Review by Sean Boelman
Grand Theft Hamlet is the type of documentary with an insane, bizarre concept that seemed destined to divide audiences: either a bold work of idiosyncratic creativity or a failed formal experiment. Luckily, Sam Crane and Penny Grylls’s film falls firmly into the former category — a documentary that uses its unorthodox approach in a thoroughly entertaining and unexpectedly moving way.
The documentary tells the story of two struggling actors who, during the COVID-19 lockdown, decided to band together a group of gamers to put on a production of William Shakespeare’s Hamlet within the world of Grand Theft Auto Online. It’s a crazy idea, but they make an incredibly interesting movie out of it. The main draw of Grand Theft Hamlet is the shooting technique, as the entire film is told through gameplay in the video game Grand Theft Auto. Although one might expect this to be annoying — or at least gimmicky — Crane and Grylls manage to infuse enough diversity in the presentation to keep things consistently engaging. However, what audiences will walk away from Grand Theft Hamlet most impressed with is the level of development Crane and Grylls give the movie’s subjects. This story is wisely told predominantly from the perspective of Crane and his co-organizer, Mark Oosterveen, giving the audience an angle into the story; however, the rest of the troupe also gets their chances in the spotlight. Thematically, Grand Theft Hamlet’s message is incredibly clear from the beginning. It’s an ode to connection — through both art and online gaming — particularly in a time that was defined by separation. While one might think that the time has passed for COVID films, Grand Theft Hamlet feels timeless because of its broader implications. There’s an inherent humor to much of Grand Theft Hamlet. It’s quite funny to watch the subjects reciting Shakespeare while shooting at police in video games. There are also some really funny moments originating from obstacles that arose amid the production. Just as you’d laugh at the misfortunes of the behind-the-scenes of a production, you can laugh at their virtual hijinks. However, there are also some very poignant moments throughout the movie. At a few points, the members of the troupe discuss their personal lives in ways that add another layer of depth to the story. It would have been nice to see these take more of the focus rather than being relegated to subplots, but there is a strong emotional core to the film. Grand Theft Hamlet will hook audiences with its unique, strange premise and sense of humor, but they will be more impressed by how genuinely moved they are by the time the credits roll. Although this might not be the “future” of documentary filmmaking, Sam Crane and Penny Grylls’s approach is incredibly effective in this specific instance. Grand Theft Hamlet screened at the 2024 SXSW Film Festival, which ran March 8-16 in Austin, TX. Rating: 4.5/5
0 Comments
Review by Sean Boelman
Nicole Riegel’s feature debut, Holler, was an intriguing drama with a star-making turn for its lead, Jessica Barden. Although If Beale Street Could Talk star KiKi Layne gets a similarly auspicious vehicle in Riegel’s sophomore outing Dandelion, the musical drama is too generic to work on any level beyond Layne’s performance.
Dandelion follows a singer-songwriter who takes a last-ditch gig at a motorcycle rally, where she meets a charismatic guitarist who gives her a new perspective on her dreams. As you’d expect, this kicks off a romance full of tropes. It’s a bit too comfortable with convention to be particularly moving. One of the most frustrating things about Dandelion is how it introduces conflict, only to abandon it for most (if not all) of the rest of the film. Because of this, the movie feels aimless. The characters aren’t compelling beyond the protagonist’s basic underdog arc, and the romance is neither likable nor nuanced enough to be challenging. KiKi Layne’s performance is very strong from both a dramatic and a musical standpoint. Layne is able to infuse the character with a level of authenticity and passion despite the generic backstory. Her co-star Thomas Doherty is less effective in his role, giving a performance that lacks the charm and nuance necessary to pull off the complexity of the role.
Unfortunately, Dandelion falls victim to so many cliches that its story is dull. And with a runtime of almost two hours, it fails to justify its existence. More often than not, Dandelion’s story merely feels like an excuse to bridge the gap between musical performances. It’s melodramatic and contrived in a way that’s never entertaining.
