Displaying items by tag: Alison Brie

MASTERS OF THE UNIVERSE

US, 2026, 140 minutes, Colour.

Nicholas Galitzine, Camilla Mendez, Idris Elba, Jared Leto, Johannes Hauker Johannessen, Alison Brie, Charlotte Riley, James Purefoy, Dolph Lundgren.

Directed by Travis Knight.

In the 1980s, Masters of the Universe was a Saturday morning television show, a cartoon from Mattei. Then, early in his career, Dolph Lundgren played the central character in a live action version, He-Man.

With the 2020s popularity of remakes of popular shows of the past, here is quite a lavishly produced, 140 minutes version of the cartoon. It might be called a live cartoon version, emphasis on cartoon-styled characters and appearances, performances, idiosyncrasies, very basic dialogue, more than a touch of parody, often setting itself up and expecting the audience to enjoy this kind of adventure.

Masters of the Universe first emerged in the 1980s, the period of Sword and Sorcery adventures rather than an emphasis on superheroes. The hero was He-Man (and, as the new hero starts on his adventures, whom does he encounters but Dolph Lundgren offering advice and challenge!).

This is something of an origin story for He-Man, the background of the kingdom, Castle Greyskull, a very colourful place, some of the trappings gaudy and garish, a King, his queen and little son, Adam, and the expectations of the King that Adam train military fashion, helped by his young friend, Teela, under the command of Duncan, Idris Elba, training the troops.

Then, the invasion, disaster, villain, Skeletor, looking skeletal, played by Jared Leto with a rather rhetorical British accent, and his skeletal and monstrous Lourdes, King and queen, vanquishing the Castle.

The little boy, Adam, is thrust out of the kingdom with the kingdom’s all-powerful sword – but he drops it in a marsh, and finishes up in Oklahoma City, spending 15 years growing up and working in an office, involved in Human Resources, driving many berserk with his continual telling of his story about the search for the sword, threatened by his boss with being fired. But, Adam is now very much a touchy-feely character, pink shirt, a label He/Him on his desk, quietly genial if someone diffident.

But, for fans, all is not lost. Teela finds him, brings him back to the kingdom, training, finding the sword, experience its power, being transformed into a highly muscled and buffed warrior.

Adam is not immediately accepted by the imprisoned members of the kingdom but gradually proves himself, explains that from Human Resources he learned that teamwork is essential and so they prepare to confront Skeletal, lots of battles, Teela often to the rescue, Duncan reviving with energy and leadership, and Adam reconciled with his-father and reunited with his mother.

However, he is transformed and becomes the leader, He-Man, British actor Nicholas Galitzine throwing himself wholeheartedly into playing the genial Adam as well as the warrior He-Man.

This film is an appeal to the fans of old as well as reaching out to the younger generation – but, the scenario and dialogue, the in-jokey references, the touch of parody are very much at the level of enthusiastic 13 to 14-year-old boys.

TOGETHER 

Australia/US, 2025, 102 minutes, Colour.

Dave Franco, Alison Brie, Damon Herriman.

Directed by Michael Shanks.

The couple, played by Americans Dave Franco and Alison Brie, actually married for many years in real life, are together in this film in more ways than we might have imagined. Together is being categorised as an example of Body Horror, audiences noting the success of 2024’s Oscar-nominated, The Substance, with Demi Moore.

It is probably more than prudent to state that some of the sequences later in the film, especially a prolonged and intense encounter between the couple in a corridor, are certainly not for the fainthearted. Nor the climactic bodily togetherness that might make audiences aghast. In fact, for this reviewer, they are sequences so visceral that one finds one’s feet pressing towards the floor to get some steadiness and balance. Which, probably, is a compliment to the director and the creator of the special effects.

While the couple seems ordinary enough, both in their mid-30s, he a would-be musician, she a teacher, they move to a country town so that he can compose and go on tour and she will work in the local school. In fact, the writer-director of the Michael Shanks, is Australian and the film was made in the Dandenong ranges at the edge of Melbourne. There are some attractive forest sequences until they become quite sinister, a frightening pit where a local church for a kind of cultish group sank and disappeared under the ground.

