The Green Knight (2021) - Quiet On Set Podcast Review

The Green Knight tells the Arthurian legend of Sir Gawain, King Arthur's nephew who embarks on a venturesome quest to hold up his side of a bargain he made with The Green Knight.

Lowery takes us on a constantly morphing quest of Sir Gawain's self-actualization. When broken down the film is not much more than a long journey in which our hero has to face challenges to get to his destination. Now, what makes The Green Knight so captivating is that (minor spoilers incoming) at the end of his journey all that is waiting for him is death.

After reading up on the legend I realized that Lowery takes quite a few liberties to adapt this story to make it his own. What initially got me so interested in The Green Knight was the incredible looking cinematography. Especially in the first act of the story, which mainly takes place inside dimly candle-lit chambres in a castle, the screen is actually very dark. I can really appreciate a director's vision that does not shy away from creating a simultaneously authentic and stylized fictional world. Palmero, the cinematographer, manages to draw me in through the numerous still shots that last seemingly forever at times but work very well to support the theme of life as this agonizing force.

Dev Patel as Sir Gawain

Further, colors are very purposefully used to support recurring motifs and themes. Most prominently green and red. Now with all the praise that I have given the film so far, I also have to mention that I often felt quite lost with what exactly was going on. On one side I am quite content having gone into this without knowing much of anything about the story of Sir Gawain, but at the same time, I felt lost a lot.

There were a lot of details I would love to pay more attention to on the inevitable rewatch, but for now, that is all I have to say about The Green Knight without going into spoiler and a full-on analysis.

I believe that much like The Lighthouse, A24 once again has a very polarizing film in its hands. Some people are going to adore it, others will hate it oh so deeply and passionately.

Dev Patel as Sir Gawain

Dev Patel plays Gawain with a charming naivete as he tries to fit in and find his place in the world. All of the supporting cast from Vikander to Harris and Edgerton are phenomenal in their roles. I kinda quite put my finger on it but Ralph Ineson as the Green Knight is such an imposing force that cannot go unmentioned.

At the end of the day, The Green Knight was filled with riveting themes that have crept themselves back into my mind for the last two weeks. Nature vs. civilization, responsibility & integrity, and coming-of-age.

8/10

Ralph Ineson as the Green Knight

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Judas and the Black Messiah (2021)

Review on Quiet on Set Podcast HERE

Shaka King tackles the story of Fred Hampton, the deputy chairman of the Black Panther Party in this historic Drama-Thriller accurately titled JUDAS AND THE BLACK MESSIAH. The Warner Bros production hits theatres on February 12 (wherever they’re open) and will be available to stream for 30 days on HBO Max. Judas and the Black Messiah focuses mainly on Bill O’Neal, an informant who is forced to work with the FBI to escape from a decade-long prison sentence for impersonating an officer and lifting cars. He soon finds himself in the midst of the already exhausted Civil Rights Movement that suffered the loss of Malcolm X and Martin Luther King Jr. just a few years prior.

Daniel Kaluuya (left) as Fred Hampton & Lakeith Stanfield (right) as Bill O’Neal

Lakeith Stanfield plays the conflicted and often helpless Bill O’Neal with phenomenal moral ambiguity as he climbs ranks in the Black Panther Party and thereby increasing his value to the federal agencies. Stanfield has a way of portraying his multilayered and complex character with his eyes alone which does a great deal in humanizing what many simply regard as a sell-out, betrayer, or a Judas. Daniel Kaluuya IS Fred Hampton. He absolutely nails this performance on a level that is on par with Denzel Washington in Spike Lee’s Malcolm X (1992). Hampton is young, driven, and selfless. A man on a mission. King doesn’t shy away from presenting the radical side of Hampton or the Panthers either.

It balances the ambiguity of characters’ intent and results quite effectively. As a result, whatever atrocities and injustices were committed, we have history to look back onto to judge who was right or wrong. Hoover, for instance, played by Martin Sheen, is simply a clear-cut villain from start to finish, which accurately displays this monster of a man. The far more interesting dynamic and dramatic tension comes from Fred and Bill as they grow a bit closer. To its own benefit, the film never falls into traps of sentimentality or overdramatizing events and allows this to be a thriller that has you tensed up even if you are aware of the ultimate devastating outcome of Hampton's way too short a story. Jesse Plemons as FBI agent Roy Mitchell, Bill O’Neal’s contact person, has his own smaller arc in the form reversed version of Bill’s journey.

