‘Dream Scenario,’ ‘Saltburn,’ ‘May December’ & ‘Candy Cane Lane’- Film Review Catch-Up

We got another catch-up post, and I watched these four during the first full week of December. There’s one I caught at the movies, one that was a screener, and two, of course, was viewing through their respective streaming services. Plus, I just realized three are more for adults, and the other is for families that won’t come close to awards consideration. Let’s dive into what I say about Dream Scenario, Saltburn, May December, and Candy Cane Lane.

‘Dream Scenario’

Dream Scenario gives us the perfect pitch that instantly grabbed my attention: Nicholas Cage appears in everyone’s dream, and there’s nothing more to say because it has already sold me. Kristoff Borgli, who also directed, wrote, and edited the film, demonstrates that A24 films are never simple matters, exploring the most bizarre ideas that will have viewers enthralled long after the credits have rolled. But, as of late, it is a trust issue since this could be another Beau is Afraid, one of the indulgent and overlong movies I have watched all year (and Ari Aster has a producing credit, believe it or not). Luckily, this absurd satire on celebrity culture is more of a delight than a nightmare.

What’s the Story: Paul Matthews (Cage) is an ordinary man who loves his wife Janet (Julianne Nicholson) and two daughters, living as a tenured biology professor. Paul doesn’t seem like he does anything noteworthy until he starts showing up in dreams all across the world at random. He doesn’t act while others are in danger when they tell him about their dreams. By then, Paul had quickly become the most fascinating man in the world, becoming an overnight celebrity. But it’s only a matter of time before his life turns upside down when dealing with the challenges of fame and how everyone perceives him.

Experiencing a film about the rise of fame and discovering the repercussions isn’t new. We’ve seen it before among various genres. But Bogli runs with that in Dream Scenario and turns it into something original when involving dreams. Because how often do we think about somebody out of the blue or randomly popping up while we sleep? Does it mean anything important? I didn’t expect to turn on the psychological part of my mind when Cage’s Paul turned into a Freddy Kruger-esque presence, except he doesn’t kill in real life. While some might describe this as a comedy horror, I would easily describe it as a dark dramedy that starts hilarious only to find a darker footing later on that never leaves a promise like this hanging when it goes for an uneasy vibe.

As we watch Paul go from a mild-mannered family man to this sudden cultural phenomenon, this newfound stardom could give him a high advantage in getting his work recognized with this book about ants he still needs to write. There’s also that curiosity of why he doesn’t do anything in their dreams besides standing there. That changes later on in a pretty subtle shift from comedy when everyone sees him in a different light, causing nobody to be around him anymore, including his students not attending his class. This is where we can evaluate the state of cancel culture or how we regard celebrities both positively and negatively with the actions they create. Even with that issue in mind, they did not address it as thoroughly as they should have been when it came to Paul’s family life. Still, it shakes those points to a funny effect where I knew I was laughing the most in an early showing with an audience of four. There’s one awkward encounter with Paul and Dylan Gelula’s Molly where she wants to reenact an erotic dream she had with him that went in a different direction that had to be the best and funniest moment of the entire film.

Speaking of which, seeing an actor like Nicholas Cage not phoning in his performances in studio films proves he needs an unconventional script to be good, and what I’ll tell you this is one of my favorite roles he’s given along with his snubbed work in Pig and a similar performance that strongly reminded me of Spike Jonze’s Adaptation, which was the first film I thought about. Here, he perfectly channels his comedic and dramatic sides with a touch of that amusing, over-the-top personality you can’t help but get a kick out of. Fortunately, all the remaining cast, including Julianne Nicholson, Dylan Baker, and Michael Cera, feel well-spent when sharing any scene with him.

Dream Scenario may struggle for those who might not understand what it’s attempting to communicate. Still, it’s unexpectedly entertaining thanks to a near-perfect performance by Cage and an intriguing narrative that works. The last fifteen minutes come up short, based on a situation that almost feels rushed at one point to throw in this subplot about this dream technology that could’ve been explored early on. But once it’s over, you want to dream of Paul or drink a can of Sprite while you’re at it. This isn’t Borgli’s first film, but I thought it was since I’m not too familiar with his previous work, yet the buzz around this should skyrocket his career to new heights.

