By Lynn Venhaus Typically, movies about time travel make my head hurt because I overthink things and raise too many questions as I try to figure out the logic.
No need to waste precious brain cells on determining what’s going on in “Needle in a Timestack” because most of it doesn’t make any sense anyway.
In the ‘near future,’ time “jaunting” has become a luxury afforded the wealthy in this sci-fi romance, where architect Nick (Leslie Odom Jr.) is worried that his soulmate wife Janine (Cynthia Erivo) won’t be in his memories because of her ex-husband and his former friend Tommy (Orlando Bloom) messing with altering events in time, which is called “phasing,” and is disruptive in multiple facets of life. Can he stop it or manipulate time to make sure she is in his life?
And that’s a shame because the cast is full of likable performers that you usually want to root for, but their characters are vapid and spout ridiculous psychobabble about love. The two couples are such ciphers lacking much personality and possess all the trappings of comfortable modern life, so what’s the problem? Or, for that matter, the point?
Based on a short story by Robert Silverberg that was first published in the June 1983 issue of Playboy, he had previously published a collection of ten short stories under the same title in 1966 and decided to reuse the title for this story.
Let’s count the ways this project screams ‘misguided.’ For starters, John Ridley, Oscar winner for the adapted screenplay of “12 Years a Slave,” squandered energy on rewriting a story that does not translate well nearly 40 years later, given how there is such a gap between the 1 percenters and the “have-nots” – it smacks of privilege and one more thing to resent the “haves” about.
Surprisingly tone-deaf, the script is superficial in its portrait of married couple Nick and Janine as well as their prior significant others Tommy (Orlando Bloom) and Alex (Freida Pinto).
For all the talk of forever love, Nick and Janine sure don’t look happy. He’s an architect and she’s a photographer, and they live in an airy, ultra-modern home straight out of Architectural Digest.
Nick is consumed by thinking Tommy is trying to snare Janine, but Nick is quite a glum malcontent – and we get generic shots of him not looking happy.
And when a big phasing happens, whoa – he’s back with his beautiful girlfriend Alex – and she seems miserable because he’s such a mopey guy.
Tony winners Leslie Odom Jr. and Cynthia Erivo – he for “Hamilton” and she for “The Color Purple,” are much in demand after Oscar nominations – he for “One Night in Miami” and she for “Harriet.”
However, two premier vocalists do not even team up for a song post credits.
Orlando Bloom’s character is underwritten and puzzling. One phase has him behaving like an entitled rich guy and the second wave turning him to benevolent best bud following his bliss by pursuing his dream, being with the girl of his dreams and concern about his pal Nick.
And wouldn’t these phasings that alter people’s lives cause tremendous chaos in the real world?
Nick’s sister Zoey – a marvelous turn by Jadyn Wong, a bright spot, pays a lot of money to tamper by switching a friend’s tragic loss, but consequences, while threatened, appear to be random or non-existent.
And where are we? We are in a never-mentioned big city, and as the film was made in British Columbia, I assume it is Vancouver, but why assume? It just seems to be plastic and slick without a reason to stay engaged.
Trying to explain this is indeed a head-scratcher. Love is a circle. Let’s move on.
“Needle in a Timestack” is a 2021 science-fiction romance directed by John Ridley and starring Leslie Odom Jr., Cynthia Erivo, Orlando Bloom and Freida Pinto. It is rated R for some language and its run time is 1 hour, 51 minutes. It opened in theaters and was available on digital Oct. 15; and on DVD, Oct. 19. Lynn’s Grade: D.
Lynn Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents, and writes features and news for Belleville News-Democrat and contributes to other publications. She is a member of CCA, AWFJ and St. Louis Film Critics Association. She is a founding member of the St. Louis Theater Circle.
By Lynn Venhaus
We still have a race for Best Picture and Director, as we try to gauge the
momentum going into Sunday. Will it be “Parasite” or “1917,” or will fading
frontrunner “Once Upon a Time…in Hollywood regain its luster? After all,
Hollywood loves movies about Hollywood.
The 92nd Academy Awards take place Feb. 9, with
ABC broadcasting red carpet live coverage at 5:30 p.m. and the ceremony
underway at 7 p.m. CST. This year is the second in a row where there is no
host, and it seemed to speed up the proceedings last year. We shall see.
The acting Oscars were apparently sown up weeks ago, as
awards season began. If there is any movement, it may be in Supporting Actress,
where newcomer Florence Pugh is coming on strong.
The shoo-ins this year? You can safely bet on “Parasite” as Best International
Feature, Brad Pitt as Best Supporting Actor in “Once Upon a Time…in Hollywood,”
his fourth performance nomination (and he’ll likely give the best speech of the
night) and Roger Deakins as cinematographer for “1917.”
Will there be surprises and upsets? Or will it be as the
pundits predict? Only time will tell. Let’s just hope it’s a fun watch and
deserving wins to put the finishing touches on 2019 in film.
