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Power (2024)

Raises Awareness But Offers Few Solutions

[6/10 · 22 May 2024]

Questions about unchecked police power have become one of today's hot button social issues, and the public is deeply divided about it, depending on who one speaks with. Writer-director Yance Ford's latest pours ample fuel onto this fire with a cinematic essay that clearly has an impassioned view on the subject, making a strong case that some will obviously agree with but that others are likely to decry as an agenda-driven leftist treatise. Through a series of interviews with academics who have studied the issue and criminal justice insiders, viewers are shown the dual-edged sword surrounding this subject. While the film acknowledges that there is a need for policing in light of the prevalence of violent crime, it also argues that the supposed deterrent to this problem - a greater police presence with wider, legally sanctioned latitude in carrying out its mission - is simultaneously contributing to its growth, circumstances that have long gone unrecognized and/or willfully ignored as a result of longstanding prejudicial societal conditions that have only furthered the proliferation of this issue. Those conditions, in turn, are dissected in terms of how and why they fell into place through the years as a means to curtail the freedoms of those who were seen as posing an inherent (if somewhat overblown and paranoic) threat to the social order imposed by an entitled power structure (namely, anyone whose demographic attributes didn't match those of the self-appointed elite). Archive footage thus explores the efforts of early police forces to contain the lives and activities of slaves, indigenous peoples, immigrants and labor organizers, all of whom were considered suspect simply by virtue of their own innate identities. And, from these dubiously sanctioned roots, the power of those in charge has only grown more formidable and pervasive in forcefully holding down those who are perceived as dangers to the status quo, such as student radicals, social and political opponents, and others outside "the mainstream," thanks to the supply of increasingly alarming means more typical of paramilitary operations than the civilized maintenance of law and order necessary for the functioning of a supposedly mature democracy. Good cases are made in favor of these arguments, to be sure. And, in all fairness, the film incorporates the views of constituents within the system who are legitimately trying to reform it internally. Admittedly, though, "Power" has a tendency to become somewhat circular in making its point, redundantly repeating its genuinely valid contentions but without offering solutions to a scenario that only seems to growing worse without impactful efforts to contain it, a decidedly missed opportunity to meaningfully address the situation. Perhaps that's what is needed next, with this offering serving primarily to draw attention to and raise awareness of the issue, but I think the public at large is already sufficiently cognizant of the situation that this release could have gone farther in tackling its subject. Sustained recognition of the problem is certainly a noteworthy takeaway from this production, but it's unfortunate that it didn't seek to expand on that notion and offer us more in terms of providing answers - and hope for the future.

I Like Movies (2022)

The Cost of Comeuppance

[7/10 · 16 May 2024]

It's admirable when someone has obvious enthusiasm for a personal passion and is eager to share that sentiment with others. However, it's something else entirely when that burgeoning zeal is expressed with condescension, arrogance and disdain toward others when they share their views on the subject. That's the issue 17-year-old Canadian high school senior Lawrence Kweller (Isaiah Lehtinen) wrestles with when it comes to his love of movies. As an aspiring film student seeking to attend New York University after graduating as part of the class of 2003, he speaks about his obsession - often quite naively - as a pompous, self-absorbed aesthete who doesn't know as much as he thinks he does (and doesn't realize it either). He routinely puts down fellow students in his media studies class, co-workers at the video store where he works, his widowed, hard-working single mother who struggles to make ends meet and even his supposed best friend and film project collaborator, Matt (Percy Hynes White). While it's true that some of Lawrence's behavior is attributable to psychological troubles and personal trauma, there are limits to what others will tolerate. The result of this is a series of hard lessons in comeuppance, especially when his inflated, entitled attitude is slapped back by those looking to put him in his place. Writer-director Chandler Levack's debut feature serves up a smart, sassy, edgy comedy-drama about learning how to be legitimately inspired and impassioned without making an insufferable ass out of oneself, youthful inexperience notwithstanding. The picture is loaded with hilarious and poignant movie references that avid cinephiles are sure to love and appreciate, as well as an array of sidesplitting coming of age bits that probably take many of us back to the geeky ways of our own adolescence. Admittedly, some of the story threads seem a little implausible and don't work as well as they might have (especially in the final act), and a few of the jokes - though funny - nevertheless stand alone like comic islands that seem disconnected from the main narrative. Nevertheless, "I Like Movies" is an otherwise-whimsical, delightful, engaging indie gem that will remind us of what it was once like to be idealistic yet blissfully ignorant, one that we can only hope will leave an indelible impression on younger viewers whose off-screen behavior tends to mirror that of the protagonist. Indeed, it's one thing to love movies, but it's something else entirely to think that life operates the same way.

I Saw the TV Glow (2024)

A Pretentious Cinematic Train Wreck

[2/10 · 11 May 2024]

After watching this piece of incoherent, unfocused rubbish, I would have much rather watched the TV glow instead. Writer-director Jane Schoenbrun's incomprehensible smart horror offering is an absolute utter waste of time, not to mention the ticket price. This story of two psychologically and emotionally troubled teens, Owen (Ian Forema) and Maddy (Brigitte Lundy-Paine), who bond over a cheesy late night 1990s young adult sci-fi/horror television series called The Pink Opaque struggles mightily to find its way. As Owen grows into an adult (Justice Smith), his cohort vanishes mysteriously when the TV series is abruptly cancelled, leaving him wondering what happened to her until she just as mysteriously reappears years later with a disjointed story that makes no sense from top to bottom. As the film's narrator, Owen tries earnestly to explain, but his recounting of this experience is equally baffling, especially when he tells why Maddy has come back after her protracted absence. The result is an unintelligible tale that's far from frightening (even metaphorically speaking) and ends up being a convoluted mix of 1990s teen angst, extended and inexplicably incorporated music videos, an exploration of sexual ambiguity, and a woefully wayward attempt at symbolically addressing issues related to personal disassociation and self-actualization. There are also numerous story elements and images that are included in the narrative that go undeveloped and unexplored. To its credit, the picture features a fine production design, intriguing cinematography, a good measure of campy comic relief (though not nearly enough of it) and a skillfully assembled soundtrack (handily this release's best attribute). However, when a film's musical guests receive greater billing than its cast members and the soundtrack ends up being its strongest asset, that doesn't speak well about the production's overall quality. To be honest, I get genuinely annoyed (and feel egregiously ripped off) when I leave the theater having screened a picture whose trailer and marketing seem to offer so much promise and end up failing miserably when it comes to delivering the goods, and that's very much the case with this pretentious, sophomoric cinematic train wreck. Don't waste your time or money on this one.

