Chasing Storms, Not Feelings
Wrap-up of the W̶e̶e̶k̶ Summer.
This is a special post of Qourry For You because I’m trying something new: breaking my silence on cinema and television (again!)…
Major Spoilers for TWISTERS and more!
TWISTERS (2024)
I first saw TWISTER (1996) as a child. Recently, three months ago, I had the opportunity to revisit the blockbuster with my mum. Jan de Bont’s action prequel kept all the aspects that we held dear: a stellar cast with great chemistry and a fun 90’s vibe. Watching TWISTERS (2024) on the largest IMAX screen in New York caused a kindred sensation. It’s thrilling, grim, and proves why disaster movies were cool to begin with. However, I think what makes the sequel work is its use of not relying heavily on narrative links to TWISTER. Kate (Daisy Edgar-Jones) appears to have an innate ability to track storms, much like Bill Harding does—but instead of trying to understand them, she concentrates on slowing them down. Later, Kate accomplishes this with the help of Tyler Owens (Glen Powell) and his tornado-wrangling crew.
TWISTERS fully embraces the nerve and hokum of its concept, raising the stakes to a level where viewers genuinely sense the peril faced by the characters as if it were happening to their own mates. At Lee Isaac Chung’s request, TWISTERS is shot on 35 mm film. It utilizes rad blocking, old-school anamorphic frames, digital camera arrays for VFX plates, and aerial work. Through its runtime, Chung also evinces a keen grasp of how actors should look dreamlike onscreen. Glen Powell stepping into the rain wearing a white T-shirt and a cowboy hat? Now, that is a movie star moment—one that had audiences cheering without a doubt. Sure, F-5 tornadoes are dangerous, but so is a charisma machine. Few people know that a meteorologist can rock bicep-accentuating shirts, and the ideal locus for this phenomenon is TWISTERS. It’s a Hollywood action flick!
But nothing truly compares to seeing it in 4DX. When a character grips something for dear life, I found myself clutching my armrests with equal zest as my seat swayed back and forth. When the skies grew ominous and rain began to pour, I not only saw “lightning” flash across the big screen but also felt water mist up near my headrest. When a character was swept away by a tornado, gusts of wind hit me, perfectly syncing with the action. The standout feature of the 4DX experience lies in the seats’ extensive range and movement. They can tilt and propel theatergoers amid driving sequences or moments where vehicles roll across the terrain. Everyone around me uttered fear, relief, and joy. As Nicole Kidman said, “We come to this place (the cinema) for magic.”
Entourage (2004-2011)
Upon reflecting on past television series, it is often stated that many of them “could never be made today.” This is definitely true for Entourage. In all 96 episodes of the series, I don’t believe there is a single instance where it passes the Bechdel Test. And despite everything, I am unable to take my eyes off the show.
The HBO comedy-drama about the ups and downs in the life of Vincent Chase, a rising movie star, and his friends simply possesses the appeal of doing what others can’t do: staging all that is unsound in a way that feels right. Entourage rarely goes for any emotional complexity—but when it does, the impact is vigorous. And I like the show’s notable depiction of the entertainment industry. Truth be told, certain highs in Vince’s journey appear somewhat prophetic: James Cameron’s Aquaman evolved into James Wan’s Aquaman (2018) and Aquaman and the Lost Kingdom (2023); Billy Walsh’s Medellin became Narcos (2015). And Martin Scorsese’s The Great Gatsby became Baz Luhrmann’s The Great Gatsby in 2013. I now appreciate the fact that I cannot read a Variety headline without picturing Ari Gold (Jeremy Piven) vociferating it over the phone.
Current Favorite Episode: S4E7 “Gotta Look Up to Get Down.” The final scene totally rules.
Night Moves (1975)
Is there anything Gene Hackman can’t do? Probably. He’s a 94-year-old man—but the American retired actor has a unique gift to adapt to his roles. Directed by Arthur Penn, Night Moves centers on a former baseball player-turned-PI, Harry Moseby (Hackman), who gets hired to look into what seems to be a routine missing person case by a former Hollywood actress, Arlene Iverson (Janet Ward), to locate her daughter, Delly (Melanie Griffith). Harry then pinpoints the teenage runaway in Florida, only to encounter a situation that is far more captivating and dark: an unsolved murder. Even so, the neo-noir’s prime conundrum is not “Who is the killer?” but rather, “Why does everything get worse?”
Night Moves sits in its moral ambivalence while simultaneously offering a good time. The dialogue is priceless. The stunts are impressive. The overall atmosphere exudes '70s cool. If I could superimpose the Matthew Modine Pacific Heights cheering gif, I would!
