyman Tero, played by Reino Nordin?) 

Heikkilä makes a compelling wicked queen in this fractured fairy tale, but Solalinna, in her first movie, is a real find — bringing out all of Tinja’s doubts and vulnerabilities, and twisting them as the story reaches its shocking conclusion.

“Hatching” works as both a solid horror movie and as a satire of suburban shallowness and fleeting internet glory — a reminder that scary things don’t just happen in the dark.

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‘Hatching’

★★★1/2

Opens Friday, April 29, at the Broadway Centre Cinemas (Salt Lake City). Not rated, but probably R for violence, gore and some sexuality. Running time: 86 minutes; in Finnish, with subtitles.

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This review originally appeared on this site on January 23, 2022, when the film premiered at the 2022 Sundance Film Festival.

Review: 'The Northman' is a brawny, beguiling mix of gory action and mystical sorcery in the days of the Vikings.

Like the muscular fighter and the seductive sorceress at its heart, Robert Eggers’ “The Northman” besieges and bewitches the viewer in equal measure with its realistically bloody and enthrallingly haunted view of life among the Vikings.

It’s near the end of the 10th century C.E., and a Viking castle is awaiting the return of King Aurvandil (Ethan Hawke) and his cohort from their latest battles. The queen, Gudrun (Nicole Kidman), prepares for the king’s arrival, as is their teen son, Amleth (Oscar Novak). Aurvandil takes Amleth on a vision quest — involving a steam hut, psychedelics and the leering jester, Helmir (Willem Dafoe) — that’s the first step of the lad’s eventual ascension to his dad’s throne.

But Arvandil’s brother, Fjölnir (Danish actor Claes Bang), has other ideas. He leads a group of soldiers to assassinate the king, kidnap Gudrun, and declare himself the new king. The only mistake Fjölnir makes is letting Amleth get away. The lad rows a small boat out to sea, with three vows on his lips: “I will avenge you, Father. I will save you, Mother. I will kill you, Fjölnir.”

Years pass, and Amleth — played as a strapping adult by Alexander Skarsgård — is still reciting those vows, but as a soldier in a mercenary army. After his group pillages a village, he rescues a Slavic maiden, Olga (Anya Taylor-Joy), from getting killed in the melee. When he hears Olga is being shipped off with some newly enslaved villagers to Iceland, where Fjölnir now lives, Amleth becomes a slave himself to join the voyage and finally exact his revenge.

In Iceland, Amleth discovers Fjölnir has already lost Aurvandil’s kingdom, and the new settlement he leads is managed through fear by Fjölnir’s sniveling prince, Thórir (Gustav Lindh), who looks like a Dark Ages version of Jared Kushner. Amleth works cautiously at first, scoping out Fjölnir’s new kingdom before taking it down. Amleth also teams with Olga, who is as ruthless as he is. “Your strength breaks men’s bones,” Olga tells Amleth, adding, “I have the cunning to break their minds.”

Eggers — as he did in his first two films, “The Witch” and “The Lighthouse” — creates a world where harsh reality and mysticism live side by side. In long, fluid takes, Eggers captures the unrelenting violence of marauders ransacking villages and slaughtering the locals. But the script, which Eggers wrote with the Icelandic writer Sjón (“Lamb”), also leaves room for psychedelic spirit journeys, visits with vision-seeing priestesses (one of them played by Björk), and the influence of dreams on Amleth’s gory reality.

Taylor-Joy, following her run that included “The Queen’s Gambit” and “Last Night in Soho,” continues to be one of the most fascinating young stars to watch. Kidman makes the most out of her one surprising moment, and Bang (“The Square,” “The Burnt Orange Heresy”) brings a weary menace to the traitorous Fjölnir.

But “The Northman” forces all eyes toward Skarsgård, who presents Amleth as a brawny, brooding hero who must learn that the childhood ideas of vengeance must inevitably yield to the adult reality that many things are not what they appear to be. 