Worse yet, for a film with musicians as its main characters, Dandelion’s soundtrack is pretty underwhelming. In the movie's world, the protagonist is supposed to be a budding starlet. Her songs are only mildly catchy and mostly forgettable despite Layne’s strong singing voice. It’s the type of music you’d expect to hear in the background of a restaurant, not the kind you’d expect to get noticed and lead to a big break, which creates a disconnect between the audience and the story. Apart from the soundtrack, the technical aspects of the film are fine. The cinematography is very intimate, with many close-ups — especially during the musical performances. Riegel rightly emphasizes the actors, the strongest aspect of her movie, creating the only legitimate source of emotion. Although it features a solid performance from actress KiKi Layne, Dandelion shares too much in common with other films in the music drama genre to be particularly interesting. Almost all the ingredients are there for this to be a likable music romance, but the one thing missing is a unique flavor. Dandelion screened at the 2024 SXSW Film Festival, which ran March 8-16 in Austin, TX. Rating: 2.5/5 Review by Tatiana Miranda Loosely based on the novel Mr. & Mrs. American Pie, Palm Royale is a comedy-drama series set in 1969 that centers on outcast Maxine Simmons as she attempts to climb the Palm Beach social circle. The ten-episode series stars Kristen Wiig in the lead role, Carol Burnett as Maxine's sick, wealthy relative, Allison Janney and Leslie Bibb as local country club socialites, and Laura Dern, Kaia Gerber, and Ricky Martin as Maxine's unexpected friends. With the 1960s time period and Florida beach aesthetics, Palm Royale is a campy mystery comedy that constantly leaves the audience wondering who to root for. While the time period and character names remain from the source material, most of the plotlines differ. The series focuses on self-proclaimed former beauty pageant queen Maxine as she arrives in Palm Beach to care for her husband's wealthy aunt, who suffered from an embolism. Through lies and luck, she attempts to work her way up the local social scene and prepares to host the main event of the season. Secrets are consistent as Maxine attempts to keep her own and unravel those of her friends, enemies, and family. The show's campy mystery aspect is akin to The White Lotus, while its unlikely friendships are reminiscent of Dead to Me, which was co-written by Palm Royale's creator, Abe Sylvia. The main flaw of the series is in what those other two series have: a central mystery. Whether it be a death or a figure pulling all of the strings, Palm Royale focuses more on an amalgamation of reveals rather than one grand whodunnit at the end of the show. Because of this, the series seems to attempt to write itself as it goes along, never quite knowing what will happen to the characters next or what secret will be revealed.
Although the plot is messy and inconsistent, the characters and the star-studded cast that portrays them keep the show from being overwhelmingly disappointing. Of all of the deceptive and flawed characters, none are quite as mischievous as Kristen Wiig's Maxine, even if she doesn't realize exactly what she's doing. Unlike Saltburn's Oliver, who similarly attempts to infiltrate a group of rich people, Maxine is an ultimately kind person who just wants to fit in and have the socialite life she's always dreamed of having. Her character is one of the most compelling, as even as she continues to lie and blackmail others, she is still the underdog of the story that you can't help but feel sorry for. Overall, while Palm Royale leaves you wanting more in terms of the plot, the captivating characters and their relationships keep you coming back for more. One can only hope that more seasons will allow for a more consistent storyline and a return of these entertaining characters. Palm Royale premiers on Apple TV+ on March 20. All ten episodes reviewed. Rating: 3/5
Review by Sean Boelman
Tillman Singer’s directorial debut, Luz, was a gnarly little movie that has gained a cult following among the horror community. The German filmmaker’s sophomore feature, Cuckoo, is a step up in scale — boasting A-list stars in Hunter Schaefer and Dan Stevens and the backing of the indie darling studio NEON. Although Cuckoo is not quite as strong as his first film, it’s still an enjoyable work of genre cinema.
