Review by Sean Boelman Disturbing the Peace, directed by York Alec Shackleton, is a new action-thriller starring Guy Pearce (Memento) and Devon Sawa (Final Destination). Yet despite the best efforts of both charismatic stars, the film is rather frustrating due to an uninspired and generic script and bland direction. The movie follows a marshall and an outlaw biker gang leader as they go to battle in a small town when the latter attempts a heist in broad daylight with brutal consequences. Although there are some added flourishes like the heist and internal crisis subplots, the main conflict in this film is little more than an old-school stand-off, and that is admittedly pretty anticlimactic. Even though the runtime is right under an hour and a half (excluding credits), the movie drags significantly, often feeling like there isn’t enough happening to give the film a significant narrative momentum. A few bursts of excitement here and there don’t compensate for an otherwise shallow and insubstantial story. Perhaps the most disappointing thing about the movie is that it doesn’t feature any particularly memorable action sequences. Apart from one or two high-intensity explosions, there isn’t much in the action that will cause much of an adrenaline rush. Much of the film is comprised of the two characters making threats and trying to outsmart each other, and after a while, it starts to feel confoundingly repetitive. Unfortunately, the execution of the movie does it no favors. The cinematography comes across as very cheap and amateurish. It almost feels like the filmmakers were trying to get the job done as quickly and cheaply as possible. Shackleton brings little to no style to the movie, and as such, the result feels painfully industrial at times.
The character development in the film is also very lackluster. The character arc for the protagonist, a noble but traumatized former gunslinger, is completely archetypal. There is very little depth or emotional impact to be found in this underwhelming and generic tale. The movie’s antagonist is similarly cartoonish. That said, the actors do their best to breathe some life into the script, but not even this can help the film be enjoyable. Pearce and Sawa have solid chemistry together and nail the tension resulting from the antagonism, but the script gives them little else with which they can work. Additionally, the supporting cast is entirely forgettable. There are a few moments in Disturbing the Peace that suggest something better could have come out of this script at the hands of a more talented filmmaker, but more often than not, the movie feels like a waste of its talented stars. Pearce and Sawa deserve better than this. Disturbing the Peace hits theaters and VOD on January 17. Rating: 1.5/5
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Review by Sean Boelman Twenty-five years since the original film and seventeen years after its sequel, Bad Boys for Life reunites stars Will Smith and Martin Lawrence for more action-packed hijinks in the streets of Miami. However, without notorious filmmaker Michael Bay at the helm, this new entry is much more stylish, and as a result, even more entertaining. The movie follows Miami PD Detectives Mike Lowery and Marcus Burnett as they go on a hunt for a killer connected to Lowery’s past. This story is admittedly conventional and by-the-book, ultimately holding very few surprises no matter how twisty it seems to think it is, but as a tongue-in-cheek parody of the procedural genre by which it is so obviously inspired, the film succeeds on a grand level. Even more so than the first two films, this movie emphasizes the comedic elements of the script, cashing in on the excellent chemistry between Smith and Lawrence. Although some jokes are nostalgia-fueled re-hashes of previous gags, like an intimate conversation between the two stars being made unintentionally public, there are plenty of witty one-liners and slapstick gags throughout. (And as an added bonus, the film isn’t as passive-aggressively racist as Bad Boys II.) Also impressive is that the movie plays into the characters a lot better than the previous two films. The characters’ arc in this movie feels like less of an afterthought, as the whole film revolves around Lowery and Burnett as they come to the realization that the ways of the Bad Boys are going out of style. (But naturally there’s still plenty of room for some old-school a*s-whooping.) Of course, Smith and Lawrence are great as always, and this script allows them to bounce off of each other constantly. Both look like they are enjoying themselves immensely, and that helps make the movie much more enjoyable. The new additions to the cast, Paola Nuñez, Vannessa Hudgens, Alexander Ludwig, and Charles Melton as a new high-tech unit in the Miami PD, are all entertaining and provide for some comedic moments. Kate del Castillo is also perfectly cast as the antagonist.
