Review: 'Coup!' is a dark class-warfare comedy set during a pandemic, with an uneven battle of wits and wills at the center

The darkly comic “Coup!” brings class warfare to the mansions of New York’s well-to-do, setting up a less-than-satisfying battle of wits between two mismatched opponents. 

In one corner is Floyd Monk (Peter Sarsgaard), a cook in 1918 New York who takes a job with a wealthy family, the Hortons, in a mansion on an island off the coast of Long Island. In the other corner is the Hortons’ patriarch, J.C. (Billy Magnussen), a muckraking newspaper writer stirring up the masses with his accounts of the Spanish flu epidemic and the panic in Manhattan — from the comfort of his family mansion, far away from the strife of the New York streets.

While J.C. writes diatribes against President Wilson and tells his wife, Julie (Sarah Gadon), about his political ambitions, Floyd begins a series of small acts of defiance against his bosses. J.C. bans alcohol for the servants, which Floyd disagrees with. And J.C. is a pacifist and a strict vegetarian — a stance that Floyd questions, particularly when pandemic panic makes getting produce in town impossible, and the only available food source is the plentiful deer on the property. 

At first, Floyd’s transgressions seem inconsequential, but over time, they feel to J.C. like a plot — possibly orchestrated by President Woodrow Wilson — to undermine him within the family. Julie, who likes Floyd’s attention to her play writing, wonders if J.C. is losing his marbles.

The writing-directing team of Joseph Schuman (directing his first movie) and Austin Stark depict this as a microcosmic power struggle of wealth vs. labor — with Floyd’s rebellions and the support he’s garnered from most of the kitchen staff going up against the money and empty fighting-for-the-people rhetoric of J.C. and his family.

The battle of wits is also a battle of acting superiority, and Sarsgaard — in a rare comic role for the usually morose actor — runs rings around poor Magnussen. But forming a rooting interest is difficult, because neither side offers a completely satisfactory outcome, and the one the movie chooses turns out to be the worst. 

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‘Coup!”

★★1/2

Opens Friday, August 2, at the Megaplex Theatres at The District (South Jordan). Not rated, but probably PG-13 for sexual situations, some violence and language. Running time: 98 minutes.

Review: 'Deadpool & Wolverine' gleefully, mercilessly and bloodily spoofs the unified theory of the Marvel Cinematic Universe

Where does Deadpool, Marvel’s foul-mouthed bad boy mercenary, fit in the stridently PG-13 Marvel Cinematic Universe? Based on his first movie under the Marvel Studios (aka Disney) banner, “Deadpool & Wolverine,” anywhere he bleeping wants to.

Star/producer/co-writer Ryan Reynolds — part of a five-member writing crew that includes director Shawn Levy — doesn’t bring Deadpool in line with the MCU’s sensibilities so much as drags comic-book lore into his sandbox of bloody carnage, scatological humor and elbow-in-the-ribs callbacks. The nerds will love it, and Deadpool even says as much the first time the two title anti-heroes start fighting each other.

Writing a review of how Levy, Reynolds and company do that will be tricky — particularly since Marvel Studios asked critics in advance to “refrain from revealing spoilers, cameos, character developments and detailed story points in your coverage, including on social media.” So here goes, as spoiler-free as I can make it and still give you a sense of the movie’s flavor:

The opening credits show Deadpool, aka Wade Wilson, in a forest dispatching a large contingent of helmeted stormtrooper types in the bloodiest ways possible. We notice that these shock troops wear the logo of the TVA, the Time Variant Authority — an organization introduced in the “Loki” TV series, which is supposed to keep the timelines of all the universes from bumping into each other. 

As fans of the last Deadpool movie, 2018’s “Deadpool 2,” will remember, Deadpool aka Wade Wilson ended the movie with a time device in his possession, playing fast and loose with several timelines. According to a TVA official called Mr. Paradox (Matthew Macfadyen), that’s not why the TVA is interested in Deadpool. Mr. Paradox wants to eliminate a lot of timelines, including the one where our Deadpool lives, because it’s missing something: Wolverine, who died at the end of 2017’s “Logan.”

