The Film Buffa reviews 'Heretic', 'Thelma', 'The Substance' and 'The Wild Robot'

Being sick means the only useful task is catching up on flicks.

Screening films, all different in structure and makeup, weeks before awards voting is like having a flight of whiskeys placed on your table. Three different designs, tastes, and general makeups of a popular item are presented in its final form. Comparing bourbon to movies fits, due to the instant reactions we have after just a sip or two. November and December are times for consideration and contemplation for film critics, and cold weather suits a strong bourbon.

Unfortunately, I was too sick this week to even attempt a hot toddy, but I was able to view quite a few films that I will review in shorter bursts than the normal deep-dive review. All movies don’t need a full landscape description and critique. The Internet Movie Database exists for a reason, so there’s plain information to be located there. Let’s get into a few I have consumed while lying mostly horizontally.

Heretic

Picture an Escape Room with Hugh Grant hosting and moderating a thorough discussion on religion, and you have this wickedly intelligent thriller. Heretic has just enough horror elements (house on a hill, no way out, creepy older dude poisoning pies) to support the bare-boned premise of a couple of missionaries (the equally impressive Sophie Thatcher and Chloe East) knocking on the absolute wrong door on a cold, snowy night.

I enjoyed the screenplay and its ambitions. Far-fetched plot twists and too-on-the-nose moments don’t deter Grant from arguably his best performance. Gone is the slick, magazine-cover rom-com star, and in his place is a multi-faceted performer who can give a monologue some conviction.

Come for the comparisons between the board game, Monopoly, and the different religions, but stay for the final 30 minutes. A talkative thriller that delivers some fright and lots of food for thought is a keeper. (Currently in theaters only.)

Thelma

Picture an action comedy about an elderly woman tracking down the phone scammers who took $10,000 in beautiful slow motion, and you have this sweet little indie. June Squibb is the title character, inspired by the director’s mother, a seemingly peaceful 93-year-old doting grandmother who does what many people her age tend to do: lose track of their fucks to give.

The best part of Josh Margolin’s light and breezy comedy is the sarcastic take on the action-adventure revenge plot dealt with through a sardonic lens with the help of Squibb, who rides a motorized scooter all over Los Angeles. Thelma getting inspired by watching Tom Cruise run and leap in a Mission: Impossible movie to take matters into her own hands is the comedy I’m here for.

Richard Roundtree delivers a soulful final performance before his death as Thelma’s ride-or-die partner in her quest. All the action gleefully lacks the sped-up nature of the genre, instead basking in the slow rate that this justice moves. All of it is great due to the cast and a filmmaker who knows how to make a tribute film fun.

The Substance

Unless you’re a twisted David Cronenberg body horror fan, prepare for a different kind of movie. Writer/director Coralie Fargeat gives Demi Moore arguably the most go-for-broke, layered role of her career as a fadig star pushing on that one button even the most desperate souls shouldn’t. The “plastic surgery” done on Moore’s character is unconventional.

It’s not easy to discuss this one without spoiling two-thirds of the movie, which sees Margaret Qualley enter the fray as a new face in town and Dennis Quaid gloriously chewing scenery as the worst kind of network executive. You’ll never see a plate of seafood the same again after watching him deliver tepid reasoning for a woman’s career slamming into the pavement after the age of 50.

Moore’s work here proves otherwise. If she keeps taking chances like this, older age will be the penthouse for her. Next up for her: A role in Taylor Sheridan’s new series, Landman. Come prepared for The Substance. It’s ridiculously original and not for the squeamish.

The Wild Robot

A delightful film that pins a nice bow on the impressive year of Lupita Nyong’o. Starting with a lead role in the thrilling Quiet Place origin tale and ending with a beautiful piece of voice work in this animated gem, she’s showing why her early career Oscar win for 12 Years A Slave wasn’t some quick cup of coffee with talent, but just the beginning of a long-term Hollywood relationship.

She’s a robot who lands on a strange, deserted planet with dozens of animals in her area who see her Roz as a threat. Slowly but surely, they warm to this new presence. Chris Sanders’ film showcases a situation where something different becomes necessary; Roz takes a young gosling under its wing, nursing it back to health. The robot has a similar effect on most of the island’s inhabitants.

The Wild Robot features one of the year’s most stellar voice casts, including Pedro Pascal, Bill Nighy, Ving Rhames, and Mark Hamill. Movies like this don’t need to change the narrative wheel, providing a familiar yet effective effect for the whole family. Try not to feel something in the final scenes of the movie.

Four movies with different makeups and thrills for your next movie night. Since my lunch hour is finished, so is the writing.