And afterwards, we’ll have memes, fashion debates and acceptance
speeches to remember.
Here are my picks for the 24 awards:
Best Picture
1917
1917, Ford v Ferrari, The Irishman, JoJo Rabbit, Joker, Little Women, Marriage Story, Once Upon a Time… in Hollywood and Parasite
My original frontrunner, “Once Upon a Time…In Hollywood” has faded, and the big momentum is with either “1917” or “Parasite.” I think Oscar voters, with the older voting block, will go with the heart-wrenching World War I epic and be content for “Parasite” to win Best International Feature. While there is always the possibility of an upset, I think the massive endeavor “1917” is deserving.
Best Director
Sam Mendes, (Photo by Richard Goldschmidt)
Sam Mendes, “1917”; Martin Scorsese, “The Irishman”; Todd Phillips, “Joker”; Quentin Tarantino “Once Upon a Time…in Hollywood” and Bong Joon-Ho, “Parasite”
I am in the “Sam Mendes is a genius” camp but Bong Joon-Ho’s work in “Parasite” is worthy too. Both are innovative, visual artists. I’d like a tie, like Critics Choice Association. I’m going with Mendes, as he won Directors Guild of America, the big prognosticator.
Joker
Best Actor
Antonio Banderas, “Pain and Glory”; Leonardo DiCaprio “Once Upon a Time…in Hollywood”; Adam Driver, “Marriage Story”; Joaquin Phoenix “Joker”; Jonathan Pryce “The Two Popes.”
Hands down, Joaquin Phoenix. He gave us pathos as he showed
Joker’s pain behind the façade and made his descent into madness frightening.
Nobody is more fearless working in film today. Adam Driver would be a close
second for his acting showcase in “Marriage Story.”
Not a fan of Renee Zellweger’s “Judy” but she has won all
earlier awards, and I see no reason why she wouldn’t. However, my pick would be
the radiant Saoirse Ronan for “Little Women.” If there is an upset, Scarlett
Johansson – finally nominated – would be a worthy winner for her tour de force
in “Marriage Story.”
Best Supporting Actor
Ozark’s own Brad Pitt
Tom Hanks, “A Beautiful Day in the Neighborhood”; Anthony Hopkins, “The Two Popes”; Al Pacino “The Irishman”; Joe Pesci “The Irishman”; Brad Pitt, “Once Upon a Time…in Hollywood.”
Perhaps the only sure thing Oscar night, Brad Pitt is a
lock as stuntman Cliff Booth. He’s not just deserving but overdue. Besides,
he’s certain to give the best speech of the night, given his track record this
awards season.
While I think the acting Oscars have already been nailed
down, this might be the upset category. Laura Dern as the shark lawyer in
“Marriage Story,” obsessed with winning at all costs, is my pick, and she was
also terrific in “Little Women,” but Margot Robbie’s ambitious Fox News staffer
could edge her out or first-time nominee Scarlett Johansson could finally get
Oscar love as the mom in “JoJo Rabbit.”
Best Adapted Screenplay
Greta Gerwig, “Little Women”; Andrew McLaren, “The Two Popes”; Todd Phillips,
“Joker”; Taika Waititi, “JoJo Rabbit”; Steve Zaillian “The Irishman.”
My favorite is Taika Waititi for the sharp social satire
“JoJo Rabbit,” but the revered Steve Zaillian’s adaptation of “The Irishman”
could be the film’s only win for its masterful storytelling.
Parasite
Best Original Screenplay
Sam Mendes and Krysty Wilson-Cairns, “1917”; Noah Baumbach, “Marriage Story”; Rian Johnson, “Knives Out”; Quentin Tarantino, “Once Upon a Time…in Hollywood”; Bong Joon-Ho and Han Jin Wan, “Parasite.”
Best Cinematography
1917, The Irishman, Joker, The Lighthouse, Once Upon a Time…in
Hollywood.
What Roger Deakins did with “1917” is remarkable and propels him to his second win in three years. He had been snubbed for decades for his tremendous work in Coen Brothers’ films, then started working with director Denis Villeneuve a few years back – and finally won in 2018 for “Blade Runner 2049.” What he achieved with making “1917” appear to have been shot in two takes is incredible.
Best Editing
Ford v Ferrari
Ford v Ferrari, The Irishman, JoJo Rabbit, Joker, Parasite.
How can “1917” be omitted here? I think a bone should be
thrown to crowd-pleasing “Ford v. Ferrari.” This film was a challenging shot,
and the editors captured both the thrill and danger of endurance racing.
Best Production Design
1917, The Irishman, JoJo Rabbit, Once Upon a Time…in
Hollywood, Parasite.
For its meticulous research and replica of 1969 Hollywood, it must be “Once Upon a Time in Hollywood.” However, the house in “Parasite” and all the trenches and realistic war landscape in “1917” make the case for those films.