In addition to a quite successful second feature directing effort, Shaka King furthermore delivers a fantastic original screenplay with Will Berson, Kenneth Lucas, and Keith Lucas as his collaborators. The frequent Steve McQueen collaborator Sean Bobbit (12 Years A Slave/Widows/Shame/Hunger) packs award-worthy shots into the tightly structured narrative and Sam Liscenco’s (Uncut Gems/Good Time/Eight Grade) Production Design reanimates late 60s Chicago in a stunning manner. 

Judas and the Black Messiah doesn’t take your hand along the way and avoids dumbing down characters based on real people for a simpler plot. There might not be a courtroom full of people clapping, seemingly creating a false sense of having overcome a complex and layered issue. (Trial of the Chicago 7). Judas and the Black Messiah, on the contrary, packs a devastating real ending after Fred’s already exasperating assassination that left me speechless and depleted.

Daniel Kaluuya (top) as Fred Hampton & Lakeith Stanfield (center) as Bill O’Neal during a powerful speech

Shaka King’s Judas and the Black Messiah packs the best performances from both Stanfield and especially Kaluuya in addition to being a thrilling portrayal and humanization of an iconic figure from the Civil Rights movement. Additionally, it’s a dire reminder of the countless criminal and ruthless acts committed by the FBI.

4/5

EMMA.

After Clueless (Amy Heckerling, 1995) comes Autumn de Wilde’s adaptation of the Austen novel Emma. The explanation for her stylized title ‘EMMA.’ is, so de Wilde to RadioTimes, “There’s a period at the end of Emma because it’s a period film”. So it is only right that this version of Emma is set in its original setting; England in the early 19th century.

Spoiled young woman Emma lives with her widowed father (Bill Nighy) alone in a big country house in Highbury. In her daily boredom, she soon discovers that she can entertain herself by playing matchmaker. She engineers the marriage between her beloved governess and a widowed man. But as she is now deprived of the only motherly figure she knows, she turns her attention to naive girl Harriet Smith, whom she declared her companion. Despite knowing that Harriet is in love and courted by a local farmer, Emma coaxed her into refusing Mr. Martin and instead orchestrates a relationship between the vicar Elton and her, whom Emma thinks more fitting. The plot thickens when Emma is soon made aware of the fact that not all her arrangements will work out in her favor. Her neighbour and brother-in-law Mr. Knightley is the only one to be mindful of her vanity and naiveté. At that same time, Emma finds herself attracted to good looking Mr. Frank Churchill, while it is rumored that Knightley himself is taken by the accomplished Jane Fairfax. Being at the center of all these events, Emma gets tangled up quickly.  Capering about in the lavish society, she is ultimately confronted with the question of growing up, assuming responsibility for her actions and finding her place in the world. 

Autumn de Wilde’s directorial debut puts a quirky, rom-comesque spin on the already comedic original story. Watching this film wasn’t a completely different experience than watching Clueless, apart from the admittedly gorgeous setting and decor they pulled off. At times it actually felt like they recast Clueless and then had them dress up and talk fancily. In a good way though. It is definitely an enjoyable film, albeit not outstanding. The cast was splendid, with Bill Nighy portraying a valetudinarian old man (quite honestly one of his better roles) and Johnny Flynn being his cuddly and adorable self through his character of Knightley. 

De Wilde artfully juggles with banter and benevolent bestialities to deliver a nicely dressed up film. 

If you have read the novel it is definitely fun seeing this film I believe. And if you have loved and worshipped Paul Rudd in Clueless as I have growing up (still do tbh), then don’t worry, Johnny Flynn (almost) does him justice. I think you don’t even have to love period pieces to like this film.

Should I see Emma? Go see it if you wanna know what this famous novel is about (always good to know what people are talking about) and like a quirky movie.

★★★☆☆

Film Release (Switzerland): 5.3.20 - Film Release (Australia): 13.2.20 - Film Release (USA): 6.2.20

Film Data: Director: Autumn de Wilde - Writers: Elanor Catton, Jane Austen - Cast: Anya Taylor-Joy, Johnny Flynn, Bill Nighy, Mia Goth, Josh O'Connor, Callum Turner, Rupert Graves - 124’ - 2020 - UK - Universal Pictures

Photo and Video: © Universal Pictures International Switzerland. All Rights Reserved.