But, there is something askew with Tim, Dave Franco, not quite right, dependent on Millie, Alison Brie. And, when they fall down the pit by accident, and he drinks the water, there are strange transformations and nightmares that he experiences. Milly, on the other hand, his practical but is wary that there is something definitely role with Tim.

A teacher at the school, also a neighbour, Jamie, played by Damon Herriman (who has played some sinister characters in his day, including Charles Manson) who offers support – and, finally, some frightening revelations.

The first part of the film intimates some psychological disturbance which will lead into horror experiences. The second part of the film puts the characters and the audience on edge, especially when the first intimations of the bodies basically connecting and needing to be pried apart. The third part of the film brings in the religious and superstitious beliefs and behaviour behind the horror - with some speculation is based on Plato’s philosophy of human beings, and references to his shadows in caves.

Rather different in story and treatment than might have been expected – and, once again, the caution for audiences that some of the sequences are more than disturbing.

1. The title, love, partnership, marriage? And physically literally interpreted?
2. Themes of body horror, religious cults? Supernatural themes?
3. The setting, the mountains and forests, the opening and the forest and search, the pit in the mountains, the submerged Chapel, the interiors, the religious symbols, the paintings and icons, together?
4. The ordinary settings, house, streets, school, railway station, railway lines…? The musical score?
5. The situation, Tim, age 35, his musical ambitions, moderate success, tours, playing the guitar, technical equipment, lack of self-confidence, depending on Millie? Millie, love for Tim, leaving the city, the on-line chat with her sister giving the situation? Her teaching?
6. Indications of tension, Tim and his mental health, dependence, the party, Millie and the proposal, Tim’s hesitation, embarrassment, indication of things to come?
7. Settling into the house, the decision to go for a hike, getting lost, falling into the pit, the injuries, spending the night, drinking the water, the religious symbols, getting out the next day? The consequences for Tim, at home, the sudden fits, spasms, loss of consciousness, nightmares?
8. Millie, at school, meeting Jamie, pleasant friendship, his visit to the house, the drinks?
9. Tim, Millie driving him to the station, the overwhelming experience, leaving his gear, wandering the streets, to the school, the toilet sequence, the little boy, Jamie, the embarrassment? Millie arriving to apologise?
10. The indication of the physical and psychological togetherness, the lakes together in the pit, the pain of separating, the gashes in their legs, the psychological consequences nightmares?
11. Millie, going to Jamie’s house, for the car keys, talking with him, his knowledge of togetherness, the story of his marriage, the photos of the couple, the video, the pastor, the ceremony, then the reality of the merging, Jamie as the combined couple? Billy and her fear, escape?
12. The physical and psychological impact of the merging into one sequences, in the corridor, the two fighting to keep separate, visuals, visual, the effect on the audience watching this merging?
13. Tim, going to the pit, going down, searching, the together icon on the wall?
14. The two returning, trying to remain separate, hanging on, gradually coming together, their willingness to blend, the visuals of their becoming one character?
15. The parents arriving, the one character coming to the door? The future?

FREELANCE

US, 2023, 108 minutes, Colour.

John Cena, Alison Brie, Juan Pablo Raba, Christian Slater, Marton Csokas, Alice Eve.

Directed by Pierre Morel.

Once upon a time, once upon a Cinema time, the used to be Saturday matinees, especially for children’s audiences. Lots of adventures, heroes, damsels in distress, serials and cliffhangers at the end of every episode…

Those days are long gone but there has been a long tradition since then of action adventures, often impossible situations, strong heroes (and, for some time now, always with guns), no longer damsels in distress – maybe the distress but strong-minded leading ladies who share in the action.

Freelance is one of these films. Some critics sadly will ask why? And audiences answer, why not!

The action heroes that we have become used to, Sylvester, Arnie…, are now in their late 70s (but still seeing themselves as Expendables). Here we have John Cena, in his 40s, big, square-jawed, champion wrestler and still commentator on WWE on film and television. He is more in the tradition of Dwayne Johnson are certainly not as charismatic.

Actually, there is quite a lot of comedy in Freelance. It may remind action movie buffs of Romancing the Stone, or more recently, The Lost City, traipsing through jungles, enemies in pursuit, and some deadpan dialogue. And, speaking of Expendables, some of the action may be considered in that vein.