Fans of “The Witch” and “The Lighthouse,” low-budget movies that orchestrated an atmosphere of dread, were going to be curious what Eggers could do on a larger scale. What he’s created is an authentic-looking and dream-filled world of a thousand years ago, sometimes beautiful and often brutal — but always fascinating.

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‘The Northman’

★★★1/2

Opens Friday, April 22, in theaters. Rated R for strong bloody violence, some sexual content and nudity. Running time: 136 minutes.

Review: 'The Bad Guys' is a smart, hilarious heist comedy for the junior set

There’s a simple idea behind the animated “The Bad Guys” — famously notorious creatures trying to be good — but if you think that’s all there is to this witty and inventive cartoon comedy, you’ll miss out on one of the funniest movies of the year.

The movie starts with two of those animals, the Big Bad Wolf (voiced by Sam Rockwell) and Snake (voiced by Marc Maron), shooting the breeze in a diner, like characters out of a Quentin Tarantino movie. Then the shot pans around the diner, and all the other patrons recoiling in terror at Wolf and Snake’s mere presence. 

Then they cross the street, meeting their cohorts — disguise expert Shark (voiced by Craig Robinson), supreme hacker Tarantula (voiced by Awkwafina) and slightly unhinged Piranha (voiced by Anthony Ramos) — to pull off yet another bank heist. Snake, by the way, is an ace safecracker, and Wolf, besides being the gang’s charismatic leader, is a deft pickpocket.

Retreating to their lair, the gang celebrates their latest success, watching the results on TV. That’s when they see the governor, Diane Foxington (yes, she’s a fox, in every sense of the word — and voiced by Zazie Beetz), calling Wolf’s crew a bunch of pathetic has-beens. Wolf is incensed, and decides the ultimate revenge would be to steal the famed Golden Dolphin statue, a trophy Gov. Foxington is set to award to their city’s greatest humanitarian, Professor Marmalade (voiced by Richard Ayoade). Snake signs on only because Marmalade is a guinea pig, his favorite food.

A funny thing happens during the robbery, though: Wolf gets a taste of what it’s like to be treated like a good guy — and the wag in his tail gives them away. The gang is caught, but before Gov. Foxington and the police chief (voiced by Alex Borstein) can send them to prison, Marmalade talks the governor into letting the gang live on his island compound, so he can try to get them to turn good.

Directing his first feature after years in DreamWorks’ animation department, Pierre Perifel captures the giddy spirit of these characters, in a story that’s a surprisingly workable mix of “Zootopia” and “Ocean’s Eleven.” In adapting Aaron Blabey’s graphic novels, screenwriter Etan Cohen (“Men in Black 3,” “Tropic Thunder,” “Idiocracy”) not only delivers solid gags, but a tight, economical script with tricky plot twists — nothing children in the audience won’t understand, but the kids who figure them out first will feel super-smart.

Among the voice actors, the revelation is Maron, who’s note-perfect as Snake, the most cynical member of the gang — a gruff, cantankerous voice that keeps “The Bad Guys” from slipping into phony melodramatics. He gives “The Bad Guys” the complexity a lesser animated movie would avoid, resulting in a movie kids and adults can enjoy in equal measure.  

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‘The Bad Guys’

★★★1/2

Opens Friday, April 22, in theaters. Rated PG for action and rude humor. Running time: 100 minutes.

Review: 'Unbearable Weight of Massive Talent' gives Nicolas Cage his greatest role — a version of himself — but doesn't provide everything the movie needs

If ever there was a movie star deserving of a meta-analysis of his work, under the cover of a movie that is both an embodiment and parody of that star’s traits, it’s Nicolas Cage — which is why “The Unbearable Weight of Massive Talent” feels, at times, like a missed opportunity that only sometimes hits on the mysterious force that makes Cage who he is.