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About Endlessness by Roy Andersson

A waiter that forgets that he is pouring wine and lets it run over the glass and onto the neatly ironed tablecloth. A woman in a train station taking off her shoes, because the heel is broken. A caring father who stops in the pouring rain to tie his little daughters shoe laces. These are some of the scenes that stuck with me for a while after seeing this film. Roy Andersson’s new film About endlessness (Om det oändliga) is a manifesto of human existence. 

In the 76 minutes we are presented with thirty-two static shots. If we go along with the mythological analogy of life being a thread, then Andersson weaves a whole tapestry with his thirty-two threads. Because even if every single shot would work as it’s own little universe, they all still depend on one another to make up that thing we call living. Seemingly banal scenes from everyday life follow one another, one not given more attention than the other. They are all roughly of the same length so that a scene with german soldiers marching towards their death sentence is given the same weight as a woman enjoying champagne in a restaurant. And that is exactly Andersson’s statement; in the big tapestry that I will now call existence (because analogies), both scenes have always existed right next to each other, they both happened all the same, one as absurd as the other. 

In a scene where a highschool boy explains the theory of thermodynamics to his friend, Andersson slips us a possible explanation for his film. “You are energy, I am energy, and both of our energies will never cease to exist; they can only be transformed into something new.” So in his movie, Andersson moves from scene to scene will all of them constantly being transformed into something new in front of the backdrop the notion of ‘endlessness’, because ultimately ennui will always be the same, doesn’t matter what form it is portrayed in. 

However, Andersson’s film is not necessarily a pessimistic one. We recognize the beauty in the bleakness and the sublime in what is senseless. “Isn’t it all still fantastic?” “What do you mean?” “All of it.” (oh hey, a scene where the sentimentality doesn’t bother me for once but actually fits perfectly)

As well as introspective, this film is deeply comedic too. You can’t help but chuckle at the sheer pointlessness. You laugh because you’ve been there, you realize how utterly ridiculous it all is in the end. A good moment was, when the panicked priest who lost faith in God gets shuffled out of the doctor’s office because they’re closing and the psychiatrist has to catch the bus - with endlessness and a never ending time frame being the whole theme of the film. 

While watching the film I kept asking myself: “How is he going to end this film, how does one even do that?” Turns out, exactly like that. I think Andersson couldn’t have closed the ‘story’ better than the way that he did. Because, as is shown in different scenes during the film, we are always on our way, quite literally and metaphorically. We are on trains, we wait for buses and we walk to birthday parties in the pouring rain. Maybe we are on our way to realizing what we believe in or, more fittingly, do not believe in. And, sometimes, we just get stuck in transit.

So should you go see this film? Yes absolutely. Go in with the expectation that this is going to be a slow-paced, bleak-coloured and quiet little film and you will love it. Maybe not. But please do and don’t tell me if you didn’t. Goodbye (yes, this is to be read as a quote from the film)

★★★★☆

Release Date (Switzerland): 05.03.20 - Release Date (US): 12.06.20

Film Data: Director: Roy Andersson, Writer: Roy Andersson - Cast: Magnus Wallgren, Lisa Blohm, Kristina Ekmark, Martin Serner, Jessica Louthander, Tatiana Delaunay, Anders Hellström - 76’ - 2019 - Sweden/Norway - Xenix Film distribution

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Mare

Mare lives an ordinary life in the rural part of Croatia. She loves her family, but she also strives for more freedom and self-determination. Her husband works at the local airport, but nevertheless, Mare has never flown anywhere her entire life. Similarly, her family life is not satisfying and it gets quite stressful with three teenage children and a husband that is not the best at communicating. When a young man suddenly enters Mare’s life, he reanimates her joie de vivre and consequently turns her world upside down.

Marija Škaričić

The ‘Zürcher Hochschule der Künste’ graduate Andrea Štaka (Das Fräulein, Hotel Belgrad) writes and directs her fourth feature film and reunites with Marija Škaričić (A Wonderful Night in Split, What is a man without a Moustache?) as the lead. Marija Škaričić won best actress for her performance in Andrea Štaka’s Das Fräulein at the Sarajevo Film Festival.

Mare premiered at the 70th Berlin Film Festival in the Panorama Section. The film was shot in a small town of Dubrovnik in Croatia and a Swiss-Croatian production.