Interview With the Vampire (2020— )
Right when I thought book adaptations could lose their momentum, I watched the newest season of Interview With the Vampire. Anne Rice’s readapted tale did what The Vampire Diaries couldn’t provide. A major reason why I kept my AMC+ subscription was for this series, and I enjoyed it.
Season 2 commences directly where the first left off, following Louis de Pointe du Lac (Jacob Anderson) and Claudia (Delainey Hayles) on a journey through Europe amidst World War II as they seek a fresh start. When Louis and Claudia embark on their quest to discover other vampires, they attempt to redo their identities as well.
There’s a reason why the critical acclaim Interview With the Vampire has garnered is felicitous. It is more than a depiction where vampires consume blood. The serial explores the acute impact of grief, leading characters to unthinkable positions as they confront their losses. This theme is illustrated by Claudia’s death, an event that shrouds viewers in tenebrosity from the juncture she is introduced. Claudia looms over Louis as a haunting presence and is the catalyst for the said interview. Season 2’s entire troupe yields a fire under the scripts, making us to become familiar with the idiosyncrasies and neuroses of their roles, especially Louis’ deep-seated sorrow alongside Lestat de Lioncourt’s (Sam Reid). The coda moved me, but everything else is still interesting, even afterward.
Longlegs (2024)
As someone who did not follow the marketing campaign behind Longlegs, I must declare the hyperbolic reviews had little impact on my perception. It evokes the soul of films like Silence of the Lambs, Se7en, and Cure, delving into themes of nihilism and sin. I was fascinated by Maika Monroe’s performance and the skillful way Osgood Perkins allowed the visuals to breathe, seamlessly weaving them into a compelling horror narrative. Longlegs urges spectators to engage in its investigation, which is quite cool, too. Although few plot devices left me bewildered, the suspense thriller consistently maintains its unnerving tenor from start to finish.
TRAP (2024)
I went to see TRAP on its premiere night and have been thinking about it ever since. Much of M. Night Shyamalan’s latest film unfolds in a realm that can be daunting for parents who sacrifice their time to catch a glimpse of the newest pop idol. Here, that pop idol is Lady Raven (Saleka), who is modeled after Taylor Swift, attracting a youthful crowd. Among them are a devoted father and murderer known as “the Butcher,” Cooper (Josh Hartnett), beside his daughter Riley (Ariel Donoghue). Very quickly, Cooper observes an unexpected increase in security personnel and realizes that the whole affair is a ruse set to ensnare him.
At first glance, TRAP could make you prepare for an austere game of cat and mouse; however, Shyamalan adds a depth that goes far beyond the exterior. TRAP focuses less on the storyline and more on creating an atmospheric haze that feels almost tangible, just enough to draw you in, until a dissonance simmers beneath it all. We can perceive this as the dialogue hinges on quirkiness or the way Cooper smugly interacts with those oblivious to his role as the target.
Josh Hartnett delivers an brill performance in this. No matter how great you think he will be, Hartnett surpasses those expectations. Forget merely tipping one’s hat. I raise you to salute his contributions. We should erect monuments in his honor.
The Leftovers (2014-2017)
Diving into Entourage nowadays brings me joy since I missed out on the show’s discourse. I cannot voice the same feeling about The Leftovers. In fact, I hope to witness chat buzzing around it. As I prepare for bed, I yearn to overhear someone casually discussing The Leftovers at coffee shops as much as I once wished for the privilege to wave a wand and utter, “Hello, I’m Qourry, and you're watching Disney Channel.” The Leftovers improves with every season, and each segment could easily stand alone as the finest, post-apocalyptic yarns ever told. Here’s an essay I read on how The Leftovers “perfectly captures the confusion of the human experience.”
Current Favorite Episode: S2E8 “International Assassin.”
BLINK TWICE (2024)
Noel Gallagher says Definitely Maybe encapsulates the yen to become a rockstar, while Morning Glory reflects the journey of achieving that status. In a comparable vein, Zoë Kravitz, with Blink Twice, expresses the actress’ gusto for directing but also illustrates her obligatory skill towards attaining the métier. Blink Twice, unlike any thriller I’ve seen this summer, formulates a combination of nefariousness and satire. The framework, blocking, and editing come together to make something visually hectic yet unsettling, like the feature’s twists. Every performance is great, but Adria Arjona and Naomi Ackie really shine.
Anyway, the ending felt a little thick for my taste. It highlights that Blink Twice is made by an artist who might not grasp the nuances of poverty. Still, I believe that experiencing the movie without prior knowledge heightens its effect. To me, Blink Twice is forever a conspicuous directorial debut. Kravitz holds a remarkable talent, and I am genuinely eager to witness her future projects. I hope she follows a path similar to that of Luca Guadagnino, though. He doesn’t always pen the screenplays for his movies but will direct the hell out of them.