Review by Camden Ferrell Starting out as a director for music videos, Trish Sie is now an established feature film director of films like Pitch Perfect 3 and last year’s Sitting in Bars with Cake. Her newest film, Players, is the obligatory Netflix Valentine’s Day release. It also serves as the feature film debut of veteran television writer Whit Anderson. Even though the cast has mildly decent chemistry, this romantic comedy hits narrative beats that have been beaten to death while clinging to awkward and exaggerated tropes. Mack is a sportswriter for a local New York paper and spends her free time hanging out with her longtime best friends. These friends have spent years devising a meticulous system of “plays” in order to hook up with their desired target. However, things get complicated when Mack decides she wants to finally play for keeps. Obviously, this movie will require some suspensions of disbelief, but it still had the potential to remain grounded and relatable, and this doesn’t get capitalized on at all. Anderson’s script flows exactly as one would expect it to. At no point in the movie, did the writing take me somewhere even remotely unexpected. While adhering to the story structure that romcoms seem to love isn’t inherently bad, this movie fails to add its own flair at all. The story does nothing to distinguish itself from other romcoms, and it feels borderline soulless. The dialogue is cheesy and unrealistic, and it never flows well. The characters feel exaggerated to the point of annoyance. They’re too excessive to be relatable, and they manage to occasionally become displeasing to a viewer. There isn’t much I can praise about the movie, but I will say its acting is probably its strongest aspect. It’s clear this ensemble is doing the best they can with the material given, and it goes about as well as expected. The movie is led by Gina Rodriguez, and she has proven she can give strong performances in romcoms, and her newest effort as Mack is passable. It’s not a memorable role with her, but it is a role that benefits a lot from her natural charm. The best actor in this film is Damon Wayans Jr. who also brings his signature charm to a movie that desperately needs it. The rest of the cast of actors like Tom Ellis, Augustus Prew, and Joel Courtney among others are decent albeit a little overblown.
It may seem like I’m being too harsh on a lighthearted and mindless romcom, but it really fails to do anything for me. It’s a specific brand of cheesiness that is insufferable more often than not. There are plenty of romcoms that endear me and audiences with their cheesiness and adherence to genre conventions, but this is not one of them. It’s an overacted film that devolves into caricature and fails to connect to your emotions in any earnest way. Players is a movie that you have definitely seen before, and it’s one you could predict within seconds of watching it. Your mileage may vary, but there isn’t a whole lot working in this movie’s favor. It is embarrassingly excessive at times, and at its best, it’s a mildly entertaining buddy comedy that is carried primarily by its good-looking and charming cast. Players is streaming on Netflix February 14. Rating: 2/5
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Review by Camden Ferrell Carlson Young might be known to most for her acting work in various movies and shows, but she is now returning to the director’s chair for her second feature film. Her first movie she’s directed without acting in, Upgraded is a new romantic comedy from writers Chrstine Lenig, Justin Matthews, and Luke Spencer Roberts. While the film is certainly bearable and adequate, it also is painfully cliché and feels like every other film you’ve seen in this genre before. Ana is an art intern, struggling to make ends meet as she tries to get noticed by her prolific and intimidating boss Claire. Through some good fortune, she finds herself on a trip to London as Claire’s assistant to help with a high-profile art auction. Here, she meets William, who mistakes her for her boss, and this misunderstanding spirals into a situation that Ana tries to control all while dealing with love and her career in the art industry. It’s a cheesy setup that’s been done before, and based on the premise alone, most people will probably be able to predict each narrative beat that this movie will hit. The script is passable. Void of any laugh out loud moments, it still keeps the general vibe light and easy for consumption. As mentioned before, it’s about as standard as these romcom scripts come, and that’s either a good or bad thing depending on your unique tastes. However, if you’re looking for a movie that’s subversive or distinct in any way, this might leave you with something to desire. The acting in this movie, like everything else, is just fine. Camila Mendes leads the film as Ana and while she has a natural charm, it’s not enough to breathe energy into this production. Her performance is about the same as the other performances of hers that I’ve seen. Archie Renaux is also adequately charming as her handsome British love interest but isn’t anything memorable. The highest profile actor in this film is Maris Tomei who plays Claire, and even she doesn’t do much to be notable in the movie either. There really aren’t any bad performances in this, but there certainly isn’t anything that’ll stand out to viewers in particular.
