Netflix Nourishment: 67th Edition

Brandon Vick reviews All Quiet on the Western Front, Wendell & Wild, and The Good Nurse on the latest edition of Netflix Nourishment.

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ALL QUIET ON THE WESTERN FRONT

From its affecting opening sequence of a German soldier’s uniform to its grievous final shot – this German retelling of the classic anti-war novel by German writer Erich Maria Remarque is nothing short of stunning. Paul (an outstanding Felix Kammerer) and his pals have this excitement in their eyes as they’re recruited to march in World War I. They clearly have no idea of the hell that awaits them. It’s a barbaric, torturous trip into the futility of war and the monstrosities on the battlefield that no person should ever have to witness. An astounding filmmaking achievement that’s intense, riveting, painfully brutal, and visually staggering. With an ominous, striking score, quality editing, knockout cinematography, and fantastic performances all around – the film is undoubtedly a technical triumph but also an excruciating epic of the boys in the trenches who won’t come home. All Quiet on the Western Front is tough to endure, and as it should be when experiencing writer/director Edward Berger’s merciless portrait of war being a living fucking nightmare.

WENDELL & WILD

Coraline was Henry Selick’s last movie and that was in 2009. So it’s fantastic to see him back, shaping a dizzying, demented stop-motion animation that only his mind can bring to fruition. Wendell (Keegan-Michael Key) and Wild (Jordan Peele) are two devious demon brothers who dream of opening up their own fair in the Land of the Living. They strike a deal with Kat Elliot (Lyric Ross) in her dreams that’ll get them out of their father’s (Ving Rhames) head and resurrecting the dead with magic hair cream. Kat blames herself for the tragedy that killed her parents and the possibility of being reunited with them heavily outweighs the consequences of summoning Wendell and Wild to her world. They’re using each other to cure their own suffering. However, as these stories tend to go…it’s a decision they may soon regret.

With every Selick creation, there’s phantasmagoria pumping through its veins, yet Wendell & Wild doesn’t quite measure up to his previous work. While refreshing in its progressive and diverse cast of colorful characters, his storytelling is rather convoluted, killing much of the momentum necessary to stay fun in its wicked ways. And even with a Key & Peele reunion – the humor is DOA. Selick’s artistry is astonishing, the detail that goes into each of his films is mind-blowing. All of that can still be found and admired right here. Still, it’s unfortunate Selick’s return is a slight slip up when enabling just enough to get in the way of us truly being able to immerse ourselves in his bizarre and beautiful vision we’ve been missing for over a decade.

THE GOOD NURSE

Jessica Chastain plays Amy, a caring ICU nurse and single mother who’s brought to her knees by the demands of the job. What’s worse is this is making her heart condition that much more life-threatening, and she has to make it four more months before she can get health benefits to cover the surgery she needs. Relief comes in the form of a fellow sweet-natured nurse, Charlie Cullen (Eddie Redmayne). They become fast friends and practically family as Amy leans more and more on him for support at the hospital and at home with her two daughters. However, as their patients begin to die in puzzling ways and an investigation gets underway – Amy has to ask herself if she really knows Charlie and what he’s truly capable of.

Based on a true story, director Tobias Lindholm’s first English language film presents an intriguing if procedural serial killer thriller that lags for a good portion of its two hours. He and writer Krysty Wilson-Cairns attempt to examine the chilling murder and mendacity of one man while exposing our broken healthcare system in the process. The problem is neither are entirely affecting or effective. It lacks real fervency, depth, and character.

Even so, The Good Nurse is fortunate enough to have two exceptional lead performances to carry viewers through. Chastain is always terrific and her portrayal here is not just courageous but quietly gripping. That said, Redmayne takes it to another level, especially in the third act. It’s a role we haven’t seen him in previously and what he does with it is scary yet stupefying.

Brandon Vick is a member of The Music City Film Critics’ Association and the Southeastern Film Critics Association, the resident film critic of the SoBros Network, and the star of The Vick’s Flicks Podcast. Follow him on Twitter @SirBrandonV and be sure to search #VicksFlicks for all of his latest movie reviews.

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