Review by Sean Boelman
Although Brazilian-American filmmaker Bernardo Britto has already made his feature debut, he’s arguably more known for his work in animated shorts. Britto’s sophomore feature, Omni Loop, shares some of the quirky sensibilities of his animated work but also has an extremely strong emotional core, allowing it to resonate strongly.
The film follows a middle-aged woman with a rare condition: a black hole in her chest. This sets off a perpetual loop, forcing her to relive the same week over and over again — the “last” week of her life — until she sets out on a quest to understand why she got there. Like much of the sci-fi genre, Omni Loop isn’t subtle with its existentialist message, but it’s incredibly poignant either way. The first act is pretty much what you would expect from a high-concept sci-fi comedy: the characters get into hijinks as the rules of the situation are explained. Britto wisely makes the decision not to go too in-depth into the logistics of the loop, trusting the audience and their suspension of disbelief. The result is some solid laughs. As is often the case with movies with this premise, the initial novelty wears off rather quickly. The pacing slows down significantly, and the story takes what — at least at first — seems to be a tangent. While this could cause some viewers to check out of the story, this is the type of movie where the pieces all make sense once you can see the entire picture (even the oddly-shaped ones in the middle act). The last third of Omni Loop ties everything together in a way that’s wonderfully poignant and emotional. Although the end of the film is somewhat predictable, it feels like such a natural conclusion to the story we watched unfold that it feels entirely satisfying on an emotional level. Britto also knows how to milk the most possible emotion out of this moment. What’s most surprising about Omni Loop is just how good Mary-Louise Parker’s performance is. In many ways, it feels like a “born for this” type of role because of just how well she slides into the role. Ayo Edibiri is fine in her supporting role, often funny even, but Parker has such a gravitas of an “I didn’t know she had this in her” variety that she commands the screen. Visually, Omni Loop is somewhat straightforward but mostly effective. It’s not the type of sci-fi movie that’s heavy on visual effects and production design — Britto instead wants to immerse us in the (very hot, very crowded) real world of Miami, Florida. It’s a wise decision, as it allows Britto to make the story feel more grounded despite the absurdity of the premise. At first, one might think that Omni Loop suffers from pacing issues. However, Bernardo Britto’s sophomore feature is very intricate — and patient — in nature. He takes his time letting the story and themes fall into place, but when they do, it’s profoundly moving in more ways than you could hope for. Omni Loop screened at the 2024 SXSW Film Festival, which ran March 8-16 in Austin, TX. Rating: 4.5/5
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Review by Sean Boelman
After premiering at the Sundance Film Festival to raves, filmmakers Kelly O’Sullivan and Alex Thompson’s Ghostlight made a stop at SXSW, where their debut Saint Frances premiered in 2019 to win the top prize. Poignant and emotional, Ghostlight is flawed, but those rough edges are part of what makes it feel so profoundly humanistic.
In the film, a grieving construction worker finds solace in the most unexpected of places — with a community theater troupe putting on a production of Romeo and Juliet. However, as he begins to dive into the art and craft of acting, he finds similarities between the drama in the play and his own life. One of Ghostlight's strongest aspects is its cast, and no one stands out quite as much as Keith Kupferer. Kupferer has a pretty robust career as a background and character actor, which is exactly what a role like the lead in Ghostlight calls for. He has an everyman quality about him that allows the character to be intensely sympathetic and relatable. However, there’s a poignant, subtle emotion to his turn that really shines through. Although Kupferer is the cast's clear high(ghost)light, the rest of the ensemble isn’t too shabby, either. The most recognizable face is probably Dolly De Leon, who is going strong after her breakout in Triangle of Sadness. Her performance is charming and tender — maybe not what one would expect, but incredibly powerful nonetheless. Other memorable supporting turns come from Katherine Mallen Kupferer (who plays her actual father’s daughter; no wonder they have great chemistry) and Tara Mallen. The problems with the film come in with its dialogue and editing. Much like a theatrical production, Ghoslight is full of exposition — failing