Director Andrea Štaka

Even though I usually enjoy slow-paced films, I could not help but feel a bit bored with Mare. There is quite a bit of repetition of similar scenes that capture the mundanity of everyday life, but ultimately are rather meaningless to the overall story. This gave me the impression of simply ‘filling up time’ instead of moving the characters or the plot along. The performances from the primary and secondary characters were all fine. I was positively surprised by the actor that played Mare's oldest son, who kept on walking the thin line of almost over-acting without ever actually fully crossing it.

As the first few scenes of the film play out, you might wonder why it looks so old and grainy. Turns out the film was entirely shot on 16mm film on the Arri 416. The aesthetic grew on me and gave it the raw realness Štaka was going for.

Marija Škaričić, Goran Navojec

I left the cinema rather disappointed for a reason that I cannot fault the movie too much. It is, however, a slight spoiler, so if you wish to go into this without knowing anything more then the premise, skip ahead to the rating now. 

There is no real conclusion to the main conflict. All parties are just there - partly aware of what is going on - and then it just ends. I get that the inconclusiveness of an open-end is supposed to reflect real life, but I find it frustrating after seeing plenty of thematically similar scenes that were leading to a more active confrontation. 

If you enjoy slow-paced films with down-to-earth realistic characters then Mare just might be for you.

The film will be in Swiss theatres on March 12th.

★★⋆☆☆

Film Date: Director: Andrea Štaka - Writer: Andrea Štaka - Cast: Marija Škaričić Goran Navojec Mateusz Kościukiewicz Mirjana Karanović Ivana Roščić Zdenko Jelčić - 84’ - Croatia/Switzerland - 2020 - Distributor (CH): Frenetic Films

Photos and Video rights: FRENETIC FILMS and Ona Pinkus

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Sonic The Hedgehog

INT. HOW IS JIM CARREY MORE OF A CARTOON THAN SONIC - DAY

Sonic, The Hedgehog is yet another video game to movie adaption with so many bugs. The film follows Sonic (Ben Schwartz) and Tom Wachowski (James Marsden) on a road trip to San Francisco to collect Sonics rings (those rings being the way that all intelligent life travels in the universe, duh.) The Two, are hunted down by Doctor Robotnik AKA Doctor Eggman (AKA Jim Carrey) aided by his army of drones, multilevel cars, super-intelligence and sex appeal (I may have made that last part up, but it’s Jim Carrey in a suit and he dances really well in one scene.) Sonic, the (re)animated wonder of the internet, is a loveable protagonist who, as I stated before, is a character that has adapted really well to the big screen. Tom Wachowski, played by James Marsden, is a small-town cop who wants to live his dream of being a city cop even if most of his dreams probably come from his love of 90s action flicks. Yet, the character is stale and boring. But the standout performance is the animated (not that kind of animated) Jim Carrey as Doctor Robotnik AKA Doctor Eggman, who just seems to be having fun with the role. Sadly though I believe his performance doesn’t fit the film, while it’s a delight to watch and you can see him enjoying the character, his ‘cartoony’ performance doesn’t match the tone of the film. This is in no way Carrey’s fault, I can’t see anyone else playing this character, it’s the fact that the film is slow, has no style and has a number of basic continuity issues that were very jarring. But to tear this film apart I think we should start at the beginning. Yes, all the way back to trailer number 1. 

Sonic in the controversial old design from the trailer back in April 2019

For those who missed it, this film originally had a different design for Sonic which caused the internet to literally lose their shit at Sega and anyone involved with this film. The film went away for a while to redesign Sonic and later returned to the praise of the internet for listening. Sadly though a point that’s often missed, is that the animators and team behind the reanimation were underpaid and overworked and ultimately the VFX studio shutdown. I think that while the film was being ‘recooked’ they should have also looked at it as a whole, but they seem to have just fixed the singular problem of Sonic not looking like Sonic. In turn, the film suffers from a few editing issues, mostly related to continuity with the jarring moment coming from shots, seemingly taking place multiple seconds one after the other. For example, there’s a small drone from Dr. Eggman that is slowly removing the roof of the car that Tom and Sonic are in with a laser; in one shot the drone is halfway through the front and then in the next shot, it’s on the driver’s side door. This error was very noticeable to me (obviously as a filmmaker you pick up on these things, however, people I was with didn’t pick up on it until I brought it up.)