Even though this film is a dime a dozen, it still has that mindless romcom charm that is occasionally just irresistible. It’s undemanding and cheesy in every way one could expect, but it’s still relatively enjoyable and breezy to get through. There’s nothing I’ll remember about this down the line, but there are worse ways to pass nearly two hours. Upgraded is a new romcom that will definitely satisfy diehard fans of the genre. Casual fans might be moderately entertained at best by the familiar beats and cheesy story. Young’s direction works for the type of movie this is, but it would be nice to see her develop her own unique voice in whatever genre she does next. There’s nothing particularly memorable about this movie and for the most part, that’s fine. Upgraded is streaming on Amazon Prime February 9. Rating: 3/5 Review by Camden Ferrell Suncoast is a new coming-of-age film that had its premiere at the 2024 Sundance Film Festival. This is the directorial debut and full-length feature writing debut of Laura Chinn. This movie as inspired by events from Chinn’s own life and family, and it is lead by up-and-comer Nico Parker who won the Breakthrough Award at Sundance for her performance. While some might be turned off by the movie’s unwillingness to address the more pressing issues presented, Suncoast tells an emotional and entertaining story of adolescence that is elevated by standout performances. Doris is a shy girl who has spent most of her childhood caring for her terminally ill and disabled brother. As her brother enters hospice care, she finds herself clashing more with her mother while also getting a taste of traditional teenage life with a group of kids at her school. She also meets a caring older gentleman who is at the hospice center who is there due to a controversial case of one woman’s right to die. This is a personal story for the director, and she does a great job of imparting her own unique experiences into a genre that can sometimes feel repetitive. Chinn’s script is sharp and lays the groundwork well for the main narrative. Her dialogue is well-written and captures the different complex relationships and events that Doris encounters throughout the movie. The scenes involving Doris and her mother are especially captivating and highlight her skills as a writer. The script also introduces some interesting ideas about the politics of religion and death, but it only ever skirts the surface of those issues. This shortcoming of the script may be seen as a flaw to some viewers, but I think this is a rare instance where I think playing it safe really allows the movie to flourish in the areas it does best. One of the most notable things about this movie is its cast. Featuring veterans like Woody Harrelson and Laura Linney, who both give great performances, the real highlight is Nico Parker. Leading a film like this is no small task, and she delivers on every front, a feat that’s even more impressive given that she was still a child when this movie was filmed. She knows how to balance the uncomfortable, awkward, and frustrating stages of adolescence while balancing it with more tender and subdued moments of grief. It’s a role that allows her to show off her range, and she does it gracefully.
While playing it safe worked in the movie’s favor at times, it can still feel like it’s hitting beats we’ve seen hundreds of times before. It doesn’t try to defy genre tropes or tinker the formula much, and this can lead the movie to feel like it’s not living up to its full potential. Regardless, this is still a tightly paced movie that doesn’t overstay its welcome at all. It may not elevate beyond the constraints of coming-of-age movies, but it still contently sits among some of the better entries in recent years. Suncoast is a movie that will appeal to everyone in at least one small way. Those who have trouble with how it tackles deeper moral issues, will still find some enjoyment in the earnestness of Chinn’s vision. And while the story beats might seem familiar, you can’t help but feel completely invested in Doris and the complex and heartfelt situation in which she often finds herself. Suncoast is streaming on Hulu February 9. Rating: 4/5 Review by Camden Ferrell Independent media powerhouse, A24, has captivated audiences for a decade with their wide variety of original and imaginative content. Their new series, Hazbin Hotel, is their first expedition in the medium of animation. This Vivienne Medrano-created series was the result of a successful pilot that was released on YouTube in 2019. Despite some great songs and voice performances, this adult-animated series can suffer from its occasionally middling writing and lack of direction. Charlie Morningstar is the princess of Hell. Unfortunately, Hell suffers from an overpopulation problem and as a result, Hell suffers an annual purge at the hands of Heaven’s angels. Charlie, looking to find a less violent way to resolve their overpopulation, aims to open a hotel with the goal of rehabilitating sinners to send them to Heaven. Admittedly, this is a unique and entertaining premise that has lots of potential for its theatrical antics and dark comedy. The novelty of the premise fades eventually due to the writing being underwhelming. The jokes through this show are mostly adequate, but it can sometimes mistake vulgarity for humor. There’s plenty of wicked humor to be found in its premise, but these attempts don’t land as well as they could have. Even though the comedy can feel lazy at times, some of the more earnest moments of Charlie’s relationship with the rest of the characters are quite good. The voice actors in this show are its saving grace. Led by Erika Hennignsen, this cast of characters come to life with so much energy that it can sometimes overcome its less than stellar writing. Stephanie Beatriz delivers a great performance as Charlie’s girlfriend Vaggie while Amir Talai, Blake Roman, Jeremy Jordan, and others excel as well. In addition to the regular voice acting, the musical numbers in this show are the strongest parts of the show. The songs are catchy, and the cast has some undeniably beautiful voices that bring these moments to life.