How to Have Sex (2023)

A Serious Message with Trite Delivery

[4/10 · 9 May 2024]

It's truly disappointing when a film tackles a serious subject but mishandles the execution of the story associated with it. Such is the case with writer-director Molly Manning Walker's debut feature about the troubling ramifications associated with decisions about adolescent sex. When a trio of British teens (Mia McKenna-Bruce, Lara Peake, Enva Lewis) embarks on a spring break-style vacation to the resort town of Malia on the island of Crete, they anticipate a raucous, fun-filled time of drinking, dancing and sexual hedonism. The last of those goals is especially important to Tara (McKenna-Bruce), the lone virgin in the group, who's anxious to cross the threshold of becoming a woman. But, as she pursues the fulfillment of that objective, she finds the decision fraught with more complications than she anticipated, some of which weigh heavily upon her as she seeks to sort them out. That's understandable, too, given the profound nature of this rite of passage. Unfortunately, that conundrum is couched in a narrative that's fundamentally implausible. For starters, what parent in their right mind would give their minor child permission to go on such an unchaperoned journey as this, one that's easily bound to be looked on as an exercise in reckless abandon? And then there's the plot, which is riddled with clichés and predictability, telling a story that's more than a little familiar. In fleshing out this trite narrative, the picture is filled with endless footage of screaming, unbalanced partygoers imbibing to excess, singing karaoke off-key and falling over when the night's over. It's also difficult to understand much of what the characters say, given their unruly drunken behavior and thick cockney accents, making them look and sound like a mob of rowdy, inarticulate soccer hooligans. Despite the gravity of the topic involved here, it's hard to take this release seriously - and to maintain interest in the story and its characters - as the film unfolds. It's even more puzzling how this important but shopworn material managed to captivate so many during the 2023 awards season with the honors and nominations it received at the Cannes Film Festival and in the BAFTA Awards competition. Had this offering been a little less obvious, it may have made its point more effectively, but there's little here that we haven't already seen many times before, weakening the significant message it's seeking to convey.

The Miracle Club (2023)

Delightful and Insightful, If a Bit Schmaltzy at Times

[7/10 · 5 May 2024]

When circumstances in our lives grow burdensome, many of us hope for a miracle. In some cases, that aspiration is looked upon and anticipated as a literal possibility, one that can be banked on if certain steps are taken. For many of the world's Roman Catholics, that means making a pilgrimage to the holy shrine at Lourdes, France, site of a believed visitation by the Virgin Mary in 1858. And, in 1967, for the anguished residents of a small Irish town, that's just what they undertake in hopes of seeing their problems miraculously vanish. That premise provides the basis for director Thaddeus O'Sullivan's latest feature offering, which tells the story of three generations of women who make the journey to see their trials and tribulations lifted, some of which are physical, others of which are emotional and nearly all of which are familial or relationship-oriented. This delightful and touching comedy-drama is part road trip tale, part "buddy" film (even if that term doesn't always fit), and part saga of reconciliation, redemption and rebirth. It poignantly explores the process of making our own miracles rather than relying on outside influences, as well as learning and understanding the true meaning of faith and forgiveness. Admittedly, the film takes its time getting started (and perhaps a tad too long at that), and some of its story threads come across as somewhat schmaltzy, predictable and overly "tidy." However, it has a definite edge to it, too, especially in its incisively biting humor, pointedly and expertly delivered through the superb performances of its principal cast members, most notably Maggie Smith, Kathy Bates, Laura Linney and Stephen Rea. Some may look upon "The Miracle Club" as something of a lightweight offering, but its heart and intents are decidedly in the right place, making for a generally enjoyable watch, particularly as a piece of family fare. Cynics may find much to criticize here, but I believe that's patently unfair, considering the sincerity of its messages and earnestness of their delivery. So, in light of that, give this one a fair shake - you just mind find a few miracles of your own come from it.

Sleep (I) (2023)

Smart and Funny, With Good Scares Along the Way

[8/10 · 4 May 2024]

It's always gratifying when a horror film truly lives up to its billing (especially given how many awful releases there are in this genre), but that's because this debut feature from writer-director Jason Yu qualifies in the more ambitious "smart horror" branch of this category. The filmmaker's first outing tells an entertaining, suspenseful and often quite humorous tale that serves up its share of good frights (without becoming gratuitous) while simultaneously and metaphorically giving audiences something to think about on a seemingly unrelated topic - the challenges of marriage. That's quite a lot to tackle in one picture, but the director handles it capably through a well-constructed, tightly packaged narrative that seamlessly and effectively integrates gasps with laughs, often doing so without becoming silly, obvious or predictable. This offering follows a young couple (Jung Yu-mi, Lee Sun-kyun) whose lives get turned upside down when mysterious nighttime, sleep disorder-related occurrences begin happening in their apartment, events that threaten the well-being of their marriage and prompt them to go to great lengths to resolve these issues, frequently at great cost to the health and future of their relationship. The intensity builds steadily, but the director skillfully injects measured changes in direction and well-placed humor to deflate the shocks as a means to not playing his hand too soon. The result is a captivating watch that holds viewer interest through its economically orchestrated 1:35:00 runtime. It's indeed rare that I heartily recommend horror flicks, but I'll gladly do it for this one, both for its entertainment value and the insightful advice it offers to all the married couples out there. Hang in there, folks - as this film shows, things always have the potential to get better, no matter how dire they may look and how much resilience must be put into working them out, even if there are a few scares - and laughs - along the way.