And, speaking of vain, John Cena as Mason Pettiits, bored after heavy action overseas in his current work as a lawyer, persuaded to take up protecting an ambitious journalist, is not vain. But the president of the fictional Paldonia (think any Latin American country), definitely is. His played by Juan Pablo Raba who is clearly enjoying himself right throughout the film, and this is quite infectious for those who are willing as we enjoy his company – for most of the time very dapper, immaculately clean white suit, always buttoned, no matter what the crisis, no matter the weapons, no matter the danger.

Alison brie plays Claire Wellington, top journalist, award-winning, shamed when exposed is not researching her sources sufficiently, invited by the president to interview him checking with a security company (the head played by Mason’s former colleague, Sebastian, played by Christian Slater – who is eight years older than John Cena, but…). And, filming the coup, the fighting, she has the perfect television program for more awards.

So, it is that kind of film. It does have a contemporary justice moral, the reforms begun by the formally exploitative President, the influence and lobby of South African mercenaries (led by New Zealand actor, Marton Csokas, seen enjoying his little girl ballet dancing to Swan Lake and then, South African accent, becoming a snarling, menacing villain) and international companies wanting to exploit mineral resources for future technology, the battle for the poor and integrity.

Not high cinema, never intending to be, but under the direction of the French Pierre Morel (Taken, to Paris with Love, The Gunmen) it has been made for an enjoyable time off.

1. A blend of action adventure with comedy? Successful?
2. The settings, American military action overseas, the quiet town, home, legal office, the contrast with the big industrial company, and the Latin American country, town, government Palace, interiors, and the countryside? The musical score?
3. The narration by Mason? As a boy, influences when young, ambitions, sense of self, studies, lawyer, enlisting, exhilaration in action, the loss of friends? At home, tensions, his cheeky daughter, his wife impatient? Moving out? At the office, the client and his enthusiasm, the contact from Sebastien, the offer, his taking it?
4. Clare Wellington, seen on air, her reporting, the award, checking her facts, petty jobs, the invitation from the president? The need for protection? Sebastian employing Mason? The meeting, tension, the flight, his watching videos?
5. The political situation, American interventions, the South African company, lobbying, precious metals and exploitation? The opposition and rebels? The president and his nephew as a figurehead for taking over?
6. Juan Pablo Raba as the president, his enjoying the performance, meeting the plane, making everyone welcome, sense of self, the attack, violence and deaths, Mason rescuing them, on the run? His saving them after helicopter raid, his village, his friends, being welcomed? Casual clothes in the interview? His dapper white suit, always buttoned, never dirty, and, ultimately, bullet-proof? His acknowledgement of the past, his change of heart, working for the people?
7. The introduction to the South African colonel, his daughter and Swan Lake? Going into action, his ruthlessness, his squad, mercenaries, ambitions? The pursuit of Mason and the president? Capturing Clare? Confrontations, deals and exchange? Trapping everyone in the village? The setup, the prisoner giving himself up, then all the rebels coming out in support of him, the confusion? At the palace, the invasion, the fights, the secret tunnels, the bullet-proof suit? The death of his nephew? Clare filming everyone? His future secured after his shooting the general behind the coup?
8. Mason and Claire, odd couple, like Romancing the Stone, the adventures, shooting, riding the horses, Mason and his shooting, his war wounds and bad back? Phone calls to Sebastian? The helicopter raid and the pursuit? The discussions with the president, orders to kill him, listening to him, bonding? The action in the palace, the fight with the colonel, success? Returning home, reconciliation with his wife, the daughter – and the big cheque?
9. The background of Sebastian, war companion, all his company, contracts, resources, offloading the South Africans, coming to the rescue?
10. The popularity of this kind of blend of comedy and action?

SPIN ME ROUND

Alison Brie, Alessandro Nivola, Molly Shannon, Lil Rel Howery, Ben Sinclair, Zach Woods, Tim Heidecher, Debby Ryan, Aubrey Plaza, Fred Armisen, Ego Nowdim, Ayden Mayeri.

Directed by Jeff Baena.

Spin Me Around is what happens to the central character, Amber, played by Alison Brie. But it is also what happens to the audience itself.

