Tag: Tom Hiddleston

  • Surreal dramedy The Life of Chuck ponders life and death | TIFF 2024

    Surreal dramedy The Life of Chuck ponders life and death | TIFF 2024

    TIFF 2024 | The Life of Chuck follows an enigmatic man starting as a surrealist meditation on existential dread and ending as a life-affirming portrait of youth.

    The Life of Chuck is a dramedy that ponders existential dread through surreal comedy (and a dance number!). A philosophical pondering of the moments that add up to a life set against the temporariness of it all. Airy, abstract but entertaining, it may be polarizing but will deeply move many.

    The Life of Chuck premiered at the 2024 Toronto International Film Festival. It is seeking distribution.


    At the beginning of The Life of Chuck we learn California has sunk into the sea, Florida is underwater and the internet has gone out (maybe for good). But somehow the most inexplicable occurrence in the small town where teacher Marty Anderson (Chiwetel Ejiofor) lives is a billboard that’s seemingly appeared out of thin air with the words “Charles Krantz. 39 great years. Thanks Chuck!” scrawled across it and the photo of a clean cut bespectacled man behind a desk. It begs the question from the townsfolk: who the hell is Chuck?


    ADVERTISEMENT


    Unfolding in three distinct acts, The Life of Chuck is a time and universe hopping story about, well, the life of Chuck based on a short story in Stephen King’s novella collection If It Bleeds. However, in the first act—labeled as “Act 3”—we have no clue who he is. As the world around Marty slowly falls more and more into disarray, he remarks that both marriages and divorces are up. It’s partially what spurs his ex-wife Felicia (Karen Gillan) to call him up amidst the quiet chaos of the end of the world. They talk about whether more people are getting married or divorced in the face of their demise and how in the concept of the Cosmic Calendar by Carl Sagan that explained if the existence of the universe were conceptualized as a single year, humans would occupy just the last few minutes of December 31st.

    It’s the kind of existential pondering that the movie itself tussles with. What does it mean to exist? Does it matter when we occupy so little space and time? Why do advertisements thanking Chuck keep popping up? As the final moments of the world approach, and Marty and Felicia find comfort in each other, images of Chuck begin to appear in the window of every house on the street. Marty jokes that it’s the world’s final meme before blinking out completely and we careen into “Act 2.”


    ADVERTISEMENT


    When we finally meet Chuck (Tom Hiddleston), underscored by narration by Nick Offerman, he’s much more human than his larger-than-life portrayal in the first act. In fact, he’s the most human thing imaginable: an accountant. We also meet a busking street drummer (Taylor Gordon), who we learn recently dropped out of Julliard, as she sets up for the day playing at an outdoor mall and a young woman crying over a break-up (Annalise Basso). The trio all cross paths in front of where the drummer set up her kit for the day. Instead of walking past, Chuck starts to dance. 

    It’s one of those moments that feels like movie magic. The kind that puts a knot in your chest. Not because you understand the feeling, but because you don’t.

    The third part of the movie, labeled “Act 1,” brings us back to Chuck’s childhood. It pulls together all the threads of the story that have remained loose and unpacks the enigma that is chuck. From school dances to early losses to days living with his kooky grandfather (Mark Hamill). While the magical surrealism of the first two acts carries over in some ways, the story becomes grounded in something real. If Chuck was a mysterious otherworldly figure in act three and an enigmatic human in act two, then he’s simply Chuck (played by young actors Benjamin Pajak, Cody Flanagan and Jacob Tremblay) in act three.


    ADVERTISEMENT


    We follow him as he navigates loss, grief and, of course, the horrors of middle school as he discovers who he is. Where the first two acts were abstract and airy meditations, this one feels more trite—for better and worse. While the earnest lessons are admirable, I longed for the most obtuse meditation from the start of the movie that felts more like Charlie Kaufman (Eternal Sunshine of the Spotless Mind and I’m Thinking of Ending Things) or David Lynch (Mulholland Drive). Your mileage with where the story go will vary. But watching Chuck navigate the highs and lows of childhood is admittedly charming.

    The Life of Chuck is about how all the little moments where our lives intersect or divert or run parallel to others eventually lead to, in the case of Chuck, thirty-nine great years. It’s not the big moments or notable accomplishments, it’s the way your mom danced while making breakfast or that drummer you heard on a business trip or one of your grandfather’s ramblings. While it never feels quite as big as it should, that just might be Stephen King and Mike Flanagan’s point. 