to trust the audience to come to their own inferences regarding the conflict. There’s no denying the power of some of the film’s moments, but others feel so on the nose that they nearly ruin the narrative's authenticity. Additionally, the film’s scenes are cut in a way that makes it feel like there is little to no breathing room. It falls victim to the editing problems that affect many dialogue-heavy dramas, namely cutting immediately after lines are delivered or actions end. Each scene feels like it could use at least 2 or 3 more seconds to sit with the emotion; though, with a runtime of an hour and 50 minutes already, this might have caused the film to feel a tad bloated. Still, O’Sullivan’s script succeeds in giving the audience a set of incredibly sympathetic characters. Although the meta-narrative structure of the film isn’t exactly innovative (Drive My Car recently did the same thing incredibly well with Chekov instead of Shakespeare), O’Sullivan keeps the film feeling authentic and never veers into gimmicky territory. Ghostlight has many incredible elements that make it a stirring, emotional watch. Although some aspects of the film could have been refined, like its dialogue and editing, the performances are so phenomenal that they absolutely speak for themselves. Ghostlight screened at the 2024 SXSW Film Festival, which ran March 8-16 in Austin, TX. Rating: 3.5/5
Review by Sean Boelman
Star Wars sequel trilogy actress Daisy Ridley has discussed how she’s struggled to get work after the end of her franchise contract, so why not create work herself? That’s what she did with Magpie, an erotic thriller written by her husband, Tom Bateman (who’s also an actor, making his screenwriting debut here), based on an original idea by her. While a tad generic, Magpie is a great acting showcase for Ridley and is undeniably fun to watch.
The film follows a seemingly happily married couple whose daughter is cast in a film production alongside a controversial budding starlet, causing an unexpected rift in their relationship. Although Bateman’s script thinks it’s smarter and more original than it is, it’s still effectively built within its tropes. The cast of the film is excellent. All three leads — Ridley, Shazad Latif, and Matilda Anna Ingrid Lutz — are bringing their A-game. Latif, in particular, stands out, playing the sleazy but charming protagonist troublingly well. However, Ridley is an excellent foil to Latif, giving a similarly two-faced turn, albeit in the opposite direction. Lutz is just incredibly lovable and sympathetic. That being said, one of the things that doesn’t really work about Magpie is its character development. Ridley’s character isn’t given enough personality to justify the actions of Latif’s character, who is, therefore, maybe a bit too sympathetic. Lutz’s character is objectified and shallow but not quite enough to be satirical. Furthermore, although Magpie was made well before Saltburn came out, the comparisons are sure to be inevitable — it’s a British thriller with an ending reveal that spells out everything for the audience with absolutely no ambiguity. Still, with a tight 90-minute runtime, the film has an undeniable narrative momentum that will draw viewers in. Don’t get me wrong, it’s an enjoyable ride. Watching Ridley and Latif go back and forth is entertaining, much like it was fun to watch Daniel Day-Lewis and Vicky Krieps in Phantom Thread. However, the film does feel very shallow. The commentary on obsession is nothing new, and while it shows a lot of potential in exploring themes of objectification and the toxicity of online culture, these are tangential to the story. Director Sam Yates doesn’t bring much of a distinct style to the film, but he is able to lend the film an effective atmosphere. This is the type of film set in haute couture that you almost expect to be a little more glamorous and flashy than it is, but in many ways, it’s down and dirty. A few scenes are very kinetically edited in a way that will keep viewers on their toes. Magpie pales in comparison to many of the other erotic thrillers that came before it, but it’s a ton of fun to watch nonetheless. Still, if I were a marriage counselor, I’d knock on Tom Bateman and Daisy Ridley’s door. For the couple to come up with something like this, something must be going on between them. Magpie screened at the 2024 SXSW Film Festival, which ran March 8-16 in Austin, TX. Rating: 3.5/5
Review by Sean Boelman
Coming-of-age stories are a dime a dozen, and recently, we have seen a wave featuring queer protagonists. I Wish You All the Best doesn’t break the formula narratively; however, it does defy expectations in other ways, delivering a deeply empathetic portrait of growing up from a diverse and often underrepresented perspective.