Perhaps the greatest improvement in this film over its predecessors is that it features higher quality action. Although Bayhem does have its particular charms, it often feels like an assault on the senses. Directors Adil El Arabi and Bilali Fallah make the action sequences feel a lot more well-planned and sleek as opposed to Bay’s randomly blowing things up, and the result is a handful of setpieces that are truly memorable. The cinematography by Robrecht Heyvaert is undeniably kinetic and lends a lot of energy to the action sequences. The use of color in the movie is also quite interesting, giving the film a much more modern feel. And as expected from the series, the movie features a killer soundtrack with tunes both new and old to underscore the action. Both the most well-made and most entertaining entry into the series, Bad Boys for Life shows that this series is still very much alive. Hopefully it won’t take another seventeen years for Lowery and Burnett to have another adventure, but it seems like that wait allowed the script to get to its best possible form. Bad Boys for Life opens in theaters on January 17. Rating: 4/5 Review by Sean Boelman Having faced a supposedly troubled production and numerous delays, Dolittle is finally hitting theaters as the first starring vehicle for actor Robert Downey Jr. Yet despite the odds, this manages to be a charming, albeit slightly uneven, family adventure that is sure to entertain kids of all ages. Inspired by the children’s book series, the film tells the story of a physician who can speak to animals as he sets out on a journey to find a fabled cure to save the Queen of England. For the most part, the movie follows a relatively archetypal arc, but thanks to the energy of the narrative and the dynamic of the cast, the film manages to work nevertheless. Admittedly, the thing that is missing from this movie is excitement. As opposed to the last attempt to bring the character to the big screen, this is not a straight comedy, but rather, an action film with comedic elements. The movie takes the form of a series of encounters that Dolittle and his animal sidekicks have on their way to their objective, which is really just a glorified macguffin. It is the humor of the film that keeps it alive, and there are some very funny moments sprinkled throughout the runtime. Although some of the jokes fall flat, most of which aim for scatological humor or other lowbrow forms of comedy, there is some legitimately clever dialogue. The best moments in the movie exploit the natural charisma of Downey Jr. or the comedic timing of the voice actors. Downey Jr. is able to command the screen in his role, although one can’t help but feel like he plays it a bit too similarly to his portrayal of a certain master sleuth. Even the accent (which is a bit distracting at first) feels like a shadow of what he has done before. The voice cast is filled with some enormously talented folks, although there are so many big names that not all of them are used to their full potential. Some, such as Kumail Nanjiani, Craig Robinson, and Octavia Spencer, are often hilarious, but others, like John Cena, Rami Malek, and Tom Holland, aren’t given enough to do.
That said, another noticeable issue with the film is its lack of character development. Although the eponymous hero does have an arc, that arc is extremely conventional and superficial. Perhaps the most questionable thing about the script, though, is its inclusion of a second protagonist, a young boy who wishes to become Dolittle’s apprentice. This overused trope brings down the movie, especially since the character is so underdeveloped (though child actor Harry Collett does a good enough job). On a technical level, the film is nowhere near as big of a mess as one would expect given the fact that it went through significant reshoots. The movie is heavily reliant on CGI to bring its anthropomorphic characters to life, and for the most part, the blending of the live action footage with this is relatively seamless, the most impressive thing about the film is Downey Jr.’s ability to act without an on-screen scene partner. Dolittle may not be the home run that Downey Jr. and crew thought it would be to kick-off his post-Marvel career, but it is a surprisingly entertaining family flick. But if it weren’t for the screen presence of its star, this movie likely would have fallen to pieces. Dolittle opens in theaters on January 17. Rating: 3.5/5 Review by Sean Boelman Weathering with You — the newest film from highly-acclaimed anime director Makoto Shinkai (Your Name.) — is the type of gorgeously poetic movie that doesn’t come along often enough. Featuring some wonderful animation and one of the most effectively heartbreaking scripts in a long time, Shinkai’s film will almost certainly win over the hearts of viewers. The movie follows a high-school runaway who flees to Tokyo, befriending a girl with the power to manipulate the weather. Like many of the best anime films, this story is surreal and whimsical, but heavily rooted in real emotions. At the core of the movie is a clear coming-of-age arc, and while the fantasy elements may draw more immediate attention, it is the growth of the characters that will stick with viewers long after the credits roll. The first act of the film is undeniably the weakest, as it introduces the audience to the characters and the world of the movie. However, in the second and third acts, it becomes clear that this film is about more than just a runaway and the manic pixie dream girl who gives him a new outlook on life — it is a movie about two people growing through each other. Over the course of the film, Shinkai addresses some of the most common themes of the coming-of-age genre, albeit with an empathy and honesty that makes it stand out. The romantic subplot here feels much more natural here than it does in most anime movies thanks to the nuanced way in which Shinkai develops the characters. This film’s biggest strength is that it fully develops both sides of the relationship on an individual level as well as together. Admittedly, some sequences in the movie do resort to what could be seen as tear-jerking, but the film nonetheless strikes an emotional chord. The movie will likely resonate with audiences of all ages because the ideas being explored in the film are truly timeless and universal. Everyone has to grow up, and the strongest moments in the movie play into this.