It all starts rather nicely at a diner in Bakersfield, California, where Amber has been working as a manager for some years, working with Paul (Lil Rel Howery). Suddenly she wins a competition, several managers in the US invited to Italy, to the headquarters of the company running the diners. Naturally, she is excited, never having been outside the US before, arriving in Italy with some of the other managers and being taken past a mansion but then being put in a second-rate hotel, her view from her room the garbage bins!

Seven of the managers are women, fairly glamorous, except for Debs, played in caricature style by Molly Shannon. The other two are men. They are to participate in a course on cooking. And so it goes, but…

Amber is spun around when she encounters the chief of the company, Nick, Alessandra Nivola on his yacht, questioning her, making approaches, but leaving her in the hands of his manager played by Aubrey Plaza. We gradually realise, as does Amber, that the whole trip is a set up, affluent Italians with a kind of Dolce Vita lifestyle, especially changing sexual partners, for the American women to become part of this. The irony is that the two men who caused some problems had been thought of as women because of their names, Fran and Dana.

Some black comedy, but some moral issues for Amber, the attraction of being picked out and then discovering that some of the other girls, the experience of the unmasking, her decision to return home, even resisting a visit from Nick, making a very strong Me Too#choice, and standing up for herself.

The film was written and directed by Jeff Baena along with Alison Brie. Baena is married to Aubrey Plaza and his work with her in other films as he has with Alison Brie and Molly Shannon.

Not what we were expecting – but another perspective on contemporary society and moral choices.

1.     The title? The media of the title, Amber?

2.     The US, Bakersfield, California, the town, the restaurant? The contrast with Italy, the range of cities visited, names on screen, Pisa, Lucca, Pistoia…? The Italian countryside and drives, the mansions, the drab hotel, restaurants…? The musical score?

3.     The atmosphere of the Italian fairytale, Amber, her very ordinary life, the gift of the trip, travelling outside the US? The conversation with her friend, possibilities for romance? And nine years, her boyfriend taking her money, the collapse of her planned restaurant? Careful?

4.     The competition, the commercial with Nick, Italian style, cheap prices, his charm on the screen? The competition, the winners, going to Italy, the course, all-expenses-paid?

5.     Pisa, the airport, Craig and his meeting the group? The initial introductions? Amber, charm? Jen, Susie, American styles? Molly Shannon as Debs, losing her luggage, talking in the car, her behaviour, eccentric, married, on the lookout for something more, borrowing Amber’s clothes, her behaviour with the group, more and more eccentric? The two men? Their names? Driving past the mansion, but going to the hotel, the window looking out on the bins?

6.     Craig, leadership, the course, the chef coming in for two days, Fran and his wanting to show off his skills? Nick’s arrival, kissing the women, Amber on the lips, the men, Dana and his adulation? The presence of Cat, in the background, observing, Nick’s assistant?

7.     The poor programming of the course, the cooking demonstrations, showing Life is Beautiful, the inattention of the girls during the sessions? Craig and his behaviour?

8.     Cat, friendly with Amber, taking her out, the cover of the migraine, Craig colluding, on the yacht, with Nick, his probing questions, earnest responses, the romance and her response? Cat picking her up, the return? The later contriving to meet with Nick?

9.     The other women, unwell, time off? The two girls with the drugs?

10.  The invitation to the party, Taking Amber for the expensive dress fitting? Wearing it to the party, Rick, his wife, his son and his wife and her jealous tantrum? Nick, his charm, dancing? But Amber and her suspicions? Fleeing with cat, cat and her amorous advances, cheating the restaurant owner with the food?

11.  The invitation to the party, the tawdry atmosphere, Craig as MC, Nick and his presence, the presumption that Amber was willing to be part of this? Her leaving?

12.  Going suspicions, Debs and her behaviour, Dana joining with Amber to discover what was happening, the background of the wild pigs, the attack, his seemingly dead? Debs’ reaction?

13.  The expose of the party? The pigs and the attack, the police, the arrest in interrogations? Dana not dead?

14.  The shift in the film from the holiday, to the romance, to suspicions, to exploitation, black comedy, sexuality, expose?

15.  The group going home? Amber back to normal?

16.  Nick and his visit, the allure, the invitations, Amber and her stances, her decent stand against Nick? The American woman, asserting herself, the attempted seduction, the issues of sexual harassment, #MeToo, Amber and self-worth and integrity?