Many movie lovers will argue, correctly, that “Logan” gave Hugh Jackman, who by then had played the adamantium-clawed fighter for 17 years, the dignified ending he and the character deserved. It’s fascinating to watch Levy and Reynolds — with Jackman’s willing assistance — mess with that legacy, and do so with the rough-and-tumble humor of the “Deadpool” franchise. And, mostly, it works, because it takes Logan/Wolverine back to how we remember him in the early going: A jaded, angry brawler who seems uninterested in making himself be anything more.

That version of Wolverine, it turns out, matches the Deadpool we find her almost too perfectly. After a brief attempt at joining a superhero team — which sets up both the first significant cameo and the first joke about cameos in a Marvel movie — a dejected Wade tries for a normal life, like his buddy Peter (Rob Delaney, returning from “Deadpool 2”), before the TVA enters the picture.

Levy is a comfortable choice as director, having worked with Reynolds on “Free Guy” and “The Adam Project,” and with Jackman on “Real Steel.” Here he leans into the chaos, knowing that he can throw pretty much anything up on the screen and people will laugh at Reynolds’ antics and the on-the-nose needle drops for every major action sequence.

Having Deadpool meet up with Wolverine isn’t that unusual, though, considering that the character, at least as long as Reynolds has played him, has been in the X-Men orbit. He met two of them, the mighty metallic Colossus (Stefan Kapicic) and the sullen Negasonic Teenage Warhead (Brianna Hildebrand), in the first two movies, and they show up again here. 

What’s more fun — and, it turns out, the prime reason “Deadpool & Wolverine” exists — is how the movie not only references the MCU and crosses over into “X-Men” territory, but dredges up characters from the pre-MCU Marvel movie roster that some viewers may have forgotten ever happened. I’d tell you more, but Disney asked so politely for me to not divulge too much.

It says everything about Reynolds’ clout that “Deadpool & Wolverine” can be such a reference-heavy valentine to the hardcore Marvel movie fans at the same moment Marvel Studios poohbah Kevin Feige has been saying he wants the MCU films to stand on their own and not refer back so much to other movies (and now TV shows). Reynolds knows the secret sauce is to deliver the jokes fast and the blood in buckets, and it still works.

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‘Deadpool & Wolverine’

★★★1/2

Opens Friday, July 26, in theaters everywhere. Rated R for strong bloody violence and language throughout, gore and sexual references. Running time: 127 minutes.

Review: 'Humanist Vampire' is a quietly charming dark comedy that shows the human side of sucking blood

The Quebecois dark comedy “Humanist Vampire Seeking Consenting Suicidal Person” is a charming, if somewhat slight, story of what happens when desire and empathy interfere with each other.

Sasha (Sarah Montpetit) is a young vampire — well, 68, but looking 17 — who as a young girl (played by Lilas-Rose Cantin) was traumatized by a birthday clown. Well, not by the clown, but by the sight of her family devouring the clown. When she sees blood, the vampire doctors tell her parents (Steve Laplante and Sophie Cadieux), her brain registers compassion for the humans, not hunger. Because of this, her fangs never grow in properly.

When Sasha’s mother becomes impatient with preparing blood baggies for her daughter, the parents send Sasha to live with her cousin, Denise (Noémie O’Farrell), who tries to teach Sasha how to hunt for humans. It’s how, one night, Sasha first sees Paul (Félix-Antoine Bénard), a solitary high-school student who’s picked on by a bully (Arnaud Vachon) and contemplates killing himself. 

When Paul knocks himself out running away from Sasha, she sees the blood on his forehead and starts feeling hungry — and her fangs start growing. Paul soon realizes what Sasha is, but being depressed and willing to end it all, he figures feeding her is as good a way to go as any. But when she brings the boy upstairs to suck him dry, they instead bond over a Brenda Lee song and become friends. 

Director Ariane Louis-Seize, who co-wrote with Christine Doyon, brings a dry wit to her feature debut, capturing the demure Sasha as she gradually turns her phobia into a superpower, teaming with Paul to free him from everything that is making his life miserable. The pairing of Montpetit and Bénard brings out the story’s edgy quirks, as the two shy characters spark in unexpected and quietly moving ways.

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‘Humanist Vampire Seeking Consenting Suicidal Person’

★★★

Opens Friday, July 26, at the Broadway Centre Cinemas (Salt Lake City). Not rated, but probably R for violence, bloody images and language. Running time: 91 minutes; in French, with subtitles.