Remembering Gene Wilder (2023)

Somewhat Conventional But Supremely Revelatory

[8/10 · 1 May 2024]

I find it ironic that sometimes it takes something serious, like a documentary, to showcase the somewhat less than serious abilities of someone gifted at comedy, like actor-writer-director Gene Wilder (1933-2016). But that's just what viewers can expect from director Ron Frank's reverent but often-hilarious tribute to this iconic talent, one whose accomplishments in film, on television and on stage haven't always received the kind of recognition that they deserve. As documentaries go, this offering largely plays it straight in terms of its content and structure, exploring Wilder's roots in Milwaukee and chronicling his rise to fame, told in chronological sequence. But, despite this conventional approach, "Remembering Gene Wilder" offers viewers much. The film features a number of recent interviews with such collaborators as Mel Brooks, Carol Kane and Eric McCormack, as well as friends Alan Alda and Harry Connick Jr., Turner Classic Movies host Ben Mankiewicz, wife Karen Wilder and an array of Hollywood production professionals. It also includes ample clips from Wilder's films, including "Bonnie and Clyde" (1967), "The Producers" (1967), "Willy Wonka and the Chocolate Factory" (1971), "Everything You Always Wanted to Know About Sex (But Were Afraid to Ask)" (1972), "Blazing Saddles" (1974), "Young Frankenstein" (1974) and "See No Evil, Hear No Evil" (1989), along with his guest appearances on television's Will & Grace (2002-2003). And then there's plenty of archive video and still photograph footage of Wilder's family, friends, influences and co-stars, those who helped shape him and that he, in turn, helped shape. Most importantly, though, this offering examines what made Wilder unique as an artist and as a private individual, someone known for his singular vision as a comedic (yet vulnerable) actor and as a compassionate, generous colleague toward those he loved and worked with. There's also a touching segment examining his profound but bittersweet marriage to wife and co-star Gilda Radner (1946-1989), a heartbreaking love story that brought out these personal qualities in abundance and in a very high-profile way. The result is a surprisingly eye-opening look at its subject, revealing sides of Wilder personally and professionally that many outside of his inner circle may not have known. The overall approach of this offering may not be particularly inventive, but the result is well worth a watch nevertheless.

The Breaking Ice (2023)

Left Me Cold

[4/10 · 30 April 2024]

No matter how hard a film tries to convey a profound message through imagery and symbolism, if it doesn't have a cohesive narrative underlying that undertaking, it's not likely to succeed. Such is the case with this latest offering from writer-director Anthony Chen, who tells the story of three diverse but disconnected twenty-somethings (Dongyu Zhou, Haoran Liu, Chuxiao Qu) seeking to find their way in life in the northern Chinese city of Yanji, not far from the North Korean border. Set in the dead of winter, this unlikely trio comes together through impromptu (and, in all honesty, seemingly improbable) circumstances, quickly and inexplicably becoming bound by a suspect sense of chemistry. After coming together, they subsequently embark on a carefree weekend of dining, drinking, dancing and wrestling with sexual tension, intermixed with bouts of largely unexplained tear-laden ennui. The film consequently relies on implication and nuance to carry it forward, but the subtlety here is so subdued much of the time that it's challenging to figure out exactly what the director is striving for. By contrast, in other cases, the picture's patently obvious imagery is more than a little heavy-handed, as seen, for example, in its pervasive footage of the frozen winter landscape, a reflection of its "coldness of the world" theme. But what does it all add up to? That's hard to say. The result is a release that relies more on mood than substance, with much of it implausible, inconsequential, somewhat unfathomable and not especially engaging. To its credit, "The Breaking Ice" is gorgeously filmed, providing viewers with a look at an unfamiliar locale, backed by an atmospheric original score and carried forward by a trinity of capable performances. However, I came away from this feature largely unmoved and notably disinterested, the whole affair having left me cold (pun intended). To me, films that continually reach but never grasp just aren't worth the time - or the praise that they're undeservedly lavished with - and this is clearly one of them.

Bob Marley: One Love (2024)

Episodic and Disappointing

[5/10 · 29 April 2024]

In addition to telling an individual's life story, one of the other primary objectives of a film biography is to provide insight into the protagonist's character and nature. Unfortunately, that's where this profile of reggae icon Bob Marley (Kingsley Ben-Adir) tends to come up somewhat short. Director Reinaldo Marcus Green's biopic about the legendary musician and peace advocate provides viewers with a somewhat scattershot and episodic look at the artist's life, primarily focused on the last few years of his life, intercut with flashbacks that are largely inserted without explanation and don't come across as especially insightful or enlightening. To the film's credit, it features a fine repertoire of Marley's music, including the origins of many of his works, as well as fine performances by Ben-Adir and Lashana Lynch as the musician's wife, Rita. However, I came away from this offering feeling as though I didn't know a lot more about its subject than I did going in, particularly since many story threads are raised but never sufficiently resolved. It also probably didn't help that the film's sound quality (in the non-musical sequences) left much to be desired, often resulting in the need to strain to hear and comprehend the dialogue. In many ways, "One Love" feels like a missed opportunity to tell the story of someone who had much to say but whose message doesn't come across nearly as clearly as it could and should have. Listen to Marley's music instead - you'll get more out of one of his albums than you're likely to absorb from this picture.

