There are three September titles whose releases were small compared to the sizeable buzz in terms of media discourse. All three are striking projects that are more than worth devoting time to. Here is a short recap of September’s under-anticipated breakout films.
Jeremy Saulnier’s “Rebel Ridge” – Netflix
Following the gnarly, grindhouse carnage of his underappreciated gems “Blue Ruin” and “Green Room,” writer and director Jeremy Saulnier completely scales back the grisly violence but ratchets up the sweat-inducing tension and intelligent set pieces for the non-lethal “Rebel Ridge.”
Setting the story around a former Marine accosted by a smalltown police department that seizes his brother’s bail money under the guise of (depressingly fact-based) civil forfeiture, Saulnier kicks things off immediately and never lets his foot off the gas, with a series of thrilling and cleverly crafted escalations. Aaron Pierre turns in a truly star-making performance with an intoxicating blend of physical might, cool-headed charisma, and an underlying pathos that gradually threatens to break out.
He’s surrounded by a terrific supporting cast, particularly a scenery-chewing Don Johnson, and a heartful AnnaSophia Robb. Their characters may be on opposing sides, but they work together to help propel a topical, well-executed and all-around supremely entertaining throwback to old-school character-driven thrillers, a sentiment echoed by the acclaim and hefty viewership.
Francis Ford Coppola’s “Megalopolis” – In theaters
“Megalopolis” is every bit as unwieldy, bewildering and excessive as you may have heard. It boasts a murderer’s row of actors (all of whom are giving as differing performances as possible), nearly 50 years of behind-the-scenes turmoil and such a divisive premiere at Cannes that a whole month went by before a Hollywood studio decided to pick it up. However, against all odds, “Megalopolis” turned out to be a complete blast. Yes, it is completely self-indulgent and nonsensical, riddled with awkward dialogue and paper-thin characters, but the director of “The Godfather” has not lost a single bit of his talent as a cinematic craftsman, bringing to the big screen a boldly expressionistic sensory experience for the ages.
It thrives in its production and costume design that mixes Ancient Rome with modern America’s late-stage capitalist aesthetic, a wonderfully ‘20s-and-‘30s-inspired score and the eye-popping, hand-crafted images and sharp use of montage. This big, beautiful mess is an undeniable and even inspiring triumph on every technical level. The fact that all this hard work is in support of such a questionable screenplay is not only amusing but endearing in its own peculiar way.
Coralie Fargeat’s “The Substance” – In theaters
If there was any way to arrive back on the scene seven years after a debut as fiery as the breathtaking “Revenge,” then this must be the way to do it. The critiques against the industry’s prejudice on age and its harmfully reductive beauty standards occasionally border on overbearing, but Fargeat injects so much demented, dark style into it that the heavy-handed message still lands successfully.
It stars Demi Moore in the metatextual role of Elisabeth Sparkle, an aging Hollywood star who begins taking the titular serum to activate a better version of herself to remain in the spotlight. She is outstanding and transforms into the film’s heart as everything gets weirder and grosser. She finds an electrifying, delightfully campy counterpart in Margaret Qualley. The two, along with the gorgeously distorted visuals and soundscape, keep the screen lit up for the surprising 141-minute runtime. The makeup department becomes another star of the show, bringing their hilariously grotesque, poor-taste designs and effects to life. The bombastic and unabashed go-for-broke finale will either have viewers cheering or rolling their eyes. Whatever side they land on, the overall experience is still an extremely rewarding and exciting exercise in melding social commentary with unforgettable depravity.