    ADVERTISEMENT


    More movies, less problems


    Hey! I’m Karl. You can find me on Twitter and Letterboxd. I’m also a Tomatometer-approved critic.

    💌 Sign up for our weekly email newsletter with movie recommendations available to stream.


    ADVERTISEMENT


  • Thor: Ragnarok review — Funny, quirky, the best Thor movie yet

    Thor: Ragnarok review — Funny, quirky, the best Thor movie yet

    Thor: Ragnarok is a quirky and hilarious departure from the usual Marvel fare that feels fresh and possibly one of the best movies the studio has put out

    The Thor sect of the sprawling Marvel Cinematic Universe needed a life saver change after two middling movies that are among the least critically successful movies that the franchise has produced. Well, that lifesaver came in the form of a disco-infused, neon colored shot delivered by director Taika Waititi. His last movie, Hunt for the Wilderpeople, was among my favorites last year and one of the most inspired comedies of the last decade or so. So it’s not surprising that Thor Ragnarok succeeds mainly as a comedy. However, this retro-fitted isn’t just a Guardians of the Galaxy rip-off like it might seem on the surface. Ragnarok succeeds because it has personality. It’s characters come off the screen and become more than just a few well-delivered one-liners. No offense to the Guardians of course.




    The plot of Ragnarok sounds like typical Marvel fare, which usually involved some world-ending event that needs to be stopped. Following Age of Ultron, Thor (Chris Hemsworth) goes out to investigate the apocalyptic dreams he’s been having, which turns out to be the eponymous Nordic legend that foretells the destruction of Asgard. However, in the first scene, which starts with Thor, chained up in a cage, in voiceover saying: “You might be wondering how I got here…” It harkens back to the 80s films that Waititi clearly found inspiration in, but more importantly, it tells the audience this is not just going to be fun. It’s going to be silly fun. After seemingly stopping Ragnarok — refreshingly at the beginning of the movie rather than the end — Thor returns to Asgard to learn that Odin isn’t there and is instead on Earth, dying. With the help of Doctor Strange (Benedict Cumberbatch in a hilarious cameo), he tracks his father to Norway where he learns that when Odin dies, Thor’s evil sister Hela (Cate Blanchett), goddess of death, will be freed from the prison she was locked away in. And she’s pissed.

    Blanchett slips perfectly into the universe as this deliciously evil villain partially because she isn’t afraid to ham up her line deliveries, strut her way between brutal killings, and do everything but twirl a mustache. But it’s what this movie needs in its villain. It needs someone that the audience is going to hate, but love hating her. Hela quickly disposes of Thor and Loki (Tom Hiddleston) and makes her way to Asgard and begins her take over. Meanwhile, Thor wakes up in a garbage dump in the planet of Sakaar. This planet, which embraces every color of the rainbow, is what I had been hoping to see from the Thor franchise. Of all the Marvel superheroes, Thor is the only one, other than the Guardians, that has a world that could be built any way that the creators want. And instead, the first two movies opted for New Mexico and London. Here, Waititi fills the world with hilarious and quirky characters — Rachel House is hilarious as a bodyguard and Waititi lends his voice to the pebble-brained Korg — head by the Grandmaster (Jeff Goldblum, wonderful in his usual Goldblum way).

    From there, the movie follows Thor as he attempts to find a way to escape the crazed dictator and finds help from Valkyrie (Tessa Thompson) and Bruce Banner aka the Hulk (Mark Ruffalo). Many of the scenes on the planet are served with Waititi’s usual offbeat humor that works so well and will have you laughing nearly nonstop. The jokes come as often as the action and give the movie a personality and rhythm that none of the others have had.

    Hemsworth seems to have finally found the director that meshes with his natural comedic sensibilities that were hinted at in Ghostbusters. Thor, often seen as the most boring Avenger, is allowed to be the comedic force behind this movie and Hemsworth takes up the duty with flair. And that allows the supporting cast to truly have shining hero (and villain) moments. Most notably, Heimdall (Idris Elba), who has been stealthily sheltering the people of Asgard, finally has a storyline worthy of his actor. In watching the first two Thor movies in preparation for this film, one thought carried through to both: why doesn’t Elba have anything to do. Well, that is certainly rectified in this movie. While his screen time isn’t great, Elba has the kind of movie star quality that makes him magnetic on screen.