Despite the cast’s best ability, the show falters sometimes due to its meandering nature. Even though we’re introduced to Charlie’s plan from the start, the show just doesn’t operate with much immediacy. Certain tangents take up too much time in already brief episodes, and it feels like not nearly enough progress has been made through the first half of this season. In addition to this, the animation, while creative, can sometimes feel stilted and take away from the viewing experience. Hazbin Hotel will certainly find a devout following, but everyone’s mileage may vary. Most will be able to enjoy this at least for its incredibly talented cast and great tunes. However, some may also want more from this unique premise and the potential it has for dark and devilish humor. It may not be my cup of tea, but I think everyone should at least give this show a decent chance to capture their heart. Hazbin Hotel premieres on Amazon Prime on January 19. Five out of eight episodes have been reviewed. Rating: 3/5 Review by Camden Ferrell As a comic book character, Echo was introduced to audiences in 1999, and she had her live-action debut in the 2021 Disney+ series Hawkeye. Echo, a new miniseries for Disney+ and Hulu, kicks off 2024 for the MCU. Featuring some solid storytelling and mostly entertaining TV-MA action, this spin-off series is enjoyable even if it's not completely captivating After her last appearance, Maya Lopez finds herself returning to her hometown where she must face her past. She aims to reconnect with her Native American roots while also confronting the family she left behind. All of this happens while an even more sinister threat looms over her life. This is a spin-off that doesn’t initially feel needed on paper, but Maya is an interesting character that could be worth exploring if done properly. Since Maya is deaf, the show relies more on visual storytelling than other MCU efforts. This is noticeable within its first episode, and the show manages to keep a tight pace and find creative ways to convey ideas and emotions. This limitation brings out the best in the series and helps it thrive when the script can be lacking. The story itself does a decent enough job balancing the different challenges Maya faces, but the beats are just too familiar and safe to grip viewers the way it was intended to. The one thing that stands out the most in this show is Alaqua Cox’s leading role as Maya. She is engaging to watch in moments of flashy action and subtlety alike. Admittedly, she isn’t given the best material, but she makes the most of it. While most people will focus on some fan-favorite characters in this series, the rest of the supporting cast is entertaining as well. Specifically, Tantoo Cardinal and Chaske Spencer are enjoyable to watch in these episodes.