Best Music Score
1917, Joker, Little Women, Marriage Story, Star Wars: The
Rise of Skywalker.
Previously, I thought it was a battle between the Newman generations – Randy for
“Marriage Story” and Thomas for ‘1917.” But now I’m in support of Hildur Gudnadottir
winning for “Joker.’ From Iceland, Gudnadottir won the Emmy and Grammy for HBO’s
“Chernobyl” and the Golden Globe and BAFTA for “Joker.” She’d be the first solo
woman to win this Oscar, and I can get behind that.
Best Song
“I Can’t Let You Throw Yourself Away Again,” Toy Story 4; “I’m
Going to Stand with You,” Breakthrough; “Into the Unknown,” Frozen II; “(I’m
Gonna) Love Me Again,” Rocketman; “Stand Up,” Harriet.
After much debate — and enjoying the Panic! At the Disco
version of “Into the Unknown” a lot, I’m now resigned to Elton John winning for
“(I’m Gonna) Love Me Again,” his fourth nominated song but his first with
longtime lyricist Bernie Taupin.
Best Costume Design
Little Women
The Irishman, JoJo Rabbit, Joker, Little Women, Once Upon a
Time…in Hollywood.
“Little Women,” of course.
Bombshell
Best Hair and Makeup
1917, Bombshell, Joker, Judy, Maleficent: Mistress of Evil.
“Bombshell” for making the actresses look uncannily like the Fox women they portray, and for turning John Lithgow into a convincing Roger Ailes.
Best Sound Mixing
1917, Ad Astra, Ford
v Ferrari, Joker, Once Upon a Time…in Hollywood.
“1917” is the likely winner but “Ford v Ferrari” would be a justifiable winner.
Best Sound Editing
1917, Ford v Ferrari, Joker, Once Upon a Time…in Hollywood, Star Wars: Rise of Skywalker.
Ditto as to what I said about sound mixing.
Best Visual Effects
The Avengers Endgame
1917, The Avengers; Endgame,” “The Irishman,” “The Lion
King” and “Star Wars: Rise of Skywalker.”
“The Avengers: Endgame” was so smooth and seamless, and the CGI not overdone, that I can’t imagine another movie winning. But there is that ninth little movie in a galaxy far, far away.
Toy Story 4
Best Animated Feature
The Hidden Link, How to Drain Your Dragon, I Lost My Body,
Klaus, Toy Story 4.
The fitting and grand finale to one of my all-time favorite franchises, Pixar’s
“Toy Story 4” should win, especially since “Frozen II” was snubbed. But Laika’s
“The Missing Link” is adorable and the final chapter of “Dragon” is its most
captivating.
Best International Feature
Corpus Christi, Honeyland, Les Miserables, Pain and Glory, Parasite.
The safest bet is South Korean’s “Parasite.” What a
genre-bending masterpiece – its mix of comedy, drama, thriller and horror is
one that will linger in your head for days.
Best Documentary Feature
American Factory, The Cave, The Edge of Democracy, For
Sama, Honeyland,
Without the magnificent “Apollo 11” even nominated, I’ll
give “American Factory” the edge, although “Honeyland,” about ancient
beekeeping traditions in has a lot of love (which I don’t share). Netflix’s “American Factory” is about a
re-opened plant in Ohio now owned by Chinese businessmen, and the culture clash
that develops. It is produced by Michelle and Barack Obama’s company Higher
Ground.
Best Documentary Short
In the Absence, , Learning to Skateboard in a War Zone if
You’re a Girl, Life Overtakes Me, St. Louis Superman, Walk Run Cha Cha.
As much as we’d love to see “St. Louis Superman” get national attention, it does have a questionable ending – and really, “Learning to Skateboard in a War Zone If You’re a Girl” appears to be headed for the win.
Best Live-Action Short
Brotherhood, Nefta Football Club, The Neighbors’ Window, Saria, A Sister.
This is one of those Oscar pool contest busters –usually the wild card. Although I’ve read “Saria” is gaining traction, I’m going with “The Neighbor’s Window” because, while its less of a gut-punch than the others, it seems the most unconventional. Overall, it’s a really depressing bunch. Best Animated Short
Dcera, Hair Love, Kitbull, Memorable, Sister.
Often whatever Pixar short is before Disney’s blockbuster
is the safe choice, but the studio didn’t put anything before “Toy Story IV” or
“Frozen II.” Pixar’s “Kitbull” is hand-drawn and about the friendship of a
kitten and an abused pitbull. Adorable, right? But “Hair Love,” about a dad’s
effort to braid his daughter’s hair, which was shown before “Angry Birds 2,” is
my choice for the gold.
Lynn Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents, and writes features and news for Belleville News-Democrat and contributes to other publications. She is a member of CCA, AWFJ and St. Louis Film Critics Association. She is a founding member of the St. Louis Theater Circle.