However, the film is also very much a story for today. Shinkai has included some not-too-subtle environmentalist messaging, and for the most part, it works extremely well. This commentary, which spells doom for the world if human actions continue as they are now, helps make the movie even more heartbreaking. Not only will viewers be sad about these characters and their situation — they will also be sad about the state of the world. As one would expect, the film is gorgeous on a visual level. Shinkai’s ability to build the movie’s world is awe-inspiring. The amount of creativity and hard work on display is shocking and breathtaking. Additionally, the film features a soundtrack with plenty of well-written and catchy music, as is typical of Japanese animation. Weathering with You is one of the finest animated movies to come out of Japan in a long while, and perhaps even the world. While he isn’t particularly subtle with what he has to say, Makoto Shinkai has made a film that is both beautiful and touching. Weathering with You plays in theaters via Fathom Events on January 15 and 16 before opening on January 17. Rating: 5/5 S1E10: "Act Two"Review by Camden Ferrell After a long journey with our characters, "Act Two" ends the first (but not last) season of High School Musical: The Musical – The Series. This episode resolves and ties up all of the loose ends from the previous and delivers a satisfying conclusion to the story thus far.
This episode follows the second act of the group’s production and deals with Ricky’s decision to concede his role to EJ so Nini has can give a better performance for the dean of the school to which she’s trying to gain admittance. We also get some tender moments between Ricky and his mother that aims for catharsis and almost gets there. There are also some great character moments that fans have been waiting for all season, and it’s definitely worth the wait. Most plot lines are resolved fairly quick in the episode. It spends the latter half of the episode setting up conflict and hinting at future developments for the next season. The first season finale is satisfying, and it’s adorable. It does its job of giving fans closure over pressing matters while also looking towards the future. Until season two starts, it has been lots of fun. High School Musical: The Musical – The Series is currently streaming on Disney+. Rating: 3.5/5 Review by Sean Boelman The directorial debut of psychoanalyst-turned-filmmaker Ofra Bloch, Afterward is a new documentary exploring the Holocaust and the psychological impact it had on its victims and future generations. Thanks to Bloch’s intriguing perspective, the film manages to stand out among the many documentaries that cover this topic. In the movie, Bloch sets out to understand the trauma that the Jewish face in the wake of the Holocaust and the formation of Israel. Although the issues which the film addresses — anti-Semitism and the Israel-Palestine conflict — are among the most pressing of this and the last century, one can’t help but feel like Bloch bites off a bit too much to chew. While both sections of the movie offer some interesting commentary on the consequences of major conflicts such as the ones being discussed, the film likely would have been much better off had Bloch only explored the Holocaust. Even though Bloch does a solid job of tying her two theses together, she also limits the scope of her argument as a result. Ultimately, the movie is about compassion and growth. Because of Bloch’s background, she presents her ideas from as neutral of a perspective as possible (although bias is inevitable given the fact that the film is talking about Nazis). Over the course of the movie, the audience gets to see both Bloch and the people she interviews learning about and understanding the other side with more empathy. Obviously, Bloch has a great deal of time and passion invested in the project, and as such, she makes a very compelling subject. Films featuring the documentarian as the main focus don’t always work, but since this is effectively a method of presenting the research that she has conducted, it plays out in a more naturalistic way than usual.