Grade: B+

Release Date: November 10, 2023

Runtime: 100 Minutes

Rated R for language, violence and some sexual content.

Distributions: A24

‘Saltburn’

After starting the decade with style with her directorial debut Promising Young Woman, which was one of the year’s best (I watched it twice in one day) and won the Academy Award for Best Original Screenplay, what could the future hold next for Emerald Fennell with her much anticipated sophomore feature. Not that there’s any pressure to throw together another hit with her latest Saltburn, but something tells me this would be another twisted tale with a different vibe from her first film. Does it make for a drama that has divided many? Maybe even though I didn’t go into reading what others said after its Telluride debut. But though it’s hard to stay great, this proves Fennell is a visionary director aiming to challenge herself.

What’s the Story: Travel back to Oxford University in 2006, where freshman Oliver Quick (Barry Keoghan) started attending. He has yet to make many friends there with his peers from wealthy backgrounds, but he gained a scholarship. But things start looking up for him once he befriends popular student Felix Catton (Jacob Elori), who shows this empathetic nature once he hangs around his social circle. After a tragedy and feeling he needs comfort, Felix gracefully invites Oliver to his family’s estate, “Saltburn,” and stays with his family for the summer. While there, Oliver is a part of a lifestyle he never came close to being involved in, which might be a place he doesn’t see himself leaving.

It is simple to swiftly assess Saltburn on its own merits, expecting at first that it would be another movie in which the wealthy get what they deserve. Thankfully, this wasn’t the case. Fennell, who probably grew up in luxury and went to a private school, wants us to be in Oliver’s shoes, an outsider who gets to experience the lifestyles of the wealthy and not-so-famous. Keoghan’s performance as Oliver (another excellent role after his Oscar-nominated work in The Banshees of Inisherin) makes for a reasonably simple character to sympathize with early on, only to see the cracks in what he could hide behind those eyes. Many will see this as a modern Talented Mr. Ripley, and it creates a balance between a dark comedy and a near-psychological thriller that’s not for everybody but distinctive enough from her vision. Let’s say there were a few moments that I didn’t know where they were absolutely shocking and where I audibly reacted that will remain in my head for quite a while.

Fennell’s ambition doesn’t disappear, though it’s not a surprise this might be messy for others. That slow burn at the back of my neck intrigued me, with it dealing with Ollie and all the time he spent around the Catton family. Then, once it reaches the third act, it goes for that element of shock, but it’s hard to tell if it was meant to be all that clever. Mostly, it can get a slight pass since endings to her films are hard to follow, while this, in particular, touches on the theme of lust, wanting someone or something no matter what in class culture.

Along with Keoghan’s standout and complex performance, nearly everybody else is great on their own. From someone who only sees his character on Euphoria wherever he goes, Jacob Elori came off a bit charming as Felix, seeing why a guy like Oliver would find him irresistible to others. You also have Richard E. Grant as Sir James, Archie Madekwe (fresh off his breakout in Gran Turismo) as Felix’s cousin Farleigh, Alison Oliver as Venetia, and a quick supporting role from Carey Mulligan as Pamela to round out the cast. But as one who has come around on Rosamund Pike for the past decade now, what a delight she was as Felix’s mother, Elspeth, proving most of the funniest lines that’ll put this up as her best performance since Gone Girl.

Besides behind and in front of the camera, the most memorable aspects were how it looked and sounded. The joy of finding out Linus Sandgren was the cinematography didn’t disappoint as he was filmed with a 4:3 aspect ratio. He captures the ins and outs of the large estate beautifully and is almost tense, mainly when shot at nighttime. Something tells me it’s not going to get any huge Oscar nominations, but I would love to see this get in for Best Cinematography.

Along with Anthony Willis’ music, it has a really good soundtrack. The music side of my brain might’ve noticed a couple of songs out of place based on the year it takes place, but it has my taste when it got some Cold War Kids and MGMT. I don’t want to spoil the last song, but it matches with one of the year’s most memorable endings.