The movie follows a teenager forced to move with her family to a resort in the German Alps, only to discover that her new home (and its owner) harbors a mysterious and dangerous secret. It plays out like a mixture of psychological horror and a creature feature — almost like The Shining if it were a monster movie — and while it’s incredibly flawed, it’s also very fun to watch. Singer’s choice of the cuckoo bird as a motif certainly has some clear symbolism, particularly when we get into the third act, but this commentary feels very superficial. It’s as if Singer was interested in the idea of the symbol more than he was in the ways he could use this symbol to say something interesting or insightful. The film is also held back by its generic character development. The protagonist is a teenage girl with a dead mother and disillusionment with her father. The father is a well-meaning guy manipulated by his boss, who seems to be hiding a secret. It’s all stuff we’ve seen dozens of times before. Yet despite the underwhelming material they are given, the cast brings their A-game to their roles. Of the many actresses who have attempted to become the “next scream queen,” Hunter Schaefer is probably the most successful thus far. Her reactiveness in the early portions of the movie perfectly gives way to strength in the final act. Dan Stevens goes absolutely nuts in his supporting role, giving the exact type of hammy, campy performance that a film like this calls for. If you try to make sense of anything Singer is trying to do in Cuckoo, you’ll easily be able to pick it into a million pieces. However, if you just let its… well… cuckoo-ness wash over you, it’s a ridiculous midnight movie blast. Perhaps this is unintentional — for all we know, Singer might have been trying to make the next serious horror masterpiece — but what we have is a silly, entertaining work of genre cinema. Credit where it’s due, Cuckoo is assuredly not a B-movie. For all its storytelling contrivances and indulgences, this is a legitimately well-made film from a technical standpoint. The sound design is exquisite, being one of the main methods Singer uses to immerse the viewer in the movie’s atmosphere. There is also some awesome work here in the departments of production design, costuming, hair and make-up, and more. Cuckoo is hardly a great film. It’s silly and nonsensical — perhaps even stupid. However, Tillman Singer has an incredible command of his craft and the ability to build such an effective horror atmosphere that the result is exceptionally entertaining despite its many flaws. Cuckoo screened at the 2024 SXSW Film Festival, which runs March 8-16 in Austin, TX. Rating: 3.5/5
Review by Sean Boelman
Nicolas Cage is a mainstay in B movies, and more often than not, they’re at least enjoyable — even if they’re not particularly good. As far as Nic Cage movies go, Arcadian is somewhat frustrating. It only goes off the wall in the final act and a few scenes throughout the film. The film’s attempts to be serious are underwhelming, resulting in an experience that’s more boring than it should be.
Arcadian tells the story of a father and his two teenage sons fighting for survival in their remote farmhouse in the wake of an apocalypse that pits them against a dangerous threat nightly. As far as post-apocalyptic films go, Arcadian feels very non-descript and reminiscent of other, better films. The first two-thirds of Arcadian are simply dull. This is a generic coming-of-age drama set against the backdrop of a post-apocalyptic world. Although a few scenes stand out — particularly when the film leans into its horror aspects — much of it feels like it is belabored to go through the motions of a genre with such a clearly established formula. In its final act, Arcadian is allowed to go off the walls in a way that would best be described as A Quiet Place, but with the gonzo sensibilities of a filmmaker like Sam Raimi. The creatures somehow manage to look generic but are incredibly memorable due to the bizarre capabilities and characteristics they are given. Granted, many of these don’t make sense within the context of the film, but they are enjoyable to look at nevertheless.
The film's character development is as generic as the world in which it is set. Although the introduction introduces some interesting character dynamics between the father and his sons, they are never explored. More emphasis is put on the sibling relationship, but it’s about as paint-by-numbers as they come.
Nicolas Cage’s performance here is far more restrained than what one might expect from a Cage B-movie. His performance is actually the film’s emotional grounding, much more akin to his work in something like Pig than his usual approach to horror. Jaeden Martell’s performance is satisfactory — he just isn’t given much to do. Maxwell Jenkins, the least recognizable of the three leads, is surprisingly the best of the bunch. He infuses his character with a unique personality, which the other two actors struggle to do. From a technical standpoint, Brewer’s film is a bit of a mixed bag. A few sequences are incredibly executed in a way that will make them go down as some of the greatest horror moments of the year. Other parts, particularly the world-building, feel visually bland and uninspired. There are enough strengths that it makes you wish there was more consistency. Arcadian has a few awesome moments, but the world and characters are too generic, and the pacing is too slow for it to make much of an impact. There’s a lot of potential here for this to be the next great monster movie, but it only rarely lives up to its promise. Arcadian screened at the 2024 SXSW Film Festival, which runs March 8-16 in Austin, TX. Rating: 2.5/5 [SXSW 2024] I DON'T UNDERSTAND YOU -- Predictable Dark Comedy Saved by Strong Performances3/17/2024
Review by Sean Boelman
Sometimes, committed performances can elevate a generic comedy into something genuinely enjoyable. Unfairly billed as a horror-comedy, I Don’t Understand You rides on the comedic strengths and incredible chemistry of its stars, Andrew Rannels and Nick Kroll, to deliver an entertaining experience.