The film follows a nonbinary teen who, after being kicked out of the house by their parents, moves in with their estranged adult sister, setting off a journey of mutual discovery and understanding. Based on a novel by Mason Deaver that’s only a few years old, I Wish You All the Best is a very comfortable entry in its genre, but does some things notably well. Clocking in at just over 90 minutes, it often feels like the movie is rushing through many beats. The arcs move incredibly quickly, with characters changing in what feels like the blink of an eye. However, the script has several remarkable moments. These scenes are wisely given the time they deserve and carry much of the film. Yet, though the movie adheres to many of the familiar tropes of the coming-of-age genre, it does it with a unique perspective and level of representation that makes it feel refreshing. Trans filmmaker Tommy Dorfman adapts this story of a nonbinary teen with a necessarily subtle hand. It feels like a queer story that just is — not something that’s meant to be flashy or showy. It’s invigorating to see a film about the queer experience that is as hopeful as this. Although the movie doesn’t shy away from the darkness, it also shows the support the character receives from others. It’s a reminder that, with kindness, the world can be a better, much more compassionate place. The cast also deserves a lot of props for elevating I Wish You All the Best beyond the usual level of the coming-of-age drama. Alexandra Daddario has never been better than she is here, showing a range you might not expect from the actress. Cole Sprouse plays more to type — quirky and awkward but charming — but his performance works well. Lena Dunham also has a supporting role, and while it’s much smaller, she gets a few scenes that either get really hard laughs or a few tears. However, the real discovery here is Corey Fogelmanis. Calling him a “discovery” might be unfair because he’s had a decade-long career as a child star — mostly in young-adult television — but this role has breakout potential and star power. Fogelmanis brings a necessary vulnerability to the character, even during the more conventional or melodramatic beats, that keeps the film thoroughly sympathetic. I Wish You All the Best stands out in a crowded coming-of-age genre thanks to its distinct perspective and authentic approach to these common themes and tropes. Many young people are going to feel heard, thanks to this movie, and that makes it an essential work of cinema for the current generation. I Wish You All the Best screened at the 2024 SXSW Film Festival, which ran March 8-16 in Austin, TX. Rating: 4.5/5 Review by Camden Ferrell Late Night with the Devil is the newest film from the Carines Brothers, a writing/directing duo that made their feature film debut in 2012. Their third feature had its premiere at the 2023 SXSW Film Festival. Led by a captivating performance from David Dastmalchian and utilizing the found footage format to shocking effect, this indie horror is one that is simple yet crazily effective. Jack Delroy is a late-night talk show host who, despite once being touted as Johnny Carson’s successor, is now fearing his show is nearing its end. In order to boost ratings, he hosts a Halloween special on his show where he invites a parapsychologist and her troubled patient among other guests. Then, on live television, unthinkable and horrifying events unfold. This is a unique premise that really grabs your attention and combines the found footage style of storytelling with behind-the-scenes action to tell its story. From a writing standpoint, the script does its job. It doesn’t say anything too poignant for the most part, but it does lay a solid foundation for the actors and horror to build off of. I’d go as far as to say, the writing is just adequate for most of its runtime, but the movie works on so many other levels that the script doesn’t need to be revolutionary in any way. The aspect of this movie that deserves the most praise is its acting. Dastmalchian has cemented himself as one of the best current character actors, and in this movie, he proves his worth as a leading man. Playing the charismatic yet troubled Jack Delroy, he impresses on every level, handling both the light and heavy material wonderfully. The supporting cast is also quite strong including a chilling performance from young actress Ingrid Torelli.