Cage stars as Nick Cage, a somewhat fictionalized version of himself — one that’s more his screen persona than what he claims is his real life. The Nick Cage of this movie is hyper-focused on acting and his career, so much so that he intimidates a director for whom he’s auditioning, and tends to irritate his ex-wife, Olivia (Sharon Horgan), and mortify his teen daughter, Addy (Lily Sheen).

Nick is also strapped for cash, so he says yes when his agent, Richard (Neil Patrick Harris), tells him he can earn a quick $1 million by attending a billionaire’s birthday celebration in Mallorca. The billionaire, Javi (Pedro Pascal), is Cage’s biggest fan — his favorite movie is “Face/Off” — and has written a screenplay for Nick to produce and star in.

Nick isn’t in Mallorca long when he’s hustled into a panel truck by a couple of U.S. intelligence agents, Vivian (Tiffany Haddish) and Martin (Ike Barinholtz). They tell Nick that Javi’s wealth is from his work as an international drug cartel — and that Javi and his goons are trying to leverage the upcoming Spanish election by kidnapping the daughter of a presidential candidate. Vivian asks Nick to work undercover to find the hostage and take down the operation, getting close to Javi by developing his screenplay with him.

Director Tom Gormican uses this development to deconstruct the script he and Kevin Etten as we’re watching it — as Nick and Javi discuss the story’s evolution from character-driven drama to action-heavy crowd-pleaser.  One wishes the movie we were watching could move more smoothly from one style to another, showing us the shift rather than telling us it’s happening.

Where there are holes in Gormican’s story, the cast does a good job of rolling past them. Pascal, who looks like a Chilean version of Liam Neeson, is particularly charming as he shows strong comic chops to go along with his action credentials (“The Mandalorian,” “Wonder Woman 1984”).

But “The Unbearable Weight of Massive Talent” is Nicolas Cage’s show, and he knows it. Playing the slightly puffy movie star in decline, or a CGI-created younger self who serves as the devil on his shoulder, Cage shows he gets the joke by transcending it. To borrow a running joke between Cage and Fink, the movie confirms that Cage is back — not that he ever went anywhere.

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‘The Unbearable Weight of Massive Talent’

★★★

Opens Friday, April 22, in theaters. Rated R for language throughout, some sexual references, drug use and violence. Running time: 107 minutes.

Review: 'Aline' is a weird, and oddly touching, fictional biography 'freely inspired' by the life of Celine Dion

The French comic actress and filmmaker Valérie Lemercier has invented something new with “Aline”: A fictional musical biopic that’s more true to its subject than a documentary would be. And that’s not the weirdest part of this fan letter to one of the world’s biggest singing stars.

We don’t meet the title character of Aline Dieu right away. First, Lemercier, as director and co-writer (with Brigitte Buc), introduces us to her parents, Sylvette and Anglomard, as they fall in love, marry, vow not to have children — and then proceed to raise a family of 14 kids, with Aline the youngest, with a sock drawer as her crib.

The Dieu children, growing up in a small house in Quebec in the 1970s, form a singing group — and eventually the family learns little Aline has the most beautiful, and most powerful, voice of all. Her parents (Danielle Michaud and Roc Lafortune) and older brother Jean-Bobin (Antoine Vézina) record a demo tape of Aline at age 12, and send it to a record producer, Guy-Claude Kamar (Sylvain Marcel).

If you’re up on your Quebecois-born megastars, you may have deduced that this all sounds like the life story of Celine Dion. Lemercier makes no bones about that: There’s an opening title card saying the film is “inspired by the life” of Dion, but told as fiction. Why Lemercier changed the names of the main figures is never fully explained, as the plot points match as closely to Dion’s life as the scripts for “Walk the Line” or “Bohemian Rhapsody” or most any Hollywood-produced biopic does of their subjects.

But the bigger mystery comes when Lemercier, who’s 58, appears as Aline at age 12 — through a combination of forced-perspective angles, body doubles and computerized face-swapping. The effect is eerie, in an uncanny-valley sort of way, and darn near takes us out of the narrative.

