Luc Besson sci-fi opera by way of South Korea, the unfortunately named Space Sweepers is a wonderful surprise of a movie that could unfairly get lost amid the glut of Netflix. It's immediately engaging and filled with intriguing world-building. In 2093, Earth is a garbage dump and the rich (and primarily white people) have migrated to an orbiting space station that needs protecting from space debris. That's where the space sweepers come into play, ragtag teams competing to claim space junk to sell back to The Company, though never able to escape their crushing debt. The Company is looking to colonize Mars and put more effort into making it habitable than salvaging Earth. A little girl might be the key to a flourishing Mars or resurgent Earth. She finds her way into the custody of a colorful group of malcontents, each with a clearly defined personality, motivation, and character arc, including the snippy robot who likes to harpoon ships in space. Spending time with this world and these characters is such an enjoyable experience because it just uncovers more and more layers to the hefty world-building and history. The story itself isn't revolutionary, and the villain is a megalomaniacal CEO (Richard Armitage), and you'll fully anticipate that the same space scrappers that want to sell off this little girl will eventually grow close to her and will be willing to die for her. The plot itself, at least in broad strokes, might be familiar, but it's the level of detail and imagination and especially execution that sets Space Sweepers apart. I enjoyed how diverse the depiction of this future was, where people from different languages would simply speak their native tongues and be perfectly understood thanks to in-ear translators. The action sequences are exiting and visually immersive. I've never seen a harpoon in space battles before. It feels like a living anime moment. The special effects are consistently impressive. The set designs are large and lived-in. The small details all manage to add up, and small character moments still resonate, like one character's constant loss of his shoes for greater sacrifices or a robot that feels seen for the first time as they are. A late twist had me nearly applauding for the emotional impact it altered with a big standard doomsday scenario. It's a supremely fun and imaginative setting, enough that I thought it would have sustained a whole series on Netflix. I was happy it was a movie, though, because then I got all the payoffs and climaxes in one slightly two-hour setting. I'm impressed every year at the sheer high quality of the genre movies that South Korean filmmakers have been delivering. I highly advise fans of frothy, fun sci-fi like The Fifth Element to find this movie on Netflix and give it a watch. It's a surprise treat and proof positive that old concepts can still shine with the right effort and careful development.
Nate's Grade: A-
I wanted to love Willy's Wonderland. It's easy to see the pitch: Nicolas Cage in Five Nights at Freddy's. That sounds like everything you would need for a gonzo movie experience with, hopefully, an unrestrained Cage. The problem with Willy's Wonderland is that it seems to have peaked at its inception. I'll credit the creature designs of the many killer animatronic animals inhabited by the spirits of a dead Satanic cult demanding sacrifice. They're chintzy and creepy and effective in their Chuck E. Cheese/Freddy's reference points. However, the movie clearly appears to be out of ideas pretty early. Cage plays a janitor hoodwinked into working overnight at the abandoned pizza parlor and he doesn't say a word for the entire movie. For those looking for the splendidly crazy moments that can define Nicolas Cage performances, I think you'll be slightly disappointed. The character has a few quirks, like his surprisingly ironclad work ethic, but the character is just as underwritten, absent personality, and replaceable as any of the killer robots. For a movie where Cage fights a bunch of blood-thirsty robots, it starts to get a little boring because of the narrative redundancy. Toppling one robot after another feels too easy and the specific set pieces are unmemorable. There are a sew of highly annoying teenagers that stumble in so there are more victims to be terrorized. In one moment, these teens will denounce doing stupid acts and the unreasonable risk, and then the next minute they're splitting up to go have sex in the scary birthday room or murder. If the movie was more satirical, I might even give the filmmakers credit for the dumb teenagers reverting to form regardless of circumstances. My disappointment is that what you get with any ten-minute segment of the movie is generally the same thing you'll get with any other portion. Is that consistency or a lack of development and imagination? The movie still presents some degree of fun because that premise is enough to at least hold your attention if you're a fan of horror, Cageisms, or movie kitsch. However, Willy's Wonderland could have used more drafts and variety to really tap into the sheer gonzo potential of its ridiculous pitch.
Nate's Grade: C+
Fred Hamptom was the deputy chairman of the Black Panthers in Chicago and was only 21 years old when he was murdered in 1969 by federal agents. Judas and the Black Messiah is about Hampton and his life in political activism cut short, but it's also another tragedy, one far less known. Bill O'Neal was a federal informant who was manipulated into betraying Hampton to the FBI and ultimately setting up the man's execution. Both men are given consideration and brought to life by great actors, Laketih Stanfield as O'Neal and Daniel Kaluuya as Hampton. O'Neal is tasked with getting into the trusted inner circle of Hampton and the Black Panthers without blowing his cover, or else he'll be going to jail for years on potentially pending charges. The FBI agent in charge (Jesse Plemons) is under pressure by J. Edgar Hoover (Martin Sheen), and this all provides even more pressure onto O'Neal, who is a pawn of the higher-ups who only care about neutralizing the growing power of the Black Panthers. The film plays out similar to an undercover mob movie, like The Departed, and much of the drama follows whether O'Neal will get caught, how he will navigate the tenuous territory he is in, and the paranoia of being in danger at all times and from multiple sides if he succeeds or fails. I appreciated the attention given to O'Neal and the consideration that he too is another victim. He is eager to succeed and thinks he might use his service as an introduction into the Bureau for legit work, but he also very much wants to be accepted by the Panthers because he agrees with their philosophies and is looking for a community that welcomes him and provides a sense of direction. If I had a complaint, it is simply that we get a lot more Judas here than we do the Black Messiah. It feels like we're getting a rather simplified summation of Hampton and scrubbing clean some of his personal leanings (having him identity as a socialist rather than a Marxist) that would make him more controversial. By all definitions, Hampton was executed by agents of the state to pacify institutionally racist fears about powerful and gun-owning black Americans, but putting so much emphasis of the story on the man who betrayed him creates an imbalance in presentation and risks mitigating the depth of Hampton. After Hampton returns from prison, the movement he's been so heavily involved with seems to dissolve onscreen, focusing solely on setting up our deadly climax. He is seen as a martyr first and foremost. There are two extended shootouts in the second half that don't feel at all in keeping with the first half of the movie. Kaluuya (Get Out) is electric in public and awkward and sweet in private with his beloved girlfriend. It hints at much more that could have been explored away from his fiery public persona. Stanfield (Knives Out) has the more multi-dimensional role and yet even given the grand Shakespearean tragic proportions of his position, I can't help but feel like O'Neal feels a tad underdeveloped. There's a subtle ambiguity that follows his character's motivations but many of his moments revolve around whether he will be accepted, fool someone, or get caught. There are greater questions of whether the mask he wears is real. The characterization gets a little lost because of the nature of the subterfuge. This movie is over two hours but has the potential to be an epic tragedy and could have sustained a limited series of storytelling. As it is, it's a tense and powerful movie with great acting and an ending that will rightfully outrage and disquiet. Judas and the Black Messiah is stirring but I feel like it had lost potential by transposing its story and conflicts into two hours and with two central underwritten figures of tragedy. It's quite good but man this could have been amazing.
Nate's Grade: B+