    However, the actor that proves yet again that he’s an indispensable part of the Marvel Cinematic Universe is Loki. My one and biggest complaint about the movie is that it doesn’t have the strong emotional character arc that most of the Marvel movies have. Something that Spider-Man Homecoming nails. But the closest it comes is the relationship between Thor and Loki. Hiddleston is there largely for the laughs as he attempts to outwit nearly every character with little success. But his best scenes are those where he underplays the relationship that Loki and Thor have built, destroyed, and rebuilt over the entire franchise. This movie would have been the best Marvel movie ever made had it explored the characters on an emotional level, but based on pure entertainment, this is in the upper echelons.

    Thor: Ragnarok takes the humor and world-building from Guardians and meshes it nearly seamlessly with the usual Marvel formula to stunning results. It just shows that Marvel needs to continue hiring interesting directors and give them the kind of control they need to bring their vision to life. Ragnarok is the perfect example of that formula succeeding. Waititi turned one of the franchises that seemed to be Marvel’s few failures into the one I’m most interested in seeing continue.

    ★★★★ out of 5



    Watch Thor: Ragnarok on Amazon!

  • 2016 Emmy Predictions: Lead Actor in a Limited Series or TV Movie

    2016 Emmy Predictions: Lead Actor in a Limited Series or TV Movie

    Lead Actor in a Limited Series or TV Movie is a very strong category led by two strong contenders. The first is four-time Emmy winner Bryan Cranston (All the Way). While the TV movie wasn’t as well received as HBO might have hoped, Cranston still got his usual strong notices and has already won a Tony for this role. In any other year he’d be the slam dunk winner. But not every year has a juggernaut quite as big as what FX has on their hands.

    Courtney B. Vance (The People v. O.J. Simpson) is arguably the most lauded part of the miniseries other than Sarah Paulson. Plus, similarly to Cranston, he’s playing a well-known historical figure. However, unlike Cranston, he has a lot of heat behind him. He’s also bolstered by the new rule stating that Limited Series performers can submit a single episode for consideration. This focuses his material and gives him an even stronger fight against Cranston.

    Outside these two top contenders, I think Idris Elba (Luther) will definitely return for his banner year. After a controversial Oscar snub and two wins at the SAG awards, he’s front and center. I don’t think he’ll have enough to win, but he’s at least good for a nomination.

    Also good for a nomination is Benedict Cumberbatch (Sherlock: The Abominable Bride). While the TV movie hasn’t received the nominations that other installments of the series have received, Cumberbatch has become a name and even won in the category two years ago.

    That leaves three more spots. I think I’m a lot more optimistic than most that Oscar Isaac (Show Me A Hero) will be nominated. I understand that it’s a little far removed from the fantastic year he had last year, but like Cumberbatch and Elba his name means a lot and I don’t think Emmy voters will pass up the opportunity to nominate him.

    I think at least one of the two actors from The Dresser will get in. Ian McKellan has kept up a higher profile than Anthony Hopkins, so I’m inclined to include him. But it also seems like the movie has no buzz around it. That’s why I’m worried that name recognition won’t be enough. Instead I think it’s going to a more high profile project.

    That leaves one last spot. It could either be Cuba Gooding Jr. (The People v. O.J. Simpson) who could get swept up along with the rest of the show. After all, he is play the juice himself. But I actually think it’s going to be Tom Hiddleston (The Night Manager). I feel like this show got so much buzz and Hiddleston has raised his profile recently.

    However, you can’t count our other contenders like Patrick Wilson (Fargo) or Bill Murray (A Very Murray Christmas). It feels odd not including Murray in a category when the movie was so buzzed about, but it feels just too far away.

    Check out my 2016 Emmy Predictions!

    My Predictions:

    Bryan Cranston (All the Way)
    Benedict Cumberbatch (Sherlock: The Abominable Bride)
    Idris Elba (Luther)
    Tom Hiddleston (The Night Manager)
    Oscar Isaac (Show Me A Hero)
    Courtney B. Vance (The People v. O.J. Simpson)***

    ***Predicted winner