Freud's Last Session (2023)

Meaty and Meaningful

[8/10 · 29 April 2024]

Near the end of his life in 1939, Sigmund Freud (Anthony Hopkins) held one last session at his London home after fleeing the encroaching Nazi oppression in his native Vienna. At that time, just as the German blitzkrieg against Poland was beginning, Freud is said to have met with an Oxford scholar, believed to be author and theologian C. S. Lewis (Matthew Goode), in a lengthy session in which the duo discussed a variety of subjects. In writer-director Matt Brown's hypothetical meeting between them, viewers witness the two visionaries debate such topics as atheism vs. Faith, science vs. Religion/spirituality, the nature of fear, their respective backgrounds (including the personal demons that have haunted them) and their relationships with family members (particularly Freud's arm's-length connection with his lesbian daughter, Anna (Liv Lisa Fries)), among others. Their conversations are both mesmerizing and revelatory, uncovering aspects of each of them that most of us probably never knew. And, in the process, it becomes apparent that this session was as much for Freud's benefit as it was for Lewis, given that the good doctor was in the late stages of oral cancer and contemplating how to make peace with his impending death. The dialogues between the two delve into some very heady material, the kind of discussions that movies rarely, if ever, deal with in such depth, especially as pointedly and insightfully as they're depicted here. Their byplay is intercut with a series of flashbacks, providing the back story about how they each arrived at their respective points in their lives, leaving little doubt as to where they were coming from, as well as why they each harbored inherently conflicting viewpoints that led them both to continually question the nature of their lives, their existence and their place in the Universe. And making all of this work are the stellar performances of Hopkins and Goode, both of whom are in top form here. Admittedly, there are some hiccups in the flow of the narrative at times, but, given the richness and depth of their exchanges, these bumpy little glitches are easily overlooked in favor of the magnitude of what viewers receive in return. Those looking for "entertaining" fare are likely to be disappointed by this offering. But those seeking material that's "enriching" and substantive will find "Freud's Last Session" a thoughtful and engaging watch, one that's certain to give pause about life's bigger questions and how they apply to us, all in the hope of providing deeper meaning into why we're here and what this thing called life is all about.

The People's Joker (2022)

Wow -- Just Wow

[6/10 · 27 April 2024]

Wow - what can one say about this wild, woolly, wigged-out spoof of superhero movies in which the protagonist is an edgy, crusading transgender harlequin comedian fighting the power structure of a corrupt, narrow-minded society? That description alone is pretty wacky in itself, but, as the finished product shows, its depiction on screen is even more bizarre and outrageous. Writer-actor-director Vera Drew's debut feature is simultaneously an exercise in the outlandish that's part high camp, part in-your-face irreverence, part alternative sexuality manifesto and part love letter to the Batman mythology turned on its ear. This story of a small-town boy's transgender awakening as a springboard to finding a new life in the wilds of Gotham City's underground comedy scene tells an off-the-wall, often-frenetically paced, sometimes-sentimental tale that defies conventional classification. Its inventive mix of live action, motion capture photography and animation serves up a unique viewing experience unlike anything most audiences have ever seen, including among most seasoned cinephiles. It also delivers some positively scathing one-liners and wicked sight gags that will leave many thinking "I can't believe they just did that!" Collectively, it makes for the kind of picture that will likely earn this production cult movie status and a guaranteed spot on midnight show movie lineups. Despite its many inspired cinematic innovations, however, the narrative occasionally tends toward overzealous self-indulgence and cryptic ideologies that appear to be employed simply to carry the story forward, making for a production that seems to be trying too hard just to see how much of a stunned reaction it can get from the audience. It has also come under some scrutiny for pushing the limits of fair use issues and acceptable propriety boundaries, elements that raised the eyebrows of some critics and of those who created the source materials from which this work draws (but that have also subsequently added to the picture's undeniable allure). Nevertheless, if you're looking for something that's part DC Comics, part John Waters, part "Liquid Sky" (1982), part "Rocky Horror Picture Show" (1975), and part exploration of the unknown and untried, this one might be right up your alley. But, if you're put off by such an eclectic blend of satire, social commentary, visual imagery and heretical rumination, don't say you weren't warned.

American Dreamer (2022)

A Decent First Film

[6/10 · 27 April 2024]

Is "the American Dream" still alive and well, or is it a pipe dream whose time has come and gone (and perhaps never really was)? That's the question rhetorically posed in this modestly entertaining fact-based debut feature comedy from director Paul Dektor, which examines the efforts of an optimistic yet cynical economics professor/would-be novelist (Peter Dinklage) with meager means who repeatedly attempts to buy a home far above his pay grade. He's discouraged by his frank but somewhat oily real estate broker (Matt Dillon) from continuing in this futile Quixotic pursuit until he finds an offer that seems too good to be true, one proposed by an eccentric wealthy widow (Shirley MacLaine) who's in the early stages of dementia and is fiercely defended by her daughter (Kim Quinn), an astute lawyer determined to liquidate the deal before she and her heirs get swindled. The result is a comedy of errors with warm, fuzzy edges that makes for an often-sweet and tender comedic romp, despite an occasional overreliance on slapstickish humor to sustain laughs. The script is full of delicious little twists and turns, though sometimes the overall narrative doesn't hang together quite as well as it could have due to its inconsistent character development and occasionally meandering story flow. However, the film's fine ensemble cast capably holds this project together, thanks to the fine performances of its principals and the solid work of its supporting players, including Danny Glover, Danny Pudi, Michelle Mylett and Raresh DiMofte. "American Dreamer" is far from epic cinema, but it's certainly an enjoyable watch and a good first effort from the filmmaker. With some further refinement and more experience behind the camera, here's hoping we can expect more and better work from this promising first-time director.

