The Best of SXSW 2024
BABES
Courtesy of Neon
The comedic highs and lows of pregnancy are put under a microscope in “Babes,” a movie that further enforces the notion that creating life is a superhuman ability. Best friends Eden (Ilana Glazer) and Dawn (Michelle Buteau) have been inseparable for most of their adulthood, even as life keeps throwing them more curveballs. That bond is tested when the more domesticated Dawn gives birth to baby number two and childish Eden feels left out of the love fest. Feeling vulnerable on the way home from the hospital, a one-night stand will lead the less mature friend to get pregnant herself, igniting a hilariously realistic view into motherhood most doctors don’t tell you about. Glazer co-wrote the film’s script and mixed with Pamela Adlon’s (“Better Things”) smart direction, the movie fully embraces its depraved nature. Unapologetically raunchy, “Babes” is a genuine crowd-pleaser with enough shocking and memorable pregnancy tips to fill a truckload of parenting books.
CIVIL WAR
Courtesy of A24
Destined to be divisive, “Civil War” is a 2024 cautionary tale from British filmmaker Alex Garland (“Ex Machina”) about the dissolution of American democracy. Sight unseen, or at the very least judging from the film’s marketing material, the movie would appear to be as bleak and hopeless as its title suggests. But upon further examination, while darkness no doubt exists in this futuristic saga, there is plenty of hope as well. In the film’s apocalyptic scenario, California and Texas have seceded while chaos erupts in the aftermath. Celebrated and weary photojournalist Lee Smith (Kirsten Dunst) is leading a small crew of reporters (including a novice freelancer looking to gain on-the-ground experience) to Washington D.C., and more specifically, the White House. This is where the team is scheduled to interview the President (Nick Offerman) but it’s also where the film’s climactic powder keg will eclipse all the madness and confusion that has come before. Far from subtle in getting its message across, “Civil War” will absolutely inspire heated debate.
THE FALL GUY
Courtesy of Universal
A high-concept action movie directed by a former stunt performer (David Leitch doubled Brad Pitt and Keanu Reeves for years) that is basically a love letter to the art seems too perfect. Yet it all coalesces into a crowd-pleasing good time despite it feeling a tad overstuffed. In this theatrical retelling of 80’s television series “The Fall Guy,” stuntman Cole Seavers (Ryan Gosling) gets the spotlight and his magnetic charm is what drives most of the film. A complicated romance with the director of his latest project (Emily Blunt) is one of the story’s central conflicts, leading to some chaotically hysterical scenes. However, a side quest involving Cole being tasked to search for the film’s missing leading man (Aaron Taylor-Johnson) only strains the whimsical plot. In the end, that extra padding is just a minor speed bump. Leitch and company have accomplished their goal of showcasing stunt work in the most fun and energetic way possible.
MONKEY MAN
Courtesy of Universal
Revenge films are nothing new, and while this particular one will mostly be compared to the “John Wick” saga, leading man Dev Patel (“Slumdog Millionaire”) has also co-written and directed enough freshness into “Monkey Man” to make it stand out. Patel is stoic and reserved through much of the film, only referenced as Kid, making the name feel more appropriate. Seeking revenge against the corrupt police officer who destroyed his family, he moonlights as an underground fighter where constant poverty and desperation surround him at every turn. Patel’s strength as a first-time filmmaker comes from leaning into genre and confidently balancing new and familiar territories. You get bone-crunching action set pieces reminiscent of “Hard Boiled” and “The Raid” in addition to engrossing character development that doesn’t feel contrived or lazy. It’s a cinematic win-win that is all-too-rare in this current regurgitated environment.
Y2K
Courtesy of A24
Back in December 1999, the impending arrival of the year 2000 caused mass hysteria in more ways than one but the technological threat reigned supreme. Many believed we weren’t prepared for the switch to the new millennium and because we had become so reliant on technology, everything we took for granted would fall apart. Things obviously worked out in the end but director Kyle Mooney (formerly of “SNL”) positions “Y2K” in the alternate universe of chaos not being averted. It’s a mostly positive high-wire act, especially when the film blends 90’s nostalgia and teen comedies in its first half with familiar sci-fi survival elements in its back-half. The headlining trio of Jaeden Martell, Rachel Zegler and Julian Dennison shine as teens looking to embrace the big party of New Year’s Eve 1999, flaws and all.