As a horror movie, it’s not going to make you jump out of your seat, and it’s not trying to get a cheap thrill out of the audience either. It feels like every scene of anxiety or terror is truly earned, and the Carines Brothers really nail the pacing required to pull of these scary moments. They know when to go big and bold, and they also know when it’s appropriate to reign it in. This tango they do allows the movie to flow nicely while making viewers eagerly await the next scary moment. At 90 minutes, the movie breezes by in an instant and knows when it’s time to pack it up. Admittedly the final sequence does get quite ambitious and loses some of the film’s found footage charm, but they thankfully recover nicely for its chilling final moment. Late Night with the Devil is an indie horror gem that will hopefully find a large audience upon release. It’s a great showcase for its leading man while also displaying the horror filmmaking prowess of its directors. It’ll always leave you guessing, and it’ll never make you feel bored. While it’s not the best that the genre has to offer, it’s still an entertaining movie worth your time. Late Night with the Devil is in theaters March 22. Rating: 4/5 Review by Daniel Lima It might come as a surprise to learn that the 1987 film Road House was once widely considered mediocre at best, as it has in the decades since become a quintessential part of the '80s movie canon. I must admit that as someone who saw it for the first time last week, I just thought it was okay. Doug Liman's contemporary reimagining boasts some of the same charms of the original while making some of the same mistakes and even finds room for some new boons and banes along the way. The Dalton of 2024 is an ex-UFC fighter — a friendly but withdrawn man brought out of a depressive stupor by a job offer as a bar bouncer. He travels to the Florida Keys, quickly ingratiating himself in the tight-knit community, but soon learns that powerful interests are committed to making sure his job is not an easy one. The greatest strength of the original film was its atmosphere and how it cast its small Midwest town as a modern-day outpost in the American frontier. Colorful performances gave life to eccentric and unique characters; every set carried with it the feeling of decades of wear and tear and love; even the music played in the bar evoked the feeling of a time since passed. Though it leaned heavily on Western iconography and tropes, that movie still felt wholly self-possessed. Liman's remake is a mixed bag. Though it is set in the tropical Keys, an idiosyncratic microcosm of the already idiosyncratic state of Florida, the visual language does not convey the sticky heat and humidity, the loud and kitschy buildings built to attract tourists, the Latin influence found throughout the state. Instead, the film takes on that familiar made-for-streaming sheen: a muted color palette, shots that get everything important in the frame and nothing more, a general lack of personality. The change in setting is welcome, but the filmmaking does not capitalize on it. Where it does succeed is in its ensemble. Though the inhabitants of Glass Key lack the same amount of attention paid to the townsfolk of Jasper, the cast does a great job imbuing them with a healthy dose of charm despite clunky dialogue. Minor supporting players Hannah Lanier's precocious young girl and Arturo Castro's reflexively good-natured henchman give the film a distinct flavor it desperately needs, with reliable turns from the likes of Daniela Melchior, Billy Magnussen, and Joaquim de Almeida, except Jessica Williams, who gives the impression of someone who read the script for the first time before every scene.
Two performances in particular stand out even among these. Conor McGregor makes his acting debut here and gives one of the most exhilarating performances of the year. Unsurprisingly, he is just as forceful a presence within a fictional narrative as he is in real life; the only issue is that he's not in the movie enough. For his part, Jake Gyllenhaal plays Dalton with the humility and softness that makes him every bit a delight to spend time with, doing a much better job engendering audience goodwill than Swayze in the original. When the action ramps up this time, you actually care about this guy. The plot follows the first Road House closely, with a handful of deviations accounting for the more personable disposition of Gyllenhall's interpretation of Dalton. The one significant change is in how the action is executed. Over the past couple of years, a new style of fight scene has arisen that employs long, robotic arm-controlled takes, in which the camera shifts from position to position with some CG assistance to smooth things over. On the one hand, it is slightly more dynamic than the workmanlike slugfests of the first movie. On the other hand, it gives the fights an artificial feel that undercuts their impact, and the long, medium shots still present the choreography with little energy. It's serviceable, but it's a shame that out of all the movies to carry this name, the 2006 direct-to-video sequel has the best action by far. As disappointing as the action might be, the emotional stakes are much greater simply because spending time with these characters is so enjoyable. Though it deviates from its predecessor in some significant — and occasionally detrimental — ways, this contemporary iteration of Road House ends up being every bit as enjoyable. Road House arrives on Amazon Prime Video on March 21. Rating: 3.5/5 Review by Jonathan Berk There were a lot of mixed feelings about Ghostbusters: Afterlife -- primarily because of all the nostalgia. For some, however, it was exactly what we had been waiting for in terms of a sequel. Yet, the trepidation for Ghostbusters: Frozen Empire was palpable. While there are many negatives in this entry of the franchise, it manages to deliver enough of what we love to still answer the call. After the events of Afterlife, Pheobe (Mckenna Grace) and her family have relocated to New York City and are living in the old firehouse. They are happily busting ghosts in the Big Apple until they