Sasquatch Sunset (2024)

More Than Meets the Eye

[7/10 · 25 April 2024]

Movies that provide us with an inside look at the lives of communities different from our own can show us just how much alike - and not alike - the constituencies of those cultures truly are from our own. It's especially intriguing when such films cross species lines, examining societies of beings different from ourselves, an undertaking tackled in the latest project from the acting-writing-directing duo of David and Nathan Zellner. Known for such offbeat releases as "The Art of Self-Defense" (2019) and "Kumiko, The Treasure Hunter" (2014), this time out the filmmaking siblings present a documentary-style look at a year in the lives of a bigfoot family of four inhabiting the forests of Northern California. The camera follows them through a variety of everyday situations not unlike what we as humans go through, only in a totally different milieu. The film features an array of comedic and dramatic circumstances to which we can all undoubtedly relate, often on a very "earthy," unrestrained level, involving activities in which we all engage but rarely talk about. Told in four acts, this release beautifully captures their experience of life in the woods, with exquisite visuals of Northwestern landscapes and diverse forest wildlife, along with curious, entirely natural expressions of individuals discovering the myriad elements of a world that they have come to believe is their own. But is it? As they come upon scenarios that are anomalous from what they have typically known, they must learn to adapt when evidence emerges that their world could be drastically changing - even vanishing - before their very eyes. In that sense, then, the film quietly delivers a strong environmental message (aptly timed for an Earth Day release) that we should heed in light of the unsettling experience of this picture's unique protagonists. While the film's sequences at times become somewhat repetitive and feature more than their share of undoubtedly base humor, this offering is nevertheless entertaining, clever and thought-provoking, enhanced by its stunning cinematography, emotive original score, and stellar makeup and prosthetics. Despite these assets, however, some have dismissively and capriciously compared this production to an extended Saturday Night Live sketch or a parody of the opening sequence of Stanley Kubrick's "2001: A Space Odyssey" (1968). But those analogies unfairly sell this one short as a vehicle that will simultaneously make viewers both laugh and think. With an economical 1:28:00 runtime and a fine cast of actors portraying the quartet of uncannily prescient primates (Jesse Eisenberg, Riley Keough, Nathan Zellner, Christophe Zajac-Denek), "Sasquatch Sunset" makes an intriguing watch, provided that viewers give it a fair shake. Indeed, if we're ever to reach a new level of understanding about those who are different from us and with whom we share this world, not to mention the impact we have on one another, we should make an effort to grasp what this offering is trying to tell us - while we still have the time to do so for both of us.

We Grown Now (2023)

No One Ever Said Growing Up Was Easy

[10/10 · 22 April 2024]

No one ever said growing up was easy. It's inherently a time for a lot of hard lessons, but they're the kind of teachings that we need to help prepare us for adulthood. And, depending on the circumstances, it can be particularly challenging but also rewarding at the same time. Such is the experience of two young boys, Malik (Blake Cameron James) and Eric (Gian Knight Ramirez), best friends who go through virtually everything together in Chicago's notorious Cabrini-Green Housing Project in 1992, a time when it was just about at its worst. Writer-director Minhal Baig's third feature outing is an intimate, sensitive yet gripping depiction of childhood under difficult circumstances but laced with hopeful aspirations for being able to become whatever we dream about. This nominee for three 2023 Independent Spirit Awards, including best feature, is just about perfect in every regard, from its gorgeous cinematography and expert film editing to its fine original score and the performances of its superb ensemble cast, particularly the young protagonists, who come off completely naturally and effectively. What's more, "We Grown Now" deftly and simultaneously manages to show the Windy City at both its best and its worst, no small feat, to be sure. In addition. There's almost nothing in the narrative of this film that we all can't relate to in one way or another, even if we didn't grow up under the same conditions as those experienced by the characters in this film. It will touch you deeply and certainly move you - possibly to tears at some point - but this is a worthwhile release that absolutely should not be missed.

La burbuja (2023)

Deceptively Chilling

[7/10 · 21 April 2024]

In times of widespread duress, there's no telling what lengths we'll go to in order to survive. That's what an Argentine family is forced to do when a national pandemic strikes that affects all manner of everyday life, things we take for granted like utility service, fuel supplies and even grocery availability. Fortunately, they're in a relative "bubble" of safety on a remote family ranch, to which they came for a visit to care for the ailing family patriarch. However, when all hell breaks loose, they're in no position to return home to Buenos Aires - a blessing in disguise in some ways, but a curse in others, especially when trips to a nearby town to acquire supplies become fraught with dangers. Director Miguel Angel Rocca's latest tells a tale of conditions familiar to most of us, mirroring the logistical and psychological difficulties we all underwent not that long ago. It vividly depicts those circumstances, capturing the emotional toll they took on us at a time when it seemed like there was noting we could do about them, particularly when they turn out to be even worse than we ever thought. The family's story is reasonably well told, though it does have a tendency to become somewhat melodramatic at times, with a need for editing and better efforts when it comes to the placement of comic relief. In all, though, it also serves as a reminder to not accept everything we hear at face value and that it's indeed possible to be deceived even under the most trying of situations, a lesson that one can only hope we'll remember if ever faced with a scenario like this again.

