Rebel Ridge (2024)

Direction: Jeremy Saulnier
Country: USA

Rebel Ridge is a gripping crime thriller written and directed by Jeremy Saulnier, who, despite exploring new tones, remains true to the spirit of his filmmaking style. In his fifth directorial effort, Saulnier delivers a taut, intense film that keeps viewers hooked from start to finish, brimming with a sticky, vicious atmosphere and a relentless sense of unease. At its core, the film tells the story of a man doing what’s right in the face of injustice. 

The director has an ace up his sleeve in the form of Aaron Pierre, who, making use of an impressive restraint, gives a convincing performance as Terry Richmond, a former Marine who tries to bail his cousin out of jail in a broke, small American town where police corruption reigns. To confront the provocations of Chief Sandy Burnne (Don Johnson) and his racist crew, Richmond, who silently boasts a particular set of skills, welcomes the assistance of a young lawyer (AnnaSophia Robb) marked by a troubled past. 

Though the script may not dive deep into complex layers, Pierre’s portrayal of a decent man, disrespected and pushed to his limits, lends emotional weight and authenticity to the film. Saulnier, known for the brutality and darkness of Blue Ruin (2013) and Green Room (2015), opts for a more measured approach here. He crafts a thrilling ride filled with suspense, permanent tension, and tight action sequences. Rebel Ridge moves with confidence, combining raw intensity with a streamlined narrative that evokes a modern Rambo. It’s a well-executed crime thriller that positions Saulnier as a rising master of the genre, offering a dynamite-packed summer hit.

The Bikeriders (2024)

Direction: Jeff Nichols
Country: USA 

Jeff Nichols (Mud, 2012; Take Shelter, 2011; Loving, 2016), who has retained his exceptional talent both as a director and storyteller, gathers a formidable cast for his new film, The Bikeriders, a crime drama inspired by the 1967 photo book of the same name by Danny Lyon. The latter accompanied a group of bikers, The Vandals from Chicago, from the mid-sixties to the early seventies. 

Playing central roles, we have Jodie Comers, who absolutely marvels here, Austin Butler, and Tom Hardy. They are competently supported by Michael Shannon (in his sixth collaboration with Nichols), Mike Faist as the photographer and interviewer, and Damon Herriman. The well-imagined plot follows the members of a motorcycle club that gradually turns into a violent gang of thugs, signaling a significant change in times. 

The Bikeriders desperately wants to say something about a lost America, a golden era that is gone forever. It leads to a lacerating conclusion but refuses to abandon the ray of hope that keeps things moving forward. Shot with a retro look and posing like an old classic, the film draws inspiration from works such as Easy Rider (1969) and The Wild One (1953). 

With a sparkling bright first part contrasting with a darker second, the film never feels manipulative, following a narrative path that is thoroughly engaging. Depicted with a certain nostalgia, this is a furiously lucid slice of American cinema, intelligently constructed and handsomely executed. Don’t hesitate to hit the road with these nervy fellas.

Coup de Chance (2024)

Direction: Woody Allen
Country: USA

The prolific New Yorker Woody Allen returned to Paris for his 50th film, Coup de Chance, an anemic romance that morphs into an uninvolving detective comedy. With a fully French cast led  by Lou de Laâge and Melvil Poupaud as Fanny and Jean Fournier, respectively, the film follows them as a married couple whose relationship is suddenly thrown into turmoil when Fanny encounters Alain Aubert (Niels Schneider), a former high school friend and eternal admirer.

While the themes are recurrent in Allen’s filmography, the execution leaves much to be desired as the elements don’t quite mesh. Delivered without magic or brilliance, this is an ordinary masquerade superficially plotted, sloppily directed, unevenly acted, and whose attempting humor falls flat. While the conventional dialogue and mannered staging are quintessentially Allen-esque, they fail to elevate the film beyond its artificial Parisian backdrop, depicted with excessive sharpness and color. 

Coup de Chance is Woody Allen at his weakest, presenting every emotion and action as false, idiotic or frivolous. The film's saving grace lies in its incredibly groovy jazz soundtrack, featuring trumpeter Nat Adderley performing two of his own pieces: “Fortune’s Child” and “In the Bag”, along with a wonderful rendition of Herbie Hancock’s “Cantaloupe Island”.

Fast Charlie (2023)

Direction: Phillip Noyce
Country: USA 

Directed by Phillip Noyce, known for films like Rabbit-Proof Fence (2002) and The Quiet American (2002), Fast Charlie is an old-school action crime thriller that incorporates elements of romance, creating a contrast with its unremittingly violent scenes. Adapted from Victor Gischler’s novel Gun Monkeys, the film maintains a straightforward narrative, offering instant firmness and watchability. And there’s this sly humor that venomously assesses the lack of morality in the Southern mob lands.