cause a little too much damage. Phoebe is the best of the busters but gets benched after the disgruntled mayor discovers her age, only for bigger ghostly machinations to happen in the city. The returning cast is mostly great again. Grace is the central character and works perfectly in that role. She is more than equipped to be the lead character of this historically ensemble-driven franchise. Her character development is solid, but they seem to imply some elements rather than fully committing to the idea. While Grace is the main protagonist, the ensemble element has only increased. Carrie Coon has a strong grasp of her role as the matriarch who is funny and very lovable. Paul Rudd's charm is on full display, and it's impossible not to love him too. Dan Aykroyd, Ernie Hudson, Annie Potts, and Bill Murray reprise their roles and are having a lot of fun. It's hard not to crack a smile every time they appear on screen. Not all of their characterizations make sense, but it was just great having them back. Finn Wolfhard, Celeste O'Connor, and Logan Kim are also returning from Afterlife but often seem like an afterthought. Each gets something to do, but so much of their stories feel crammed into other story elements being introduced. Frankly, Lucky and Podcast don't make sense being in New York and are written into the script in a very clunky way. It probably seems like the film is a little bloated, and that would be an accurate read. There are too many story threads the movie is trying to tie together. These threads introduce additional characters played by some comedic powerhouses: Patton Oswalt, James Acaster, and Kumail Nanjiani. While they deliver varying levels of comedy, it adds to the already overwhelming amount of content.
Many of these characters are relegated to exposition delivery systems to spout nonsense to try to make sense of the film's events. For a comedy about busting ghosts, there is just too much plot. Through the film's early phases, most of the plotting works just fine, but it falls under its weight in the third act. There are moments where the rules of the film and how things work need to be revised. A "ticking clock" element seemingly pauses for characters to complete "quests." It's jarring how noticeably the film puts the brakes on the plot to fix story oversights. The story's not all bad, of course, as busting makes us feel good. There are some fun action sequences, witty one-liners, and iconic creatures. Plus, fans of the franchise often remark, like Jack Nicholson's Joker in the 1989 Batman remarked, "Where does he get such wonderful toys?" From the Ecto 1 to the Proton Packs, seeing the old and new equipment is just a joy. Ghostbusters: Frozen Empire is not perfect, but it does move the story and characters forward in meaningful ways. One benefit to this IP-driven property is that it wasn't worried about setting up the next film. Will there be a third? Probably. However, this film is only concerned with telling this movie's story, even if it's a bit unwieldy. Ghostbusters: Frozen Empire is in theaters everywhere on March 22. Rating: 3.5/5 Review by Daniel Lima “Is there a spiritual way to kill an animal?” This is the question that the filmmakers behind Christpiracy: The Spirituality Secret allege that they are seeking an answer to as they investigate the inherent contradiction in religions that condemn murder but condone the killing and eating of animals. That underlying hypocrisy and all the social conditions that are the cause are fascinating subjects to interrogate. Provided, of course, that the people delving into the subject have an earnest curiosity about it and are not prioritizing a self-aggrandizing narrative that precludes an informative and meaningful exploration or even a cohesive rhetorical argument. Kip Anderson and Kameron Waters prioritize such a narrative, quickly discarding informativeness or honesty regarding how religions treat animals in favor of a manufactured purporting to uncover a conspiracy that makes bedfellows of such disparate entities as the Catholic Church, Tyson Foods, and the Indian government. The “film” takes the form of all the post-Michael Moore documentaries that clog up basic cable and streaming services: fast-paced editing incorporating extraneous material from other media, interviews with various officials (in this case, religious authorities and animal rights activists), and — most importantly — the filmmakers as plucky underdogs up against vast and powerful forces out to suppress their discoveries. From the jump, this is the wrong approach to the material. This tack is useful when focusing on the specific misdeeds and crimes of particular people and organizations when there is a defined culprit to be questioned. When applied to complex social and religious practices that at times reflect contradictory values, it is asinine, precluding any meaningful probing of the belief structures that allow such contradictions to flourish. A truly empathetic artist might, for example, wonder what economic or cultural forces make a majority Hindu country a prominent exporter and consumer of beef. Anderson and Waters instead label India a nation of hypocrites and move on. This shallow analysis could be excused if Christpiracy could articulate a coherent, persuasive message that goes beyond calling meat-eating bad that could actually change hearts and minds. That does not happen. Instead, the “film” flits about from topic to topic, never focusing on any target long enough to build an actual rhetorical argument against it. The plot the filmmakers claim to have uncovered is a jumbled mix of biblical interpretations and pseudohistorical claims, the kind of thing that will do nothing for the nonbeliever or the believer. If this film is being made to point out the discrepancy between the teachings of Jesus and the practice of killing animals for food — a discrepancy that a large majority of Christians already are happy to ignore — why would insisting that Jesus was a vegetarian show them the error of their ways? Not only is the case itself unconvincing, but it is also being made available to an audience that doesn’t exist.