Hace mucho que no duermo (2022)

An Utter Waste of Time

[2/10 · 19 April 2024]

It's true what they say about not being able to judge a book by its cover - or a movie by its trailer or description. Such is the case with writer-director Agustín Godoy's debut feature, a trainwreck of a film that makes virtually no sense from start to finish. As a sort of screwball comedy (a term I use loosely) in which multiple characters are trying to get their hands on a mysterious locked backpack, the film follows them as they relentlessly pursue one another throughout the neighborhoods of Buenos Aires in a race to get the goods. In some ways, it loosely follows the narrative format of comedy classics like "It's a Mad, Mad, Mad, Mad World" (1963) or "What's Up, Doc?" (1972) only with a lot less skill (or humor, for that matter). Its plot line features a collection of disjointed elements that feel like they were dumped into a spaghetti bowl and thrown against the wall to see what would stick (most of which doesn't). Carrying the story are an equally mismatched assemblage of characters, including an insomniac office worker (hence the title, I suppose) who frequently and inexplicably begins speaking in rhyme, a quirky Tarot card reader who doubles as a security guard when not cluelessly following her impulses, a band of inept mob mules and a mysterious woman simply known as the Duchess who appears to be the intended recipient of the backpack. In telling this story, however, the movie is all over the map with plot developments, most of which don't relate to one another and are lazily connected by endless (and I do mean endless) sequences of characters running from one another throughout the streets, parks, landmarks and industrial areas of the city. I'll admit that this makes for a rather comprehensive and nicely filmed travelogue about Buenos Aires, and it features a reasonably engaging, well-edited opening sequence, but that's about all this woefully sorry effort has going for it. Under no conditions should you waste your precious time on this hot mess.

Coup de Chance (2023)

Inconsequential, Dull and Redundant

[5/10 · 18 April 2024]

If I had to come up with one word to describe writer-director Woody Allen's latest film, it would have to be "inconsequential." This flat, uninspired slog about the trophy wife (Lou de Laâge) of an overly possessive well-to-do Parisian businessman (Melvil Poupaud) who has an affair after a chance meeting with one of her old classmates (Niels Schneider) is close to a career low point for the famed auteur. The picture's wooden characters routinely spout trite, at times laughable dialogue peppered with nonchalant references about privileged upscale living and obvious, shallow observations about art, poetry and culture. Then, of course, there are the tired discussions about the role that luck plays in our lives that have now been incorporated into the scripts in nearly all of Allen's 50 films. Even the narrative feels like a retread of previous releases with elements that appear to have been culled from such offerings as "Crimes and Misdemeanors" (1989), "Match Point" (2005) and "Irrational Man" (2015), only rearranged in a lighter, less interesting configuration of those other finer works - and one with an uncharacteristic and eminently predictable ending at that. The picture's French language script is perhaps the only distinguishing trait of this work, but that adds precious little to the finished product (except perhaps for the eye strain that viewers are likely to walk away with for having to read everything). Don't get me wrong - Allen is one of my all-time favorite filmmakers, but this release (like many of those in recent years) is not one of his better efforts. In fact, it's been speculated (even by the director himself) that this could be his last picture, and it's a shame if this is how he were to end his filmmaking career, going out with a whimper instead of a bang. But, if the gas tank is empty by this point, better to quit now than to continue producing mediocre, forgettable pictures that detract from an otherwise-great body of work.

El Apartamento (2023)

Nice To Look At But Easy To Figure Out

[5/10 · 15 April 2024]

Those familiar with my writing know that I'm not much of a fan of horror films, though I have been somewhat encouraged by the emergence of "smart horror" releases in recent years - scary movies that seek to do more than just try to see how high they can get the body count by film's end. So I was naturally intrigued by this debut feature by writer-director Michael Kovich Jr. Which tells the story of a man (Bruno Sosa Bofinger) who unwittingly finds himself imprisoned in his own apartment, with massive chains covering his front door from the inside. Based on its impressive trailer, the picture suggests that it's going to provide viewers with more than what they typically expect from such fare, thanks in large part to its stylish production design and gorgeous black-and-white cinematography. Regrettably, however, "The Apartment" doesn't live up to that potential, mainly because its narrative is wholly predictable. It doesn't take long to figure out what's going on here (I called it after about 10 minutes into its 1:27:00 runtime), and that kind of predictability is, for me, the cardinal sin of filmmaking, no matter how elaborately the production may be dressed up. As a consequence, the film limps along with tedious pacing and tiresome redundant sequences, clearly padding a story that ultimately doesn't have much substance going for it. It also suffers from an excess of scenes featuring graphic depictions of domestic violence, material that could have easily been scaled back without losing any meaningful impact. The bottom line is that this disappointing release represents a missed opportunity to help elevate a genre very much in need of new life. Instead, we're left with an offering stuck in an old mold, despite an attempt to use upgraded aesthetics to make it more than it is. And there's nothing frightening in that.

Prison in the Andes (2023)

All Over the Map

[4/10 · 15 April 2024]

When right-wing Chilean dictator Augusto Pinochet was ousted from office in 1990, five of his henchmen (fanatical military officers charged with doing the autocrat's dirty work) were sentenced to incarceration for terms totaling hundreds of years at a special "prison" at the base of the Andes Mountains. The facility was far more comfortable than a typical penitentiary, where the now-aged egomaniacal inmates enjoyed comparatively more freedom and privileges than what typical prisoners experienced and where the guards were more like domestic servants than corrections officers. While the residents often complained about their accommodations - far less lavish than what they were accustomed to - they had it relatively easy given what they had done and were now being "punished" for. In fact, in many respects, they still called the shots, despite the presence of supposed state authorities overseeing their "confinement." Director Felipe Carmona chronicles the unconventional circumstances of the inmates and staff in this fact-based account of their waning days "behind bars," circa 2013. However, their story is anything but easy to follow, featuring a narrative that's all over the map with little coherency connecting the various segments and story threads. Conflicting cinematic styles (including some that are almost surreal in nature and others that are downright silly, such as a sequence shot in the style of an old-time black-and-white silent movie), along with themes that seldom feel fully fleshed out, seriously bog down the overall flow of the story, leaving viewers more confused than enlightened by the time the credits roll. Admittedly, as a picture made for Chilean audiences, there likely are a number of nuanced elements whose significance becomes lost in translation, but, even setting that consideration aside, "Prison in the Andes" simply is not well assembled as a cogent cinematic offering. I've seen more than my share of Chilean movies over the years, including a variety of releases related to the Pinochet regime during its heyday and in the aftermath of its fall from power, but this muddled release definitely isn't one of them.