Review: 'Twisters' delivers nearly the same visceral thrill as its 1996 predecessor, though the script is more whiny than windy

Like the storms mentioned in its title, “Twisters” hits hard, fast and often — delivering nearly the same visceral movie thrill that its predecessor, “Twister,” did back in 1996, with better visual and sound effects.

Those storms, and the state of Oklahoma, are the only characters that carry over from the first movie to this one, though.

We begin with a ragtag crew of weather scientists, led by Kate Carter (Daisy Edgar-Jones), a Ph.d. candidate trying to show that tornadoes can be tamed — if you release enough of a “super-absorbent polymer” into a cyclone to deprive it of moisture. The pseudo-science explanation that one of the team (Kiernan Shipka) gives is it’s the same stuff found in disposable diapers. The team ends up in a massive tornado, and not everyone survives the experience.

Cut to five years later, and Kate has left tornado chasing for a job at the National Oceanic and Atmospheric Administration offices in New York, predicting weather patterns from the safety of a computer screen. One of her old teammates, Javi (Anthony Ramos), convinces her to come back to Oklahoma, to help him and his high-tech storm-chasing enterprise try out their new radar array. 

Once back in Oklahoma, Kate is reminded of one reason she left this world behind: The circus atmosphere of reckless storm chasers. The most reckless of the bunch is a group of scruffy YouTube-posting storm chasers, led by self-described “tornado wrangler” Tyler Owens (Glen Powell). 

Because character development hasn’t changed much since “The Taming of the Shrew,” it will surprise no one that screenwriter Mark L. Smith (“The Boys in the Boat”) shows us Kate and Tyler dislking each other at the get-go — though in short order, both develop a grudging admiration for the other’s tornado intelligence. And, admittedly, both Edgar-Jones and Powell are easy on the eyes.

Smith’s script plays like a fancy cuckoo clock, where things pop out at regular intervals to make a lot of noise. In between, there’s some heavy-handed messaging about the double whammy poor Oklahomans face from harsh weather and rapacious capitalism.

Director Lee Isaac Chung, moving up in budget level from his Oscar-winnng “Minari,” keeps the rhythm of the action sequences, pitting tech-augmented pickup trucks against unceasingly loud and blustery nature. He also finds in his leads, Edgar-Jones and Powell, an action-movie power couple, both so determined and heroic that they barely have time to cast suggestive glances at each other — but both charming enough that audiences will imagine a wind-whipped romance anyway.

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‘Twisters’

★★★

Opens Friday, July 19, in theaters everywhere. Rated PG-13 for intense action and peril, some language and injury images. Running time: 122 minutes.

Review: 'Widow Clicquot' is a beautifully rendered, but narratively skimpy, telling of how a woman alone created one of the world's great champagne labels

The historical drama “Widow Clicquot” demonstrates that there are few pursuits more laborious than making the perfect champagne — except, perhaps, making a historical drama about the making of the perfect champagne.

English director Thomas Napper starts with a romance, but at the end, with the death in 1805 of winemaker François Clicquot (Tom Sturridge), leaving behind his young widow, Barbe-Nicole Ponsardin Clicquot (played by Haley Bennett). François, his widow tells people regularly, was a visionary experimenting in growing grapes and transforming them into champagne — the real stuff, as we are in the Champagne region of France. Barbe-Nicole tearfully pleads with François’ father, Philippe (Ben Miles), to let her try to run the vineyards and fulfill her husband’s dream, rather than sell the land to their neighbor, the Moët family.

Napper and the script, by Erin Dignam (who wrote the Robin Wright drama “Land”), runs on two parallel tracks. One shows us Barbe-Nicole persevering through bad weather, a mountain of debts and a group of vineyard managers who doubt her abilities to lead. The other flashes back to Barbe-Nicole and François’ passionate love, their time with their daughter Clementine (Cecily Cleave), and François’ slow decline before his death.

After François’ death, the one person in Barbe-Nicole’s corner is Louis Bohne (Sam Riley), the vineyard’s sales agent, tasked with trying to sell an uncompleted product to foreign buyers in the middle of Napoleon’s military misadventures. The partnership — the movie suggests something more — culminates with Bohne smuggling Barbe-Nicole’s creation, an 1811 vintage of Veuve Clicquot (“veuve” means “widow” in French) known as “the year of the comet,” to St. Petersburg, Russia.