With its TV-MA rating, the show manages to slightly push its boundaries with violence. It’s not a bloodbath by any means, but it’s nice to see the MCU embrace more violent onscreen action. The stunts and fight choreography are also strong and ambitious. This ambition is its strength, but it’s also its main shortcoming. Certain fight scenes sacrifice realism and proper pacing for the sake of flashy camerawork, but it’s a tradeoff that’ll be acceptable depending on the viewer. Echo will not blow viewers away. However, it is a decent enough story that might be the last bit of MCU content we get for a few months at least. Even with its flaws, Alaqua Cox is a solid lead, and there’s more working for this series than against it. Echo is now on Disney+ and Hulu January 9. Three out of five episodes have been reviewed. Rating: 3.5/5 Review by Camden Ferrell The 1972 Andes flight disaster is globally known and has been referenced and adapted in numerous pieces of media since then. The newest film from J.A. Bayona is the most recent attempt to tell this harrowing story of survival. Society of the Snow had its premiere at the 2023 Venice International Film Festival, and it is the Spanish submission for Best International Feature for the upcoming Academy Awards. An impressive feat of storytelling and visual effects, this movie will shock you with its brutality and surprise you with its abundant humanity. A Uruguayan rugby team finds themselves embarking on a trip to Chile with other passengers when the plane collides with the Andes mountains, killing several and stranding the rest. In unbearable temperatures and with minimal food, the remaining survivors must battle the elements and grapple with their own morality in order to persevere and live to see another day. This story is widely known, but it’s still fascinating to get an in-depth look at what they experienced on a day-to-day basis and learn more about their stories and humanity. Based on Pablo Vierci’s book of the same name, this movie was written by Bayona, Nicolás Casariego, and Jaime Marques. These writers do a great job with balancing the different conflicts in the movie. It’s a classic tale of man vs. nature while also being an emotional saga of man vs. self. The characters feel fleshed out which make the brutal elements they face feel more brutal and visceral. The emotional moments are earned thanks to the great and subtle characterization done by the writers. It has some great moments of dialogue throughout as well which keeps this movie feeling fresh despite taking place in mostly one location. This movie thrives off of its talented ensemble with great chemistry. It would be remiss not to give credit to everyone in the cast for bringing these characters to life. However, the highlights of this movie are Enzo Vogrincic Roldán, Matías Recalt, and Agustín Pardella. They have the most screen time of the cast, and they are commanding in their respective roles. They perfectly portray the horror, desperation, and sorrow of these characters. They’re captivating to watch and round the movie out nicely.
While the humanity of this story is on full display, one must also commend the amazing VFX work of this film. Throughout the movie, everything feels so immense in scale and spectacle, but the effects maintain the film’s realism which heightens its brutality. In addition to this, Pedro Luque’s work as a cinematographer is brilliant from start to finish, featuring some creative shots and imagery. And Michael Giacchino’s tender and emotional score rounds out the film beautifully. Bayona has outdone himself with Society of the Snow. It’s a chilling and gripping tale of survival that audiences will have a hard time looking away from. It is a technical marvel and a storytelling marvel as well. It’s one of the finest survival thrillers in recent years, and a heartfelt testament to the survivors and victims of this horrible tragedy. Society of the Snow is in theaters December 22 and streaming on Netflix January 4. Rating: 4.5/5 Review by Camden Ferrell American Fiction sees Emmy-winning writer Cord Jefferson into the director’s chair for the first time. It is an adaptation of the Percival Everett novel Erasure. This comedy-drama had its premiere at the 2023 Toronto International Film Festival where it won the People’s Choice Award. Currently eyeing awards and Oscar recognition, this film has some insightful ideas about race and the commodification of art, but it also can sometimes falter due to its family drama elements. Monk is a novelist who resents the lack of integrity in the reading habits of consumers. He detests how best-selling books reduce Black people to outrageous stereotypes and how it limits the ability of his own work to flourish or be published. Fed up with this status quo and dealing with issues in his personal life, Monk uses a pen name to write a “Black” book that unexpectedly launches him to new heights and moral dilemmas. Despite being based on a book that’s over 20 years old, this premise still remains topical and one worth exploring deeper. Written by Jefferson, the film starts out strongly. It balances the social commentary with some compelling family drama, and its dialogue is well-paced and witty. While the commentary stays sharp throughout, the personal elements of Monk’s life become less compelling as time goes on. Instead of fleshing out his character like it initially does, it eventually feels like it’s bloating the runtime without too much benefit. Despite its flaws, Jefferson approaches the main social issues of this movie with nuance and great insight. One of the most memorable parts of this movie is Jeffrey Wright’s amazing turn as Monk. Regardless of whatever flaws are in this movie, Wright is a powerhouse of an actor who always makes the most of it. His performance is funny, emotional, and most importantly frustrating. He grapples with the lack of integrity in the way Black stories are marketed and sold, and this is shown in subtle and un-subtle ways. The supporting cast is also quite strong with some notable highlights being Sterling K. Brown, Issa Rae, and Leslie Uggams.