The most egregiously annoying thing about this product, however, is how transparently manufactured it all is. Anderson and Waters go to great lengths in aping the investigative documentary style, going as far as to allege that they are being targeted by unknown forces intent on stopping their efforts to find the truth. Putting aside that there is absolutely nothing there that is not already readily available public knowledge, and even taking them at their word that their homes were ransacked by intruders (who deliberately did not break anything expensive) and that they are being followed (as shown by one guy walking on the sidewalk across from them... one), these assertions carry no weight precisely because the work’s aesthetic. In making all the Moore-esque flourishes — colorful infographics, interviews clearly edited together to portray the interviewees in certain lights, the constant “scrappy underdog” posturing — with the clarity of his arguments and targets, the entire project registers as one big fabrication, made to support the filmmakers’ vision of themselves as activists. That they never say anything meaningful, persuasive, or credible matters less than giving off the appearance that they are committed to their cause. Yet the only way they could be any worse as public advocates against eating meat would be if they were munching on KFC on camera. Perhaps Anderson and Waters actually are ideologues who made Christpiracy: The Spirituality Secret in the hopes of moving the needle on public discourse. Maybe they do see themselves as real artists, utilizing the form to its fullest extent to convey their message. In either case, they should be ashamed and embarrassed of what they have created. Intellectually and artistically bankrupt, to call this a documentary, or even a film, is an insult to the medium. Christpiracy finds its way into theaters March 20. Rating: 0.5/5 Review by Adam Donato (L-R): Morph (voiced by JP Karliak), Storm (voiced by Alison Sealy-Smith), Gambit (voiced by AJ LoCascio), Cyclops (voiced by Ray Chase), Rogue (voiced by Lenore Zann), Wolverine (voiced by Cal Dodd), Bishop (voiced by Isaac Robinson-Smith), Beast (voiced by George Buza) in Marvel Animation's X-MEN '97. Photo courtesy of Marvel Animation. © 2024 MARVEL. In a day and age where any franchise with an ounce of nostalgia is rebooted for every last dollar the studio can possibly muster, X-Men '97 feels like an exception to the rule. A universally beloved show returns with the same voice cast and picks up right where the show left off. Think about how many iterations of these characters exist. This show may be the peak representation of these characters. That's really special. When every studio is desperate to give audiences exactly what they want, this feels like a satisfying fulfillment of that desire. First-time viewers of this show need not be worried — especially if you're caught up with most of the movies. The necessary spoilers from the finale of the original show are reiterated effectively. The plot picks up right where the first one lets off but avoids alienating the uninitiated. The plot of this particular season arguably stands toe-to-toe with any X-Men story told on the big screen. Familiar characters who have been exhausted of storylines are given new life here as they're turned on their heads. The stakes feel like they're as high as ever, and it's all thanks to the solid character development. (L-R): Jubilee (voiced by Holly Chou), Morph (voiced by JP Karliak), Wolverine (voiced by Cal Dodd), Storm (voiced by Alison Sealy-Smith), Cyclops (voiced by Ray Chase), Rogue (voiced by Lenore Zann), Jean Grey (voiced by Jennifer Hale), Gambit (voiced by AJ LaCascio), Bishop (voiced by Isaac Robinson-Smith), and Beast (voiced by George Buza) in Marvel Animation's X-MEN '97. Photo courtesy of Marvel Animation. © 2024 MARVEL. Choosing just one standout character is not an easy task, as several characters have the opportunity to shine here. Those who have only been exposed to these characters through the movies would be surprised to see that the sun doesn't rise and set with Wolverine here. He has plenty of moments to shine, and seeing him in the classic costume is awesome. Magneto is another usual suspect given even more depth as he is forced to turn a new leaf. It's really gripping stuff. Formerly underused characters like Cyclops and especially Storm are used to their fullest potential here. The whole team is balanced splendidly. There's real character drama here that is unmatched by at least half of the films.