Napper captures the excessive beauty of the French countryside and stars Bennett and Sturridge, even as he loses the narrative thread holding the story together. One suspects Barbe-Nicole’s motivations for making what became a groundbreaking champagne went well beyond trying to finish what her husband started — and it’s a shame that Bennett (“Cyrano,” “The Girl on the Train”) isn’t given more to work with.

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‘Widow Clicquot’

★★1/2

Opens Friday, July 19, at the Broadway Centre Cinemas (Salt Lake City). Rated R for some sexuality and nudity. Running time: 90 minutes.

Review: 'Longlegs' is an unsettling serial-killer thriller, brilliantly acted by Maika Monroe and Nicolas Cage

Writer-director Osgood Perkins’ “Longlegs” is a horror movie that’s more creepily disturbing than jump-scare shocking — but its unsettling images will stick in the mind long after it’s over.

There’s a serial killer at work in Oregon, in the mid-1990s, and the FBI is on the case. A young special agent, Lee Harker (Maika Monroe), is out with her partner, knocking on doors — and she senses immediately which house the killer is in. Her partner doesn’t believe her, and ends up dead.

Lee’s commander, Agent Carter (Blair Underwood), suspects the young agent has some psychic talent, though she chalks it up to just being observant. She also finds patterns in the evidence Carter gives her, taken from 10 killings over the last 30 years. In each, the father of the house brutally murdered his family and then killed himself. And in each, the authorities found a cryptic note, signed by someone who calls themself “Longlegs.”

But there’s something else in Lee’s history that may be at play. Maybe her mother, Ruth (Alicia Witt), has memories of when Lee was 9 (played in flashbacks by Lauren Acala). And maybe the mysterious figure who left a note in her home, written in the same cryptic code as the killer’s writing.

Part of the mystery is clear to the audience from the movie’s first scene, when 9-year-old Lee encounters a strange old man. Perkins shoots the man from a child’s point of view, so we barely glimpse his face, until he leans down to engage the girl — and we see he’s played by Nicolas Cage. The effect is similar to what happened when audiences first saw Kevin Spacey in “Seven”: However disturbing you thought things were going to be, they just became much worse.

Cage’s performance is, once again, proof that when the guy really puts his back into it, he’s the most arresting actor around. (The last time, in my estimation, was three years ago in “Pig.”) Cage’s collaboration here with Perkins creates a truly terrifying horror character, who could be a psychopath or something far more sinister.

The reason Perkins’ pervasive emotional darkness is so striking, though, is that Monroe is the light around which it tries to coalesce. Monroe, so adept at playing against the “scream queen” stereotypes in “It Follows” and “Watcher,” plays the young FBI agent with understated intelligence and a core of iron. Monroe makes “Longlegs” something deeper and more resonant than your typical psycho killer thriller.

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‘Longlegs’

★★★1/2

Opens Friday, July 12, at theaters everywhere. Rated R for bloody violence, disturbing images and some language. Running time: 101 minutes.

Review: 'Fly Me to the Moon' is part bubbly rom-com, part workplace comedy, and not engaging enough to make either work

Laboring to be both workplace comedy and old-fashioned rom-com, director Greg Berlanti’s comedy “Fly Me to the Moon” never manages to be enough of either to be as fun as it wants or promises to be.

It’s 1969, and the United States has been — as the prologue shows us — gripped in the space race with the Soviets for a dozen years. NASA is eight years into its effort, sparked by John Kennedy’s rousing speech, to get a human being on the moon. However, the American public has lost interest, preoccupied with problems at home, such as civil rights struggles and the war in Vietnam. Still, they plug away at Cape Kennedy, months from the planned launch of Apollo 11.

What NASA needs, according to a shadowy figure from the White House who calls himself Moe Berkus (Woody Harrelson), is good marketing. Moe drafts Kelly Jones (Scarlett Johansson), a New York advertising wizard with a talent for exaggerating the truth to make a sale. (When we meet Kelly, she sports a fake baby bump to sweet-talk some auto executives.) Moe’s persuasion techniques are more direct: A dossier that suggests he knows some unsavory details about Kelly’s past.