In the film, Rannels and Kroll play an American couple stranded in rural Italy without the ability to communicate as a series of accidents causes them to kick off a comedy of errors. You’ve seen this premise done dozens of times before — and more effectively — but there’s still enough charm to be found in David Joseph Craig and Brian Crano’s movie for it to be worth watching. Ultimately, the biggest factor responsible for I Don’t Understand You's success is the undeniable charm of its two leads. Rannells and Kroll are both hilarious, creating the perfect dynamic of a bickering but loving couple. Neither breaks beyond their usual niche, but they are fun to watch and have excellent chemistry. Morgan Spector also has a very fun turn in the supporting cast, with a loony, mostly Italian-language performance. I Don’t Understand You takes a lot of time to get moving. It’s not until around the halfway mark that the first significant inciting incident happens. Much of the first act is spent on red herrings that make you think the movie is heading in a different, more horror-centric direction than it eventually goes. However, Craig and Crano keep viewers invested by giving the movie a strong emotional through-line. Although the film is filled with over-the-top slapstick humor, it is grounded by its focus on its protagonists’ journey to becoming adoptive parents. Although this subplot hits many maudlin beats, it’s certainly very charming and heartwarming. Still, the movie feels like a missed opportunity regarding some of its other themes. For example, throughout the film, we see glimpses of the homophobia present in this rural Italian community. Rather than explore this more deeply, Craig and Crano simply use it to set up a few gags. The movie has several opportunities like this but consistently settles for a more straightforward approach. Additionally, for a film set in a picturesque location like Italy, it’s frustrating that I Don’t Understand You doesn’t do more with the visuals. The cinematography and production design are very run-of-the-mill. You could change the location to rural America, and it would have very little effect on the atmosphere, which is incredibly disappointing. I Don’t Understand You is a very generic dark comedy, but the two lead performances are so fun to watch that the movie manages to overcome its storytelling flaws to be entertaining and charming. This is the type of comedy that audiences will watch on streaming, be diverted, and forget almost as soon as the credits roll. I Don’t Understand You screened at the 2024 SXSW Film Festival, which runs March 8-16 in Austin, TX. Rating: 3/5
Review by Sean Boelman
Brothers Bill Ross IV and Turner Ross’s last documentary, Bloody Nose, Empty Pockets, received so much acclaim that it established them as filmmakers to watch. Their first narrative film, Gasoline Rainbow, debuted at last year’s Venice Film Festival to a warm reception, and it’s understandable why — it’s a very solid entry into the canon of teen cinema.
The movie follows a group of teenagers who set out on a road trip on their last summer together before going their separate ways, hoping to find the “Party at the End of the World.” Although this is hardly the first entry in the “one last hurrah” genre of teen cinema, and it doesn’t reinvent the wheel narratively or thematically, the film feels so grounded that it stands out nonetheless. The Ross Brothers’ background in documentary filmmaking is incredibly evident in their fiction debut. The pacing is very meandering, with the characters drifting through the hour and fifty-minute runtime. However, the characters' interactions with one another and the people they encounter along their journey are often moving or amusing. As with many “vibes” movies, Gasoline Rainbow is strongest in its technical aspects. Part of what makes this such an impressive movie is that the Ross Brothers also did the cinematography and editing. The film has a genuinely independent, almost guerilla sensibility that few movies benefit from these days. For people in their 40s, the Ross Brothers have an uncanny understanding of the zeitgeist of American youth. Gasoline Rainbow is refreshingly free of the stereotypes often accompanying the coming-of-age genre. Each character feels lived in, with a personality that feels richly developed and authentic. A lot of credit for the film’s success is owed to the strong ensemble that the Ross Brothers assembled. For all five of the leads — Tony Aburto, Micah Bunch, Nichole Dukes, Nathaly Garcia, and Makai Garza — Gasoline Rainbow is their cinematic debut. This lends the characters a sense of naturalism, as they are actually teenagers, and the quintet successfully creates a compelling friendship dynamic. The movie offers some very poignant observations about the anxieties that today’s teenagers face. However, unlike many films featuring teenagers being “insightful,” the dialogue doesn’t feel annoying. The dialogue feels like things that teenagers would actually say, not forcing them to be profound beyond their years. Gasoline Rainbow won’t appeal to everyone due to its lackadaisical pacing and thin plot. Still, Bill Ross IV and Turner Ross have made an effective fiction debut, banking on their documentary experience to create a coming-of-age movie that feels unexpectedly and beautifully real. Gasoline Rainbow screened at the 2024 SXSW Film Festival, which runs March 8-16 in Austin, TX. Rating: 3.5/5 Review by Daniel Lima The Animal Kingdom finds itself in the curious predicament of being both a strange, off-kilter film compared to most mainstream cinema and operating within a well-defined and old strain of speculative fiction. Though it does not go much further in interrogating the themes it brings up