Saltburn sees writer/director Emerald Funnel not outdo herself after the greatness that was her feature debut. But with its limited locations and a stellar lead performance from Barry Keoghan, this is a hilariously dark thriller that doesn’t stray your attention. There’s a possibility it could be a film worth loving when a second viewing is required.

Grade: B

Release Date: November 17, 2023

Runtime: 131 Minutes

Rated R for strong sexual content, graphic nudity, language throughout, some disturbing violent content, and drug use.

Distributions: Amazon MGM Studios

‘May December’

May December has quietly gathered traction since its recent Netflix release. And who wouldn’t when two Oscar-winning actresses, Natalie Portman and Julianne Moore, are attached? Todd Hayes has been a favorite of many film fans since the 1990s, thanks to critical darlings such as Safe, Far From Heaven, and the sole drama I’ve seen from him, Carol. But, with only a hazy understanding of what this was all about, one thing was sure: it could be an exhilarating melodrama that captivated me or an artsy film for the sake of being artsy. Instead, despite not being one of the year’s best films, it’s a remarkably calm and restrained movie that deals with difficult subject matter that is neither predictable nor comfortable.

What’s the Story: In 1992, Gracie Atherton (Moore) was 36 years old when she was caught having an affair with 13-year-old Joe Yoo (Charles Melton) in a pet store storage room. That relationship became a media issue when she was sentenced to prison while giving birth to his child. Now, over 20 years later, Gracie and Joe are happily married with three children and sending their twins to college soon. But the arrival of Elizabeth Berry (Portman) shakes things up as she’s an actress preparing to portray Gracie in an upcoming independent film, showing up to their home in Georgia to learn more about them and who she’s about to become.

One would imagine that under Haynes’ direction and a screenplay debut from Samy Burch, this would be another drama focusing on the very contentious topic of former teacher Mary Kay Letourneau and how her narrative was what everyone was talking about at the time. That’s not what we get. Instead, it concentrates on what an actor does when researching someone they’re about to represent, never going out of their way to glorify the true story it’s partially based on and humanizing its characters out of nowhere. Elizabeth is studying certain mannerisms Gracie poises, delving into her relationship and seeing their perspectives then and now. Most are more likely to evolve into this richer understanding of the morals beneath someone, even when it’s a very flawed individual. It’s only until the halfway mark that it’s almost understandable how someone like Gracie sees how it’s a relationship that’s not so romantic but often seen as predatory.

Portman hasn’t been this great in a long time, not since Jackie, where she plays Elizabeth through the lens of a talented, if mediocre TV actress doing what she can to make this character accurate with every detail that comes to her, only to feel conflicted if what she’s doing is the right call. You’re always wondering if she’s putting on a show or if she finds interest in who this couple is without coming across as the bad guy. One standout moment came from about a two-minute monologue I don’t think is enough to land her a Best Actress, considering it’s a crowded year, but it’s nothing short of impressive from her.

As always, Moore, in her third collaboration with Haynes, puts this unconventional feel to Gracie where you don’t know if she’s ever feeling alright, and it’s made worse after knowing where she is in her life when this ongoing research plays out. The two of them together made for an impeccable pair where it seemed they had worked before this. But as much as Portman and Moore were fantastic, Charles Melton as Joe might’ve given one of the most unexpected performances during this awards Season. I haven’t seen him in tons of work besides his work on Riverdale, but just when I thought there wouldn’t be many personalities to Joe, I was taken back by how he used to be a teenager whose life took a left turn to become a father at a very young age. Even when he has these long takes with these actresses, he still stands out in a role. I know we’ll see Melton earning acclaim.

Before watching, I assumed May December would be a straightforward drama, but some people online brought up this campy element. Because there is a good amount of dramatic music to transition between scenes that are too loud, it was a drama with a few unexpected laughs. It hit me early when Moore said, “I don’t think we have enough hot dogs,” and looked inside the refrigerator. It was only a matter of time until the tone was established, but it wasn’t so overbearing that I was checking out.