Fixing the visual look of the character seems to be the only thing they focused on because while Sonic is fun and so is Dr. Eggman, the film isn’t. It’s a slow drag and fails to grab you at any point throughout its runtime. We have no stakes so I really couldn’t care if Sonic doesn’t get his rings and I couldn’t care less if Eggman gets Sonic, the only reason I care isn’t from anything the film sets up. It’s because I’m a fan of the games. Similar to how Birds of Prey kept me engaged by breaking peoples knees (yes, I’m that easily entertained), Sonic is a fun, exciting character and I think that the kid inside of me is remembering all the ‘Sonic Unleashed’ memories. Fans will get excited to see Sonic on screen, and they should be proud that their character is the best adaptation of a video game character to date. 

While having a slow and boring story, jarring continuity issues and a no stakes, Sonic and Eggman make it fun, most scenes with Carrey are a delight to watch and it’s enjoyable to see my childhood memories on the big screen. I wish I could give it a higher rating but as a film, it’s bad, as a kids film, it’s bad, but as a love letter to Sonic, it’s still pretty bad but at least they made Sonic look like Sonic. 

FADE OUT. 

★★☆☆☆

Release Date (Switzerland): 12.02.20

Release Date (Australia): 13.02.20

Film Data: Director: Jeff Fowler '- Writers: Josh Miller, Patrick Casey, Oren Uziel, Van Robichaux, Evan Susser - Cast: Ben Schwartz, James Marsden, Jim Carrey, Tika Sumpter, Lee Majdoub, Frank C. Turner, Adam Pally, Natasha Rothwell - 99’ - USA - 2020 - Paramount - Sega

Photo and Video: © 2020 Paramount Pictures. All Rights Reserved.

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Horse Girl

Horse Girl is Writer and Director Jeff Baena’s fourth feature film and launched on Netflix this Friday after premiering at the Sundance film festival in late January. This is the second collaboration between Baena and lead Alison Brie after 2017’s The Little Hours. Horse Girl tells the story of a socially awkward woman with a fondness for art and crafts, horses and supernatural crime shows who increasingly finds herself in ludic dreams that trickle into her waking life.

Alison Brie mentioned in interviews that she was inspired to write this story because of her personal family history of mental illnesses. She questioned if her relatives' conditions could suddenly spark up in her as well. Brie’s performance comes across as genuine, raw and honest. The film, however, is never able to match her performance and dedication. Most secondary characters are one dimensional and never serve a more important purpose function than illustrating Sarah’s (Alison Brie) social awkwardness and lack of self-awareness.

The movie starts off somewhat grounded and reasonable but shifts gears in the latter half towards a crash of an ending. The introduction of our protagonist Sarah, a saleswoman at a crafts store called Great Lengths also takes a great length to introduce us to her unusual quirks and daily life structure. At that point, it becomes clear that the story is relatively slow and panders in awkward social encounters for the sake of awkwardness and spends time on a love interest subplot that does not lead to a meaningful conclusion.

Throughout the film, there are a few hints of good ideas and concepts, but they either get abandoned or lose focus in the often stagnant plot progression. Horse Girl is a sad movie about loneliness and susceptibility to extremist ideas when one’s own sanity is questioned. The basis for an introspective Indie film about mental health is given. The film, however, panders in boring subplots and a confusing main plot that switches genres from a Drama to a Sci-Fi Thriller out of thin air in the third act.

Debby Ryan as Nikki, Jake Picking as her boyfriend Brian and John Reynolds as Darren were all fine but suffered from bad writing for their characters. Especially Darren was quite inconsistent and just a plot device to show Sarah’s rapidly increasing deliriousness. The rest of the cast is good as well, but no one as captivating as Alison Brie’s performance.

Should I see this film? I would not recommend this film to anyone other than fans of Alison Brie as her performance is the best part of the movie. See these movies instead as they deal with mental illness in a more interesting way: One Flew Over the Cuckoo’s Nest, Shutter Island, What’s Eating Gilbert Grape or Fight Club.

Horse Girl is a sad movie about loneliness and susceptibility to extremist ideas when one’s own sanity is questioned. The basis for an introspective Indie film about mental health is given, the film, however, panders in boring subplots and concludes in a messy nonsensical open-to-interpretation finale.