Pierce Brosnan takes on the role of Charlie Swift, a hitman loyal to Stan (James Caan in his last role), an aging mob boss in Biloxi, Mississippi, for over 40 years. When a rival boss (Gbenga Akinnagbe) from New Orleans arrives, leaving a trail of death, Charlie is tasked with avenging the losses. He ends up teaming up with his crush, Marcie Kramer (Morena Baccarin), whose ex-husband was targeted by Charlie.

Sometimes ferocious, sometimes funny, occasionally feeling routine, Fast Charlie is an ambitious adaptation by Richard Wenk, offering a taste of 1980s action flicks, where a hero like Charlie could be played by Charles Bronson or Chuck Norris. 

Noyce's no-frills approach to the story is an asset, eschewing sensationalist tactics. Still, you may find yourself wishing less obvious, more demanding situations and a more substantial result. It could use a lot more discipline in key moments, but the nature of the story naturally supplies the required energy to keep us engaged regardless the predictability of the plot. For all that, Fast Charlie is a mildly entertaining little crime thumper that sufficiently delivers on its genre expectations.

The Killer (2023)

Direction: David Fincher
Country: USA

The Killer, David Fincher's 12th feature film, further solidifies the director's reputation for delivering exceptional thrillers. Known for his masterful work in films such as Se7en (1995), Zodiac (2007), Gone Girl (2014), and Fight Club (1999), Fincher explores the world of a cold-blooded hitman. Michael Fassbender, in his first collaboration with Fincher, takes on the role of the meticulous and perfectionist assassin, delivering a performance that matches the film's somber mood. Adapted from the French comic book Le Tueur and co-written by Fincher and Andrew Kevin Walker, the storyline follows the hitman's journey from Paris to the Dominican Republic, New Orleans, Florida, and finally, Chicago.

The film skillfully explores the dehumanization and vulnerabilities of the assassin, who adheres to a strict credo, repeating it in his head to suppress any emotion or empathy. The supporting cast, including Charles Parnell, Sala Baker, Tilda Swinton, and Arliss Howard, adds depth to the narrative, with each character playing a crucial role in this mysterious man's obsessive mission. The voyeurism of the first part is hypnotic and entices the viewers for what comes next in a simple tale enhanced by the music of the English rock band The Smiths. 

It feels like Fincher, with his slyly calibrated moves, wants to deconstruct Hollywood clichés. He makes a shift in the way he returns to the genre, keeping the audiences suspicious and attentive to every possibly relevant detail. Even if they take us nowhere, one still enjoys this restless feeling and unbending tension throughout. In turn, Fassbender’s stoic and icy performance conveys the protagonist’s patience and determination but also his rigidness and mercilessness. While some may expect more from this dark revenge thriller, the result doesn't disappoint.

Killers of the Flower Moon (2023)

Direction: Martin Scorsese
Country: USA

Displaying a personal filmic vision, Martin Scorsese directs the historical western crime film, Killers of the Flower Moon, with insight and restraint, benefiting from outstanding performances by Leonardo DiCaprio, Robert De Niro, and Lily Gladstone. This epic and tragic account accurately depicts Oklahoma in the 1920s, portraying the series of murders of the native Osage tribe by greedy, powerful white men coveting their lands and oil headrights. The asphyxiating monstrosity of the actions is encouraged by a corrupt and racist system that threatens the cultural survival of the Native American tribe in question.

The screenplay, co-written by Scorsese and Eric Roth, based on David Grann’s nonfictional book of the same name, follows the war veteran Ernest Burkhart (DiCaprio), advised by his corrupt uncle and crime lord, William King Hale (De Niro), to marry the wealthy Indian Mollie Kyle (Gladstone). One of after another, members of her family are mercilessly murdered until the arrival of a Bureau of Investigation team led by agent Thomas Bruce White Sr. (Jesse Plemons). 

We are caught in the gut with this painful reflection on the American history, transformed in a momentous, highly entertaining picture. Scorsese's impressive narration, not praising violence but rather coming to terms with it, flows at a constant pace. The film is nourished by extraordinary performances by the three leads, an accomplished blues-roots score by the late Robbie Robertson, impeccable editing by Thelma Schoonmaker, and delightful images - sharpened by Mexican cinematographer Rodrigo Prieto - forming a masterfully staged fresco darkly hued by cynicism, avidity, and transgression.