That narrative continues with Kamar becoming Aline’s manager and guiding her early career. After some success with French songs, for audiences in Quebec and Paris, Aline follows Kamar’s advice to take a break, fix her crooked teeth, and learn English so she can conquer the American and British markets — and, eventually, the world.

As the teen Aline becomes a rising star in Europe, she also falls deeply in love with Kamar, who is more than twice her age, and twice divorced. Kamar, with Mama Sylvette watching like a hawk, does the gentlemanly thing and avoids giving any indication that he reciprocates Aline’s feelings. After winning the 1988 Eurovision Song Contest at age 20, Aline is old enough to act on her feelings — and Kamar finally admits that he loves her, too.

Kamar is a stand-in for Dion’s real-life husband/manager, René Angélil — and the movie follows the version of the story Dion tells in her autobiography, holding that he resisted her advances until she was of age. Having Lemercier and Marcel, who were born in the same year, play the roles doesn’t make it feel less weird, especially when Lemercier is playing Aline between 17 and 21 in those scenes.

The rest of the movie hits the high points of Celine, er, Aline’s life: World tours, years in Vegas, battles against infertility, a stretch where she has to rest her vocal cords, and the opportunity to sing a song for a movie about the Titanic. (In an amusing scene, Kamar plays the instrumental for the “Titanic” score, and a temporarily mute Aline writes on her pad, “I don’t like it.”)

Lemercier’s sincerity in depicting the larger-than-life story of a major pop star doesn’t keep her from embracing the kitschiness of such a life — the sequins, the limousines, the whole nine yards. Also, any movie that tells of a musician’s life, even a fictionalized take like this, must contend with the long shadow of “Walk Hard: The Dewey Cox Story,” which parodied all the cliches this movie employs without shame.

“Aline” can’t be dismissed, in part because the cast is so winning — particularly Marcel’s Kamar and Jean-Noël Brouté as Fred, Aline’s makeup artist and confidante. And a shout-out to Victoria Sio, who provides the singing voice to which Lemercier lip-syncs, belting out Celine-style covers of “All By Myself,” “River Deep / Mountain High” and other hits.

The driving force of “Aline,” in front of the camera and behind it, is Lemercier. Her past work as a director have all been light French comedies, and she sprinkles in some light-hearted moments (like when Aline gets lost in her own mansion), but keeps it serious when needed. Lemercier’s performance shows how completely she embraces Celine Dion, as a performer and an icon. Lemercier puts her whole heart into “Aline,” and that heart will go on.

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‘Aline’

★★★

Opening Friday, April 15, at the Broadway Centre Cinemas (Salt Lake City). Rated PG-13 for some suggestive material and brief language. Running time: 126 minutes; mostly in French, with subtitles.

Review: 'Dual' is a droll and deadpan look at a woman deciding to live again — and deciding whether to kill her clone.

The idea that someone has to be dying to appreciate what it means to live is a Hollywood trope that goes back to “Dark Victory” — but writer-director Riley Stearns takes it to absurd lengths in his dark comedy “Dual.”

Set in the near future, the story starts when Sarah (Karen Gillan) throws up blood one night, and is ultimately told she has a rare terminal illness and will die soon. She is offered one option, “replacement therapy,” in which she is cloned, and then trains the clone to live out her life after she’s gone.

Not that Sarah’s life is going that well, otherwise. Her boyfriend, Peter (Beulah Koale), is away on business and inattentive in their FaceTime calls. And she’s made an art of avoiding calls and texts from her mom (Maika Paunio). But Sarah goes through with the cloning, and starts training her double in what she likes and doesn’t like.

Ten months go by, Sarah hasn’t died yet, and she learns that her double is living her life better than she is. Peter enjoys the double’s company more, and the double is much more attentive to Sarah’s mother. Then Sarah is told that her supposedly terminal illness is in remission and she’s not going to die. 