For fans of Todd Haynes, May December will be pure joy. This may not have made the dark comic aspect of it very clear to me, but the tale is sufficiently unique to be carried along with three outstanding performances.

Grade: B

Release Date: December 1, 2023

Runtime: 117 Minutes

Rated R for some sexual content, graphic nudity, drug use and language

Distributions: Netflix

‘Candy Cane Lane’

Finally, Candy Cane Lane brings together two things America loves and has a complicated history with from time to time: Eddie Murphy and Christmas. This isn’t the first time these two have come together since most consider the ’80s classic Trading Places an alternative Christmas movie. However, his most recent collaboration with Amazon Prime is for the entire family to enjoy during the holiday season. It will make anyone want to watch more fun than this. At the very least, this was intended for streaming rather than theaters.

What’s the Story: Re-teaming with his Boomerang director Reginald Hullin, Murphy plays Chris Carver, a husband and father of three living in the quaint neighborhood of El Segundo, California. Every year, there’s an annual contest on Candy Cane Lane for the best-decorated house, which Chris’s home always loses to his neighbor. But after getting laid off from his sales job and discovering this year’s prize is $100,000, he’s desperate to win like his life depends on it. However, he doesn’t tell his family about his firing because he doesn’t want to ruin what could be their last Christmas together. Upon looking for anything to spruce up his home, Chris and his eldest daughter Holly (Madison Thomas) look inside a Christmas pop-up shop run by an eccentric woman named Pepper (Jillian Bell), who sells him this tall, lavish 12 Days of Christmas tree. Here’s the catch: Once he signs the receipt, the figures representing the song come to life. Now, Chris and his family must collect five golden rings before the clock strikes eight on Christmas Eve before it’s too late.

There’s never much enthusiasm when famous stars star in seasonal family films because these films are rarely excellent enough to see once and then move on. Candy Cane Lane isn’t exactly on par with “classics” like Deck the Halls and Jingle All the Way, but the festive mayhem doesn’t seem to belong there. It takes shots at those who unnecessarily go out to be the “Champion of Christmas,” with unusual repercussions for clever uses. What you get is a Christmas-time Jumanji with getting caught up with the equivalent of the devil and doesn’t read the fine print, except it’s not fun to see it come to life.

But like the actual Twelve Days of Christmas song itself, it’s tedious and surprisingly unfunny, with the most evident message to learn from our main character, who’s obsessed with Christmas but must know the importance of the loved ones around him. But with those moments of them getting the rings, it’s the craziest of situations where anyone not part of the family is oblivious, especially with the Eight Maids a Milking and Ten Lords a Leaping. Something about that is somewhat amusing but not enough to find it innovative. And those scattered laughs are from anything involving getting those rings or the annoyance of the miniature ornaments plated by Nick Offerman, Chris Redd, and Robin Thede (though there’s some fantastic stop-motion to animate them with the low frame rate).

For the most part, Murprhy’s performance keeps this alive, and it’s very much a performance that’s restrained chiefly and does not feel like it’s worth the effort when we usually think of him as one of the great comedic talents. It’s great to see Tracee Ellis Ross in another movie this year as his wife, and while I like Jillian Bell sometimes, it’s no secret that her role as Pepper becomes the over-the-top villain designed to trick Chris with his wish.

Besides the laughs not always there (a few got me from Timothy Simmons and Danielle Pinnock) and stretching a thin yet promising premise, what’s with the two-hour runtime? There’s no reason for this to be so long, especially after a long set-up in the first act and wanting things to wrap during a pretty bloated climax. Granted, I was not expecting this to be great, but it could’ve been a win in Murphy’s filmography with a different director and writer in hand.

Overall, Candy Cane Lane can get by with its crazy premise, but it has difficulty sparking that holiday magic. Though the talents of both Eddie Murphy and Tracee Ellis Ross demonstrate an engaging pairing and a few funny moments here and there, they’re saddled on an overlong and mediocre adventure that initially had some promise. Honestly, it’s there for background noise at a party to entertain the kids more or less.