For a first-time filmmaker, Bloch has a surprising command of the craft, communicating her information in a way that is both competent and entertaining. Similar documentaries often have a hard time feeling accessible to a wide audience, as viewers get bogged down by an excess of information, but Bloch’s methods are effectively concise. If the movie does have a significant shortcoming, it is that Bloch isn’t able to make the film have the emotional impact or urgency that it should. By approaching the narrative with such a personal viewpoint, Bloch’s movie feels extremely authentic, but it also loses the sense of necessity for people outside of the sector which she is directly addressing. Afterward explores a very important topic from a unique stance, and as a result, it is able to add some interesting ideas to the conversation. Though viewers are seemingly inundated with Holocaust documentaries, they should make time for this one. Afterward is now playing in theaters and hits VOD on January 28. Rating: 3.5/5 Review by Dan Skip Allen Courtroom dramas are one of the better genres of movies. Each year a few courtroom dramas come out, but 2019 has had its fair share of them. These films tend to pull on the heartstrings of those watching them. Just Mercy is no different. However, it does have a little more going for it than most films of the genre: a personal story that comes to the forefront. Bryan Stevenson (Michael B Jordan) is a young upstart lawyer who just finished law school. He's looking to make a difference, so he moves to Alabama to start the Equal Justice Initiative, where he tries to get death row inmates off of death row. One of them is Walter McMillan (Jamie Foxx), a man who was convicted of murdering an 18 year old girl. He gets an eye opening experience once he gets to work. Like most courtroom dramas, Just Mercy has its fair share of shady characters and malfeasance. These characters help move the story along but not fast enough. This film has a slow period in the middle. It takes a little longer to get to the crux of the story, that of Walter McMillan. The film tries to deal with both his story and Stevenson's story equally, but one doesn't work without the other. That said, Destin Daniel Cretton, the director and co-writer, balances them perfectly once the film finally focuses itself. Cretton is known for Short Term 12 (his breakout film) and The Glass Castle. Both films he worked with Brie Larson, and they work together once again in Just Mercy. Ava Ansley (Brie Larson) is a law clerk working for Stevenson. Cretton surrounds Stevenson with good supporting characters that help round out the film, including Ansley and her family. They help define the world and time this film takes place in.
As far as Michael B. Jordan, this isn't the best film for his talents. I think the more action films are better suited for his abilities. He is just not that believable as this lawyer who is fighting for death row inmates. He really is a good actor but maybe this wasn't the best role for him. Jamie Foxx is another story. He seemed right at home portraying this man knocked down by society. He is very believable as a man beaten down by the system. That's why Foxx is garnering awards consideration for his performance. Just Mercy hinges on the performances. Most of them work in the film. As an overall film experience its a satisfactory film. The emotional scenes work very well. Cretton has done a good job transitioning from his other films but also kept his style and dramatic flair. Just Mercy is now playing in theaters. Rating: 4/5 Review by Dan Skip Allen Kristen Stewart has come a long way since her days of the Twilight Franchise. She's been shoehorned in as Bella Swan her whole career, but she has actually had a very eclectic career, choosing mostly very interesting roles. She has done a lot of great things like working with Olivier Assayas on both Personal Shopper and Clouds of Sils Maria or The Runaways where she portrayed Joan Jett. These films have proven she has range as actress, but horror movies haven't been her thing. She chose well with testing the waters in Underwater, proving that she can be a leading lady. In this occasion, Stewart portrays Norah, a deep sea researcher who has to survive a devastating earthquake to her subterranean laboratory. She and her crew might be facing more than they think. The rest of the crew is rounded out by some TV and movie veterans. These actors fit well into their roles in this film and worked very well together. Vincent Cassel is the Captain, TJ Miller is the comedic relief, Jessica Henwick portrays Emily and John Gallagher Jr. portrays Smith, who are a couple. Mamoudou Athie also co-stars. Horror movies usually try to use jump scares to frighten the audience. Underwater succeeds in that regard. The water is dark and you can't see things coming so that makes for scare factors. That aspect of the film was very effective. The characters couldn't see around them even though they had lights so the viewer couldn't either until the last second. Previous water horror movies like Jaws used the unknown as a great equalizer and it works to great effect in Underwater as well. William Eubank, the director, really knew how to use the environment to its full potential.