The way Jefferson satirizes these issues of race can occasionally be hit or miss. The insight is present and clear, but the humor of the movie doesn’t always land as intended. There are some genuinely funny moments throughout, but some jokes aren’t as successful. However, it does succeed in being provocative and inspiring important conversations about how we commodify art and sometimes celebrate offensive and tired tropes that are detrimental to marginalized communities. American Fiction isn’t perfect, but it has great analysis of important social issues while being quite funny more often than not. Jeffrey Wright is a memorable lead, and it proves Jefferson might have a lucrative career as a director in addition to his accomplished writing career. This is one you’ll likely see referenced a lot in awards season, and it’s definitely worth checking out despite its flaws. American Fiction is in theaters December 15. Rating: 3.5/5 Review by Camden Ferrell DK Welchman and Hugh Welchman are a married directing duo who are most known for their 2017 film Loving Vincent, which garnered them an Oscar nomination. It was notable as the first fully painted animated film, and their new film, The Peasants, employs a similar animation style. Based on the novel of the same name, it had its premiere at the 2023 Toronto International Film Festival. This movie is visually captivating while telling a compelling yet familiar and conventional story. In a 19th century Poland village, Jagna is a young woman married off to a much older man despite being in love with his son. Through this marriage and other turmoil in the village, she endures resentment and hostility at the hands of those around her. The film is told in four parts, one representing each season, and each section sees Jagna as she grapples with ire, gossip, and abuse as she tries to make the most of the situation in which she finds herself. Written by the Welchmans, the script is fairly standard. It doesn’t try and mess with the narrative structure or play around with its dialogue and interactions in any way. It seems they likely wanted to keep it as straightforward as possible. Even though it works within the context of the film, there are some sluggish and familiar moments that can sometimes bog down the pacing and enjoyment of the film. However, when a film is so engrained in its complex visual style, I suppose it makes sense to keep the narrative as conventional as possible. The performances in this movie are all strong. While the entire ensemble elevates the film with some truly hostile and condescending performances, it’s hard to deny the show-stealer is Kamila Urzedowska who plays Jagna. She leads the film with a sensitive yet powerful portrayal of our protagonist. She captures a wide range of emotions from passionate love and happiness to heartbreaking and soul-wrenching pain. It’s a demanding role due to its brutal and uncomfortable nature, and she handles it fantastically.
While the movie has a lot working for it, the main attraction is its animation. The painted technique is used to a captivating extent here. Each of the frames are meticulously painted and animated to enhance a rather standard story. This technique is beautiful and engaging to watch, and it adds an indescribably mesmerizing quality to its more chaotic and dynamic scenes. Without its unique animation, The Peasants would just be a solid drama, but its approach to animation allows it to flourish and become a memorable viewing experience. It’s a difficult movie to watch due to its graphic content, but it’s an engaging story that overcomes its flaws with its visual style and superb leading performance. The Peasants is in theaters December 8. Rating: 4/5 Review by Camden Ferrell For the last several decades, the International Chopin Piano Competition has been held every five years. It is one of the most prestigious classical music competitions, and it’s a showcase for some of the most talented young pianists in the world. Jakub Piątek’s gives us an intimate look at the 2021 competition in his documentary Pianoforte. This movie premiered at the 2023 Sundance Film Festival, his second movie to do so. This is a straightforward yet entertaining documentary that gives a spotlight to emerging young talent among the backdrop of a stressful yet rewarding competition. The competition takes place in Poland, and the film gives us a behind-the-scenes look at the competition and what each of the contestants go through during this time. The film primarily focuses on a handful of pianists from all over the world as they navigate the competition and their own personal lives. This premise is one that will interest fans of classical music or those who enjoy the spirit of competition and unmitigated passion. The narrative structure of this documentary is very conventional, but it works for the story that is being told. It’s a straightforward story that is easy to follow and told in a simple and linear manner. This allows the film to properly capture the contestants’ mindset and behavior at each individual stage of the competition. As candidates begin to get eliminated, it’s easy for us to root for the subjects of this film as we see them grow and try and prove they’re the best. Piątek plays it pretty safe as a director, but it’s ultimately to the film’s benefit. The subjects that we follow are all unique and interesting in their own ways. Viewers will likely find at least one contestant with whom they can relate. Even if you don’t relate to them, it’s easy to see how passionate they are about their craft, and when someone loves what they do that much, it’s hard not to be invested. I was most invested in Hao Rao, a young Chinese pianist as he travels across the world with his longtime teacher. He perfectly captured the familiar combination of dynamic and confident onstage presence and the critical and reserved player offstage. Each contestant brings something new to the table, and the documentary balances them well, to prevent the film from feeling slow and oversaturated in certain areas.