than any of those older works, it remains compelling on the strength of its craft. Set in a world where people have begun mutating into animals, the film follows a father and son who have moved to the south of France to be near the boy's mother as she is being treated. However, when she breaks out and escapes into the local wilderness with other patients, the two rush to find her before the authorities do. All the while, the son finds himself having a more difficult time adjusting to his new environment than he ever would have thought he would. There's no avoiding that the premise of people changing into animal-human hybrids and society attempting to grapple with these changes calls to mind countless other similar works: The Island of Dr. Moreau, Black Hole, X-Men, and Wolf. These disparate stories use the concept to explore themes of mental health, coming-of-age, man's alienation from nature, and the propensity for people to shun and victimize anything they don't understand. To its detriment, The Animal Kingdom elects to incorporate every possible allegory that the conceit allows. To a certain extent, they all work, as evidenced by the fact they've all been employed in the past. The film doesn't choose to focus on any particular dimension afforded by the premise; however, none of these ideas are explored as deeply as they would need to be to stand out as an original take on the material. The film wisely decides to ground these lofty ideas in the relationship between father and son. Paul Kircher, as the son, shows incredible vulnerability in his performance, ably dancing between the ennui and joy endemic to all teenagers. Romain Duris plays the father with barely contained emotion like a man trying desperately to keep things together even as it's clear he's at the end of his rope. Together with a solid supporting cast, they provide the emotional core that a movie like this requires.
That this is such a formally accomplished work goes a long way; there is much beauty in the cinematography, particularly when characters explore the serene wilderness that has become home to the transformed humans. There is an admirable level of control over the film's pace, meeting the fairly predictable story at just the right pace to create tension. This comes to a head in the handful of more energetic set pieces, so harrowing and well-captured that it's easy to wish the film was an action-thriller rather than a drama. Finally, it must be said that the effects work is incredible. The animal-human hybrids are brought to life via both practical and computer-generated effects, ranging from subtle features like a pronounced spine and patches of fur to full-blown fantastic beasts. To my untrained eye, it seems CG work is being layered on top of practical makeup and costuming, with even the completely digital renders being made to resemble a practical effect. All these creatures are a marvel to see, and knowing that this was done on such a meager budget by the standards of American productions puts Hollywood to shame. Ultimately, The Animal Kingdom is a respectable fantasy drama despite its familiar themes. There is a clear vision on display that elevates the film above a script that would otherwise be pat. I'll admit I was totally unaware of director Thomas Cailley, but this announces him to me as someone to keep an eye on. The Animal Kingdom arrives in theaters and on VOD March 15. Rating: 3.5/5 Review by Jonathan Berk We have hit a weird moment with political biopics. There are tons of important historical figures that people should know about, and a movie seems like a great medium to deliver that information. The downside is that there are so many of these movies, and they're coming out more and more frequently, that the formulaic nature tends to have diminishing returns. Unfortunately, Shirley suffers from the familiar format, and then a few other issues bring it down a little further. Still, there is enough here to make it worth checking out. Regina King plays Shirley Chisholm from her first year joining Congress, which led to her unprecedented presidential campaign in 1972. Chisholm assembles a scrappy team to help build her campaign, but they are up against a lot. She has to navigate racism, sexism, and her relationships throughout the campaign. To no one's surprise, King is incredible. She brings gravitas to any role at this stage in her career. This lends itself well to Chisholm, who one must assume had a similar confidence given the things she did. It takes a special kind of actor to be able to step into any scene and own the room. King is more than qualified and, thus, perfect casting. The cast includes some incredible talent to support King: Lance Reddick, Lucas Hedges, Andre Holland, Terrence Howard, and Michael Cherrie, among others. The pedigree of the cast is evident in director John Ridley's film, but the script doesn't do them any favors. For the most part, there are a lot of characters telling us things rather than the film showing us. Hedges is tasked with a lot of exposition in clunky scenes. The character's introduction is an interview with King, in which he praises her so that the audience knows their history. It feels so unnatural, and it's just one of many examples of moments like it sprinkled throughout the film. The overall look of the film works. It feels like something from '70s TV, which blends well with some of the archival footage used in it. There are some scenes, however, that are just far too dark. You can't make out any details in those moments and the reason for it is unclear. Low-light cinematography is a challenge for sure, but usually, there is an apparent reason for the lighting to be that dark. It's not something that detracts from the film, but it was noticeable.