Normally, she’s told, the clone would be “decommissioned” — but the double demands to remain alive. In such cases, the solution is a televised duel to the death between original and clone. Sarah has one year to prepare, and hires a trainer (Aaron Paul) to get her ready.

In some ways, “Dual” follows some of the contours of Stearns’ last movie, 2019’s “The Art of Self-Defense,” another story of a lonely character finding purpose through personal combat. Stearns’ comic style here is deadpan to the extreme, and some of the humor is bone-dry.

Gillan, known to many for her stint on “Doctor Who” and her role as Nebula in the Marvel universe, throws herself into the double role — the jaded Sarah and her inquisitive double — with relish. She locks into Stearns’ droll wavelength, while deepening and humanizing the two Sarahs as they go through this odd experience.

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‘Dual’

★★★

Opens Friday, April 15, at the Megaplex Jordan Commons (Sandy). Rated R for violent content, some sexual content, language and graphic nudity. Running time: 94 minutes.

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This review originally appeared on this site on January 23, 2022, when the movie premiered at the 2022 Sundance Film Festival.

Review: 'Everything Everywhere All at Once' is a dazzling trip through one woman's multiverse, full of invention and heart

The dazzlingly discombobulating “Everything Everywhere All at Once” is so moving, so funny, so emotional, so inventive, so crazy, so all-encompassing in its strangeness and heart that verbal descriptions are insufficient. You’re going to have to take this critic’s word for it: Go see this movie, preferably on a big screen, and then we can compare notes about what the coolest parts were.

It starts with Evelyn Wang (played by Michelle Yeah), a Chinese-American laundromat owner whose business is in trouble. Evelyn has a ton of receipts spread out on her dining table, trying to prepare for a meeting with a frumpy IRS caseworker, Deirdre Beaubeirdra (Jamie Lee Curtis). With her dithering husband, Waymond (Ke Huy Quan) and her doddering father (James Hong) along for moral support, Evelyn is given the bad news that her receipts are a mess, and Deirdre is contemplating tax-fraud charges.

Then something happens, and Evelyn is dragged into a nearby storage closet with such force it seems to split her reality. She’s dragged there by Waymond — except he explains he’s not Evelyn’s husband. He’s a Waymond from a parallel universe, and has inhabited this universe’s Waymond to get a message to Evelyn. The universes are being overrun by an evil force called Jobu Tupaki, and Waymond is scouring the multiverse to find the one Evelyn who can fight it.

Evelyn gets a glimpse of her other lives in the multiverse. In one, she’s a teppanyaki chef in a Benihana-style restaurant. In another, she’s a Chinese opera singer. In yet another, everyone has evolved hot dogs for fingers. And in each one, Jobu Tupaki is wreaking havoc.

When Evelyn eventually meets Jobu Tupaki, she looks an awful lot like Evelyn and Waymond’s daughter, Joy (Stephanie Hsu). Jobu’s growing menace seems to be in proportion to Joy’s exasperation at her mother — for everything from commenting on Joy’s weight to being reluctant to accept Joy’s girlfriend, Becky (Tallie Medel), into the family.

The directing-writing team of Daniel Kwan and Daniel Scheinert, known collectively as Daniels, follow up on their feature debut — “Swiss Army Man,” the infamous Sundance title that featured Daniel Radcliffe as a farting corpse — with something that redefines the proper level of weirdness in a movie. Believe me, the description so far barely scratches the surface of what happens in this genre-twisting, timeline-bending, reality-warping story.

Not surprisingly, Michelle Yeoh is brilliant as all the many Evelyns this movie requires her to be. She shows the ferocity of her Hong Kong action career, the tenderness of a frazzled Everywoman, the grace of a movie star, and every other emotion that crops up.