Underwater was a suspenseful, emotional thrill ride from the very first moment the film started. Once that earthquake started, this film was in full gear. Despite not getting a lot of back story from the main characters, this film was very exciting and entertaining from the start. It was only 95 minutes long, a perfect time span to tell this story. People aren't looking for slow moments in horror movies, they are looking to get scared and Eubank does that to his fullest with this film. Also a very intense score by Marco Belltrami helped intensify the scary moments. This film is worth going Underwater! Underwater is now playing in theaters. Rating: 4/5 Review by Sean Boelman Speed of Life, the second feature film from writer-director Liz Manashil, is a quirky new indie rom-com that blends genres in a refreshingly seamless way. Witty, insightful, and featuring an ingenious and thoroughly creative concept, this ends up being one of the first big surprises of the new decade. The movie tells the story of a couple who are torn apart by a wormhole upon the death of David Bowie, only to be reunited twenty-four years later when one suddenly appears unchanged since their disappearance in 2016. Even though this plot is confoundingly difficult to describe on paper in a way that makes it sound remotely reasonable, it works shockingly well in practice thanks to the nuance Manashil brings to the script. While a lot of suspension of disbelief is required in the premise of David Bowie’s death causing a rift to open in the universe, the film is otherwise relatively grounded for a sci-fi movie. The portion of the film set in 2040 presents a vision of the future which, while organized differently than current society, isn’t unrealistic and is based in trends that can be observed in the way the modern world functions currently. The film also does a very good job of building its world on a visual level. Despite the movie’s low budget nature, Manashil is able to create a futuristic feeling in the movie with the use of a few props, sleek composition, and a changing aspect ratio. The visual effects, when used sparingly, are surprisingly strong, and the set design is minimalistic but effective. Apart from the more obvious messaging about true love, the film also offers an interesting exploration of the way in which society approaches the elderly. The second act of the movie plays out in a very satirical way, featuring an over-the-top dystopia that abandons the elderly the moment at which they are perceived to be less productive.
A significant part of what makes this film work so well is its excellent character development. The first fifteen minutes of the movie allow the viewer to buy into the characters lives before the film takes its more extreme turn. Because of this legitimate connection that they will form with the characters, the audience will more willingly suspend their disbelief regarding the genre-driven elements of the movie. The acting in the film is also quite good. Character actress Ann Dowd gives a phenomenal lead performance in the movie as the heartbroken soul holding out hope for her long lost love. Her performance has so much humanity and emotion that one can’t help but pity her. Ray Santiago and Allison Tolman are the main supporting players, and they are both very funny in their roles. Speed of Life is an ambitious indie film that really shouldn’t have worked, but it is ridiculously charming nonetheless. Inspired by the spirit and work of David Bowie, filmmaker Manashil had her eyes on the stars, and it paid off. Speed of Life hits VOD on January 10. Rating: 4/5 Review by Sean Boelman The Sonata, co-written and directed by Andrew Desmond, is a new horror-thriller serving as one of the final appearances of the late actor Rutger Hauer (Blade Runner). Thanks to an intriguing and well-paced first hour, the film is mostly entertaining and suspenseful despite falling off significantly in the final act. The movie follows a young violinist who begins to explore her long lost father’s past after his death, causing her to dive into a world of darkness unlike anything she has seen before. For much of the first two acts, the film plays out like a mystery with some intriguing supernatural elements. This part of the movie is refreshingly old-school, building tension gradually and naturally. Part of what makes this portion of the film so effective is that the script builds the mythology of the movie’s world in a very compelling way. Much like the protagonist, the viewer is drawn into this dark and alluring world over the course of the film. Desmond is obviously very gifted at creating an atmosphere that drives a movie, so much so that it compensates for some of the film’s other narrative weaknesses. That said, the final act of the movie does devolve into a much more by-the-book B-horror flick, and the result is particularly disappointing given the strength of what precedes it. The careful plotting and methodical building of suspense is abandoned in favor of basic jump scares and cheap-looking CGI. Even more frustrating, though, is the rushed nature of the final act and the jarringly sudden end to which the film comes. The character development in the movie is mostly effective, as the protagonist has some interesting subplots. Although the character’s struggles with her identity and her father’s legacy take a back seat to some of the more horror-centric elements of the film, their inclusion is thought-provoking enough to set this movie apart from most films of the genre.
Much of the movie is carried on the shoulders of lead actress Freya Tingley, and she does a very good job of making her role feel naturalistic. Unlike many B-horror films which feature a helpless protagonist, the hero of this movie has much more strength. Rutger Hauer’s turn in the film is also very enjoyable to watch, although one almost wishes he had been in the movie more. On a technical level, the film is actually quite strong. For the most part, the movie is heavily stylized visually, helping it stand out from many other low-budget horror flicks. The soundtrack is also quite good, though given the role which music plays in the narrative, nothing less would be expected. That said, this upscale elegance goes out the window by the end. Though it starts off much stronger than it ends, The Sonata is a mostly compelling horror-thriller thanks to the ambition of director Andrew Desmond. It will be exciting to see what Desmond is able to do when he is given a larger budget with which to work. The Sonata hits theaters and VOD on January 10. Rating: 3.5/5 |
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