This biopic at least breaks away from the birth-to-death format that is used too often. However, it still fails to capture the tension that Chisholm must have been feeling. The stakes are incredibly high, but the film never finds the angle to capture that intensity. It moves from one room of people talking to another. Even in the moments where Chisholm clearly would have been going through it, the film can't quite deliver that feeling to its audience. The good news is that Shirley is not a bad movie. Still, it does not feel essential, and it really should. The cast and the historical figure the film is about should make it a priority on your Netflix watchlist. It just fails to reach that level of excellence. Still, there is enough in the film to warrant its existence on the streaming platform. Shirley will be in select theaters on March 15 and streaming on Netflix on March 22. Rating: 3/5 Review by Cole Groth Lindsay Lohan’s return to film has so far comprised of three roles: the lead in a Lifetime-style Christmas rom-com (Falling For Christmas, 2022), a cameo in the musical reboot of one of her classic roles (Mean Girls, 2024), and now, a love-on-her-mind woman in Ireland in Irish Wish. If you’re a fan of rom-coms, you’ll probably have fun with this. With a fun fantasy twist, Lohan’s latest role offers something to differentiate itself from Netflix’s other rom-coms. It’s not very well written and boasts plenty of clichés, but as long as your expectations are low, expect a decent time. Maddie Kelly (Lohan) is traveling to Ireland to watch the love of her life (Alexander Vlahos) marry her best friend. After a spontaneous wish to be the one marrying her love instead comes true, she goes on a wild journey of self-discovery to learn that her true soulmate is somebody else entirely (Ed Speleers). You can probably guess how the rest goes. If you plan on watching this, it’s probably to see Lohan on the screen again. If that’s the case, you’re in luck! She’s great here. She’s a bubbly and cheerful presence and pretty funny, too. There’s some physical comedy here and there that’s sorta funny. Lohan is paired nicely with Speleers and Vlahos, who both play well as love interests. The rest of the cast is nothing special. As far as the writing goes, nothing special is happening here. The screenplay relies on familiar tropes and not that much more. The dialogue is decent but sometimes impossibly cringeworthy. Lohan’s character is naive and a little too ridiculous at points. A few laughs are nicely placed throughout, but no joke stands out as anything more than a brief nose exhale. It’s a lot like other wish-fulfillment comedies, like Freaky Friday. A character gets into a wish that seems better than it is and then slowly learns to love their normal life — simple stuff.
It’s an enjoyable time, but one can only hope for something more interesting. At this point, Lohan has returned to the screens, and while her acting abilities are demonstrably limited, it would be nice if she went out into something better. Irish Wish struggles because it’s unmemorable. Many of Netflix’s films are like this: bring a star onto a poorly written and directed premise, watch it go to the top for a week, and then leave forever. If this film was trying to be something subversive or fresh, it could be a new classic for Lohan. A film career can’t be revived on cheesy rom-coms alone. At Tudum, Netflix’s annual press conference to announce their films, Lohan described the film as a “nice story of luck and love and confidence.” She put it great there, and the film isn’t trying to be anything more than just “nice.” You’ll be in and out in 90 minutes. Expect a few laughs, a few smiles, and a sappy kiss at the end. If soapy rom-coms are your thing, Irish Wish will satisfy that craving. However, in a week or so, when that craving comes back, just remember that this type of rom-com offers only a momentary distraction from this bleak world we live in. Irish Wish releases on Netflix on March 15. Rating: 2.5/5 |
Archives
March 2024
Authors
All
|