The animation style and the theme song help to turn back the clocks for fans of the nineties show. If the first three episodes were in film form, it would be one of the best superhero movies of the last few years. It's a nostalgia binge that hits just right and is treated with the proper amount of respect. It's sure to inspire new fans of the original series, and especially with the release of Deadpool and Wolverine this summer, more fans will revisit some of the hit X-Men films. Hopefully, this release will instill confidence in Marvel Studios, as they're currently experiencing a dip. X-Men '97 is now streaming on Disney+ with two episodes, with new episodes streaming every Wednesday. Three out of ten episodes reviewed. Rating: 5/5 Review by Cole Groth Why do aging actors insist on taking roles in bizarre crime/thrillers? Russell Crowe’s talents have been sorely wasted in films like Sleeping Dogs because he’s a fun actor turned exceptionally boring when constrained to something like this. Despite a few interesting twists and turns, this is one of those films that will generally go unnoticed and ultimately forgotten in almost no time. Sleeping Dogs follows Roy Freeman, a retired policeman struggling with Alzheimer’s. After new information cracks open a cold case threatening to send a man to death row, Roy goes on a mind-bending journey to figure out who the true killer is. Along the way, he discovers that his past is not all he remembered, bringing a mysterious woman (Karen Gillan) into the case with him. Sleeping Dogs is the type of movie that puts an overbearing orchestral score of an alcoholic downing a bottle of vodka at a bar to show him reverting to his whole way. It’s never subtle when it should be; surprisingly, it is coy when explaining the stuff that matters. The complicated parts are dumb and remarkably simple, but every seemingly ordinary scene is hard to follow. The dialogue is over the top and rarely believable. For some odd reason, the opening premise of the film — a death row inmate trying to get the case reopened to save his life — is forgotten for almost the entire movie. For most of the runtime, it almost feels like the film will end without mentioning it. It’s unsurprising and unfortunate that the acting isn’t very good here. Crowe is doing his best against a weak script but can only hold his own so well before it all falls apart. The cast surrounding him all have an overacting problem. Not much blame can be put on the actors when the script’s weakness holds them back from being good. Karen Gillan sounds like she’s ADR-ed in for every scene. Tomy Flanagan is this obnoxiously crooked-sounding cop, and Marton Csokas plays an uncanny valley-looking combination between Russell Crowe and Kevin Spacey as the lead villain.
What Sleeping Dogs may lack in writing quality, it makes up for with thrills. The twists and turns keep the two-hour runtime feel shorter, and sometimes it’s so ridiculous that it wraps around to being a little genius. It often feels like the screenplay was written quicker than the writer’s brains were going, with both writers frantically speaking over each other to get to the next big twist. For fans of noir thrillers, Sleeping Dogs could be a hit. Russell Crowe is convincing as the forgetful detective with a sinister past, and it’s an exciting ride to the end. With a weak script, confusing editing, and weak acting, this winds up like every other crime/thriller with an aging actor: stupid, over-the-top, and somewhat mean-spirited. It’s not a great watch, but it’s at least provocative. Sleeping Dogs releases in theaters starting March 22. Rating: 2/5 |
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