Civil War (2024)

It Won't Matter If the Bullets Start To Fly

[8/10 · 14 April 2024]

Cautionary tales often have some of the most significant impact when brought to life on the big screen, and that's certainly the case with the latest offering from writer-director Alex Garland. The filmmaker's gripping tale of a quartet of journalists (Kirsten Dunst, Wagner Moura, Stephen McKinley Henderson, Cailee Spaeny) covering a civil war in a dystopian version of America of the near future follows the reporters as they make their way from New York to Washington via a circuitous route that shows them all sides of this nightmarish scenario. Essentially a road trip film, "Civil War" provides the principals and viewers with an array of images and situations graphically depicting what's left of the US as a distraught population attempts to make sense of the circumstances and find ways to survive. The purpose of the protagonists' journey is to secure an interview (likely the last one) with a corrupt, egomaniacal President (Nick Offerman) as rebel forces close in on the capital. They set out on this treacherous odyssey despite the dangers involved both in making the trip and in their roles as journalists, who are looked on with suspicion and have been accused of fanning the flames of the hostilities. While some have complained that the film doesn't provide enough social and political background about the conflict, I submit that this consideration is fundamentally unnecessary: Garland is making an unadulterated statement here that, when the bullets start flying, ideology won't matter and no one will care, a point driven home with chilling clarity over and over. The madness that consumes the population is all that's important at that juncture, one driven by bald-faced hostility on steroids both among the combatants and the overzealousness of the reporters in seeking to "get the story," no matter what. In achieving this end, the filmmaker holds nothing back, making this an often-difficult watch, one definitely not for the squeamish or faint of heart. But the picture's message is one of grave importance, especially in today's trying, polarized climate. We'd be wise to pay attention to what's being said in this important work, handily the best - and most troubling - release of 2024 thus far.

Shirley (2024)

A Disappointing Effort

[6/10 · 7 April 2024]

Congresswoman Shirley Chisholm (Regina King), the first African-American woman elected to the House of Representatives, was an inspiring, trailblazing politician, particularly in the areas of race and gender politics. After winning her seat in Congress in 1968, she later went on to run for the Democratic Party nomination for President in 1972. And that impressive background, one would think, should provide the basis for an engaging, uplifting film biography. Unfortunately, writer-director John Ridley's take on this groundbreaking, often-unappreciated pioneer misses the mark in a number of ways. The biggest problem is a script that tries to cover too much ground in its 1:58:00 runtime, addressing an array of elements from Chisholm's personal and political life and not covering either area particularly well, most notably in the film's first half before settling down in the picture's back end. The narrative jumps around so much that the picture becomes choppy and unfocused - almost incoherent at times - primarily due to some inexplicably mystifying film editing and a lack of sufficient explanation and back story, especially for those who may not know much about the protagonist's life going in. The film also features some rather questionable casting choices, such as the selection of actor W. Earl Brown to portray Alabama Governor George Wallace, who neither looks nor sounds anything like the conservative Southern Democrat who also ran for President in 1972 and was subsequently shot during the campaign. Even King's performance is somewhat uncharacteristically lacking as she struggles mightily to definitively capture Chisholm's singular demeanor and vocal inflections, qualities that sometimes don't always resonate, despite the actress's strong physical resemblance to her character. The real standout here is Lance Reddick, who gives one of his career's best portrayals (as Chisholm's political mentor) in one of his last screen performances. It's disappointing that this inspirational social and political leader hasn't received the worthy cinematic tribute she truly deserves. Perhaps "Shirley" might have worked better as a miniseries than as a standalone vehicle, as that format likely would have provided a better option for more fully telling her story in all of the detail it seeks to depict here. Indeed, for someone who endeavored to rise up to the challenges she faced, it's disheartening that the film seeking to depict that effort doesn't match what she so earnestly sought to accomplish.

Wicked Little Letters (2023)

A Devilishly Delightful Good Time

[8/10 · 7 April 2024]

Just about everyone loves a good mystery, but, in the case of director Thea Sharrock's latest, viewers are treated to one that's both intriguing and utterly hilarious. Based on a true story, this delightfully offbeat offering tells the head-scratching tale of a small seaside community in 1920s England in which residents begin receiving anonymously sent letters filled with graphic profanity of a highly colorful and creative nature. The chief suspect is a recently arrived salty-tongued Irish immigrant (Jessie Buckley) who never hesitates to speak her mind or act out when she thinks it appropriate. The primary recipient is her neighbor, a cheery but conservative Christian woman (Olivia Colman), a prim and proper spinster who lives with her stern, judgmental father (Timothy Spall) and elderly, faint-of-heart mother (Gemma Jones). But is the accused really at fault? When a plucky, resourceful policewoman (Anjana Vasan) who's supposed to stay out of the investigation gets involved, she uncovers evidence that circumstances may not be what they seem. The result is a sidesplitting thriller with loads of twists, turns and misdirections, a clever, original and outrageously waggish release that will tickle the funny bone of anyone who appreciates the wit and wisdom of good, old-fashioned, foul-mouthed cursing (sensitive viewers take note). The positively superb ensemble cast is outstanding across the board, particularly among the aforementioned principals, as well as a host of flamboyant supporting players. It's obvious that everyone involved in this production had to have had fun making this film, and it shines through loud and clear in the finished product. There are a few sequences where the pacing drags slightly, but who cares? "Wicked Little Letters" is such a good time watch that you won't really care. What's perhaps most intriguing, though, is that this is a fact-based story - one that garnered national attention at the time - that had largely been lost to time but that, thankfully, has been brought back to life through this deliciously devious indie gem. Hell, yeah!