Kelly and her assistant, Ruby (Anna Garcia), fly down to Cocoa Beach, Florida, to set up NASA’s new public relations department. Kelly’s biggest hurdle: Charming NASA’s no-nonsense launch director, Cole Davis (Channing Tatum), who sees Kelly’s publicity tricks as a distraction from the serious business of rocket science. The reason for Cole’s seriousness, we’re told by his deputy, Henry Smalls (Ray Romano), is that Cole was the man in charge when Apollo 1 ended in a launchpad fire that killed three astronauts.

If you’ve ever seen a movie, you may take it for granted that Cole’s animosity against Kelly, and Kelly’s dismissal of Cole’s earnestness, will both melt away toward mutual respect and eventually romance. Certainly Berlanti (directing a feature for the first time since 2018’s “Love, Simon”) takes it for granted, running through the rom-com markers that first-time screenwriter Rose Gilroy lays down like it’s a chore. 

Berlanti seems more interested in the farce potential of the movie’s second half — when Moe, hedging the White House’s bets on the success of Apollo 11, forces Kelly to stage a faked version of the moon landing in a secured hangar at the far end of the Kennedy Space Center. There are some funny moments here, mostly provided by Jim Rash as the Tab-swigging artiste Kelly picks to direct the phony landing. But the comic overload never successfully meshes with the romantic storyline.

The romance might have worked, if Berlanti or his leads had leaned into the rapid-fire patter of classic screwball comedies. Tatum is adequate as the poster boy for emotionally repressed ‘60s heartthrobs. Johansson could have used a little more Rosalind Russell or Barbara Stanwyck, some fast-talking wit to match her smile. (When casting about for someone who might have been better as Kelly, I thought of a young Rene Russo — who, as it happens, is the screenwriter’s mom; Rose Gilroy’s father, Dan Gilroy, wrote and directed “Nightcrawler’ and “Roman J. Israel, Esq.”)

There’s enough that works with “Fly Me to the Moon” that one gets annoyed that more of it misfires. It’s one vehicle that could have spent more time being re-engineered before being sent out to the launchpad.

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‘Fly Me to the Moon’

★★1/2

Opens Friday, July 12, at theaters everywhere. Rated PG-13 for some strong language, and smoking. Running time: 132 minutes.

Review: 'The Convert' undercuts the stranger-among-the-natives trope by providing a sharp view of 19th century Maori tribes at war

The New Zealand drama “The Convert” works with a familiar movie scenario — experiencing the culture of Indigenous people through the eyes of a colonial outsider — but it expends a fair amount of energy exploring that culture on its own terms.

Guy Pearce stars as Thomas Munro, a lay minister being transported by ship from England to New Zealand in 1830. The leaders of the colony of Epworth have hired Munro, and paid for his passage, to be their new preacher. But before he arrives, he encounters members of the two warring Maori tribes in the vicinity — and ends up caring for a young woman, Rangimai (Tioreore Ngatai-Melbourne), whose husband was brutally killed by one of the warlords, Akatarewa (Lawrence Makoare). 

The other warlord, Maianui (Antonio Te Maioha), who is Rangimai’s father, allows her to go with Munro to Epworth to be tutored, accompanied by one of his young warriors. Munro soon learns that the Epworth elders, who rent the town’s land from Maianui’s tribe, dislike their Maori neighbors and don’t think much of Munro for befriending them. The one friend Munro encounters is Charlotte (Jacqueline McKenzie), the European-born widow of a Maori tribesman, who acts as translator for Munro and Rangimai.

When Rangimai’s guard is killed one night, Munro defies the town leaders by accompanying Rangimai to take the body back to his people. Charlotte goes with them, so she can speak to Maianui — and, eventually, help Munro when he tries to negotiate a truce between Maianui and Akatarewa, who are equally resistant of ending their violent traditions.

Director Lee Tamahori — whose career has ranged from the Maori domestic drama “Once Were Warriors” to the terrible James Bond entry “Die Another Day” — doesn’t shy away from that violence, either. There are battle scenes here, split between imported muskets and native blades and clubs, that are staged with ferocious energy. And the script, which Tamahori wrote with Michael Bennett and Shane Danielsen — doesn’t cast Pearce’s Munro as a white savior in the midst of these Indigenous characters, but a human as flawed (if not more so) than anyone else here.

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‘The Convert’

★★★

Opens Friday, July 12, at the Broadway Centre Cinemas (Salt Lake City). Not rated, but probably R for violence, bloodshed, some language and sensuality. Running time: 120 minutes.