★★☆☆☆

Release (Global) 07.02.2020

Film data: Director: Jeff Baena - Writer: Jeff Baena, Alison Brie - Cast Alison Brie, Debby Ryan, Stella Chestnut, John Reynolds, Molly Shannon, John Ortiz, Hazel Armenante, Jay Duplass - USA - 2020 - Netflix

Video and Picture Source: Netflix Switzerland All Right Reserved

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Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)

Birds of Prey (And The Fantabulous Emancipation of One Harley Quinn) is director Cathy Yan’s first feature-length debut and Margot Robbie’s return to Cupic Of Crime herself, Harley Quinn. The film takes place in the loosely connected DC cinematic universe in which the critical flop Suicide Squad introduced Margot Robbie as Harley Quinn. This is really her film and even though the titular team of Birds of Prey was the advertised focus of the movie the majority of the runtime is spent with all of these characters either working against or separate from each other. At this point, it should be mentioned that if you want to go into this film without knowing anything about the plot, be warned, there might be slight spoilers ahead.

Alongside Margot Robbie as Harley Quinn, there are the three members of the Birds of Prey with Mary Elizabeth Winstead as Huntress, Jurnee Smollett-Bell as Dinah Lance/Black Canary and Rosie Perez as Det. Rene Montaya. Although as mentioned before, there’s not a lot of teaming up in this film. It reminded me of Deadpool 2 and that brief fake-out X-Force team-up. X-Force (and the Electrifying Vanishing of a Brad Pitt cameo). Birds of Prey shares quite a few things with the plot and character of the second Deadpool installment. The often unreliable narration with frequent time jumps and freeze frame exposition dumps, a kid being hunted that needs protecting, and a group of misfits teaming up. But at least Harley wasn’t as persistent on the pop culture references.

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Margot Robbie’s charismatic performance and the highly stylized and surprisingly violent fight scenes are the most entertaining aspects of the movie. Even though the overused slow-motion speed ramping does become noticing at times. From Harley Quinn’s psychologically unstable perspective we get an unreliable narrator that jumps back and forth in time as a reflection on Quinn’s incapability to focus on telling a story from beginning to end. Or it might be a way to make this rather simple plot appear to be a bit more than just a dragged out MacGuffin chase featuring one-dimensional secondary characters with motivations like ‘oh no don’t kill the neighbor kid’ or ‘revenge’. Even the most interesting character, which was Winstead’s Helena Bertinelli aka Crossbow Killer aka The Huntress, ended up becoming a comic relief character and wasn’t used up to her true potential.

Birds of Prey left a rather underwhelming impression on me. However, I have to say that Ewan McGregor seemed to have had a blast overacting in every scene he was in. It was honestly the most consistently funny thing for me in the film. When it comes to his character Roman Sionis aka Black Mask there’s not much to mention other than a statement I have previously made about the poking fun at stereotypical movie tropes: just because you acknowledge that your writing is lazy and bad doesn’t make it funny or original.

Child actors are a pet peeve of mine. It wasn’t just the scenes with Ella Jay Basco’s Cassandra Cain that fell flat most of the time. There’s a scene with Ewan McGregor in which his insanity is supposed to be showcased, but all it made me do is cringe and laugh because it was so awkward and misplaced. For Cassandra Cain, the laughable over-the-top acting isn’t an option because her role is to ground Harley and everyone else and be the audiences’ vessel to sanity. But her acting is just straight-up bad and took me out of the story multiple times.

The story goes the way you expect a story like this to go and although I enjoyed the explosion of colors with green and pink everywhere the tonal inconsistencies were too frequent to turn a blind eye.

Should I watch this? If you are been entertained by the likes of Deadpool or got a least a pinch of enjoyment out of Suicide Squad there’s a good chance you are going to enjoy returning to Robbie’s portrayal of Harls. If you, however, disliked the above-mentioned movies I’d suggest skipping this one. It’s fun, dumb and entertaining.

★★☆☆☆

Birds of Prey ranks somewhere in the middle of the post-Nolan Dark Knight trilogy DC movie universe. Most performances are decent at best and the predictable and formulaic plot renders the movie forgettable.

Swiss Release Date: 06.02.2020

Film data: Director: Cathy Yan - Writer: Christina Hodson - Cast: Margot Robbie, Mary Elizabeth Winstead, Ewan McGregor, Jurnee Smollett-Bell, Derek Wilson, Steven Williams, Chris Messina, Charlene Amoia, Rosie Perez, Ali Wong - USA - 109’

Video and Photo Source: © 2020 Warner Bros. Ent. All Rights Reserved.

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