The Truth vs. Alex Jones (2024)

The Truth Will Out

[8/10 · 2 April 2024]

It's one thing to question authority and official explanations of highly public events; it's something else entirely to portray them in a wholly falsified light, especially when done so in a ridiculing manner that causes tremendous personal pain. Such is what happened when conspiracy theorist broadcaster Alex Jones fanatically contended that the December 2012 mass shooting at Connecticut's Sandy Hook Elementary School was a staged false flag event aimed at prompting the seizure of the private citizens' firearms, essentially gutting the guarantees of the Second Amendment. Jones vociferously claimed that the event didn't happen as reported in the mainstream media, that it was all pulled off with actors and that no one was killed. He openly mocked the public grieving of devastated parents through a relentless campaign of blatant disinformation, effectively enabling him to convince nearly a quarter of the nation's population into believing his story. Finally, after many anguishing years (including unbridled derision, public ridicule and death threats from disbelieving fanatics and hecklers), those who lost loved ones fought back, filing defamation suits in Jones's home state of Texas and in Connecticut, site of the tragedy. Documentarian Dan Reed's latest feature chronicles the events of this troubling story with no-holds-barred candor, capturing the searing pain of the Sandy Hook families, Jones's cartoonish out-of-control bluster and extensive courtroom footage of the two trials. Shot over four years, the filmmaker effectively captures the crazed ravings of a two-faced, delirious conman whose self-serving self-promotion efforts made P. T. Barnum look like a rank amateur by comparison. But what's perhaps most unsettling here is the film's uncompromising depiction of someone who honestly believed he could publicly say whatever he wanted through today's powerful, far-reaching communications technology - regardless of its truthfulness - and get away with it, a truly potent cautionary tale for our times. "The Truth vs. Alex Jones" poignantly reminds us of the precious nature of freedom of speech and the need to protect it, especially where matters of responsibility are concerned. Indeed, the First Amendment may allow us to express ourselves, but it doesn't give us license to lie.

Inside the Yellow Cocoon Shell (2023)

A Thoughtful Meditation on Finding Oneself

[7/10 · 1 April 2024]

Finding meaning and purpose in life can be a long and solitary journey, especially if one doesn't know how or where to look. So it is for a single, lonely thirtysomething seeker (Le Phong Vu) living in Saigon after moving there from his rural mountain village after most of his family emigrates to America. He feels empty and lost as he looks for a suitable path to follow, but nothing turns up, leaving him increasingly adrift and unfulfilled. However, when a family tragedy occurs, he must return home to pay final respects to a deceased loved one with his young, orphaned nephew (Nguyen Thinh) in tow. The journey thus becomes a metaphor for his search, an absorbing meditation on life, love, death, finding oneself and letting go of old ghosts from the past, including an old flame (Nguyen Thi Truc Quynh) who now has a more serious commitment. This odyssey is fittingly depicted cinematically with a series of long tracking shots and deliberately slow pacing to emphasize the extended time it takes to make such a measured, thoughtful and revelatory passage, one beautifully enhanced by positively gorgeous cinematography. It's the kind of film that gives similarly situated viewers much to think about, particularly given that they're likely to relate to the circumstances of their on-screen counterpart. However, writer-director Thien An Pham's debut film - winner of the 2023 Cannes Film Festival's Golden Camera Award for best premiere feature - could benefit handsomely from some judicious editing, especially in the second half. While this release is definitely a feast for the eyes, some sequences nevertheless go on needlessly long and could have been cut by about 20-30 minutes to reduce its patience-trying three-hour runtime. This shortcoming aside, though, "Inside the Yellow Cocoon Shell" gives audiences a revealing look at the work of a gifted new talent with tremendous potential, one who successfully brings both beauty and inspiration to an insightful finished product. As trite as it may seem, finding our place in the cosmos rests more with the journey than the destination, as the protagonist discovers for himself, a realization many of us can no doubt relate to.

Cabrini (2024)

A Well-Told Tale of an Unsung Hero

[7/10 · 31 March 2024]

Providing care, comfort and compassion to the world's downtrodden is undoubtedly a noble, if exhausting and often-frustrating, cause, especially when pleas for help go ignored or fall on deaf ears. Yet, every so often, someone comes along who tirelessly keeps on fighting for those less fortunate, as was the case with Italian immigrant Mother Francesca Cabrini (Cristiana Dell'Anna). Upon her arrival in New York in 1889, the diminutive but zealous nun from Lombardy set about her work to care for her fellow countrymen and women (especially orphaned and abandoned children) in desperate need of food, housing and medical care, the first charitable undertaking of what she envisioned becoming a worldwide network of such ventures. She successfully raised awareness of the plight of these emigrees by getting the attention of a New York Times reporter (Jeremy Bobb), an endeavor that garnered support for her efforts and challenged the prejudicial attitudes of the public and New York's municipal government, including its bigoted, intolerant mayor (John Lithgow). And, through it all, she wrestled with personal health issues that hung over her for many years. Writer-director Alejandro Monteverde's latest presents a detailed, well-told biography of a woman who wouldn't give up at a time when the deck was stacked against her, both on the bases of her gender and nationality, as well as (in some cases) as a representative of the Church. The picture's superb production design, fine period piece production values and gorgeous cinematography lend much to this release, as do the performances of Dell'Anna and Lithgow, along with a host of supporting characters. Despite these strengths, though, this slightly overlong offering has occasional problems with pacing, monodimensional character development, overdramatic elements (particularly in the soundtrack) and an underdeveloped back story. At the same time, however, "Cabrini" tells an inspiring and uplifting tale of someone who accomplished a lot but hasn't really received the attention she's due. This film helps to make up for that oversight while reminding us all that we can play a part in fulfilling her dream of genuinely creating an empire of hope for the world.