The surprise is Quan, who must play an uncountable number of Waymonds and brings a hero’s demeanor to all of them — while delivering some kung-fu moves reminiscent of Jackie Chan in his prime. Quan has experience as a stunt coordinator and choreographer for martial arts movies, after his years as a child actor. Yes, the kid who played Short Round in “Indiana Jones and the Temple of Doom” is 50 years old now, and delivers the most demanding, most poignant movie performance in a generation.

For all I’ve said, and I feel like I’ve given away too much, I’ve barely begun to describe the insanely creative imagery that fills this movie — including a moment so funny and inventive that I still can’t believe I saw it. “Everything Everywhere All at Once” serves up exactly what the title promises, and then some.

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‘Everything Everywhere All At Once’

★★★★

Opens Friday, April 8, in Utah theaters. Rated R for some violence, sexual material and language. Running time: 139 minutes; in English and Mandarin with subtitles.

Review: 'Ambulance' is gritty and down-to-earth, but just as chaotic as any other Michael Bay movie

What happens when Michael Bay, the guy who makes gazillion-dollar blockbusters like the “Transformers” franchise, only gets a measly $40 million to play with? You get an action movie like “Ambulance,” which isn’t as bloated as Bay’s usual work, but isn’t much more coherent, either.

On an overheated Los Angeles day, Will Sharp (Yahya Abdul-Mateen II) is on the phone arguing with a health insurance company — his wife, Amy (Moses Ingram), has cancer and needs an experimental procedure, we’re told. He then leaves the house to meet his brother, Danny (Jake Gyllenhaal), who followed in their father’s footsteps into a life of crime. (Since Will is Black and Danny’s white, it’s explained early and often that Will was adopted.)

Will wants to borrow some money from Danny, but Danny has another idea. He wants Will to join the crew that’s about to perform a major bank heist, with a promised haul of $32 million. Will, an ex-Marine who fought in Afghanistan, is the best driver anywhere, Danny says — another example of the script, by Chris Fedak (who created the Michael Sheen series “Prodigal Son”), telling rather than showing.

Of course, Bay is too busy showing off what he and cinematographer Roberto de Angelis (making his feature debut) can do with drone cameras that swoop up and down and all around L.A. City Hall and the old Los Angeles Times offices — the location of the bank Danny and his crew are hitting. (I’m not 100%, but I think it’s the same downtown L.A. street where Michael Mann staged the main gun battle in “Heat” — which makes me wonder why Bay would open himself up to comparison to one of the most kinetic action sequences every filmed.)

The robbery happens, things go haywire, and Danny and Will are in a parking garage with a rookie cop (Jackson White) bleeding out with two bullet wounds. An ambulance makes its way into the garage, with a newbie driver, Scott (Colin Woodell), and a jaded veteran EMT, Cam Thompson (Eiza González), riding shotgun. Danny sees the ambulance as his getaway vehicle, putting Will in the driver’s seat, and taking Cam and the cop as hostages to get past the swarm of law enforcement surrounding the building.

It takes quite a while to get to this point in the story, which is the point of the whole movie: To start what one side character calls “the most expensive car chase” ever. It’s here where Bay seems to be most comfortable, putting cameras on cars as they race, jump and crash — while also capturing Cam’s attempts to keep the cop alive in a vehicle going 60 mph with two squabbling criminals in front.

The three leads — Gyllenhaal, Abdul-Mateen and González — are all better than the material they’re given. The same can be said for Garrett Dillahunt, as the lead LAPD detective who’s been trying to bring Danny’s crew to justice for ages, despite being saddled with too many personality quirks, including a funky old car with a massive drooling dog in the back seat.

The other problem with “Ambulance” is that it’s a movie that appears to be moving quite fast, but with a running time of 136 minutes (nearly an hour longer than the Danish movie it’s remaking), it takes forever to get anywhere. Even without Transformers to play with, Bay apparently can’t help but spin his wheels.

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‘Ambulance’

★★

Opens Friday, April 8, in theaters everywhere. Rated R for intense violence, bloody images and language throughout. Running time: 136 minutes.