Obviously, a documentary of this nature should have good musical scenes, and it does for the most part. The works of Chopin are classics to the entire world, and it’s fascinating to see these young players perform them. However, I feel like these scenes aren’t nearly present enough in the film. We get plenty of insight into their lives offstage, but the scenes of their performances are mostly abbreviated more than I would have appreciated. Clearly, it’s senseless to include entire performances in a movie, but it definitely could have been more fleshed out. Pianoforte is a simple yet effective documentary about one of the most prestigious piano competitions in the world. We get a glimpse at some of the most impressive young musicians around today, and it gives audiences an idea of what they’re going through at every stage of the competition. We revel in their success, and we empathize with their missteps. It’s an entertaining documentary more than anything, and it is a strong showcase of Piątek’s storytelling abilities. Pianoforte is in theaters December 1. Rating: 4/5 Review by Camden Ferrell Frederick Wiseman is seen by many as one of the most significant and important figures in documentary filmmaking. His influential work dates back to the 1960’s, but he’s still in full force, making movies at the impressive age of 93. Menus – Plaisirs — Les Troisgros is his newest film that had its premiere at the 2023 Venice Film Festival. At four hours, this is a hefty documentary that goes by rather swiftly thanks to sharp editing and an engrossing and compelling subject. The Troisgros family is a dynasty of culinary prestige, owning and operating three restaurants in central France. Troisgros, the restaurant at which this film predominantly takes place, has been around for 93 years and has maintained three Michelin stars for 55 of them. This film follows the present chef and staff as they prepare for service at their restaurant. This might sound like a simple premise, but Wiseman is able to dissect this premise and allow the viewer to closely analyze the minutiae that goes into operating a restaurant of this caliber. The subject itself lends itself well to narrative storytelling. There’s no ambiguity in the process of running these restaurants. The film’s lengthy runtime allows us to see every tiny aspect from start to finish. We see the purchase of vegetables in a local market, the visit to a cheese processing center, the creation and preparation of their dishes, etc. For example, the movie is able to spend several minutes on the nuances of different ingredients and their effects on an almond purée without feeling like it’s at the expense of something more important to the overarching story. It’s a behemoth of a process to capture in a movie, and the narrative structure works very well in achieving its goal. Passion and skill combine to make the people in this film engaging to watch. We get to see Cesar Troisgros carry on his family’s legacy, and seeing this generational honor blend with his genuine fascination and expertise with food is something truly special. He surrounds himself with individuals who are knowledgeable about their fields of work, and it’s clear that they love what they do. This enthusiasm is what prevents this movie from dragging in places it otherwise would have. Even for someone like me who doesn’t partake in fine dining, this is an excellent group of people to watch and learn from.
The first two hours of this movie are absolutely engrossing and masterful, and it makes a strong case for being the best documentary of the year. However, in the latter half of the movie, there is an abrupt shift outside of the restaurant, as the story detours to the source of the restaurant’s wine and cheese. This tangent is relevant but not particularly necessary. It disrupts the ethereal momentum that the movie had built up, and it doesn’t ever fully recover from that. The movie still finishes strong, but it feels like there’s a 210-minute movie here that would have worked better. Menus – Plaisirs — Les Troisgros boasts a daunting runtime, but it flies by far faster than one would expect. Watching the people in this documentary do what they love never gets boring, and there are some almost mesmerizing sequences throughout the film that will make the most stubborn cynic of fine dining fall in love with the craft briefly. At the age of 93, Wiseman has made a movie that is mature yet energetic, and it’s a testament to his abilities as a filmmaker that a movie this strong feels almost effortless on his end. Menus – Plaisirs — Les Troisgros is in theaters November 22. Rating: 4/5 |
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