Review by Sean Boelman The latest film from writer-director Jon Avnet (whose most famous work is Southern cult classic Fried Green Tomatoes), Three Christs is a star-studded new drama based on an exceptional true story. However, through all the attempts to shallowly inspire is a disappointingly formulaic narrative that fails to take advantage of its excellent cast. The movie tells the story of a psychiatrist who revolutionized the field of psychiatric medicine, studying three schizophrenic patients who believe that they are Jesus Christ. There are many different angles through which Avnet and co-writer Eric Nazarian could have approached this story, and they took what is perhaps the most conventional. That said, even though the film leans heavily into the more saccharine aspects of the story, it doesn’t ever quite figure out its tone. While the movie is first and foremost a portrait of a man sticking it to the system and practices which he does not believe in, there is also a comedic tinge to the story. At times, it is obvious that the viewer is supposed to laugh at what they are seeing, but schizophrenia is by no means a humorous condition. It is obvious that the main intention of this film is to preach the empathy and compassion for which the protagonist stood up in his career, but the fact that the movie approaches this story from a comic perspective makes the film feel much less compassionate than it otherwise would be. Thankfully, the second half of the movie does adopt a much more somber tone, but this is too little too late, as the beginning will have already alienated most viewers. Another thing about this film that is frustrating is its overwhelming lack of character development. Although the audience is meant to admire the protagonist for his moral principles, there isn’t much else about him that is particularly likable. Over the course of the movie, very little is done to form a connection between the hero and the viewer. Even more aggravating is the surface-level treatment afforded to his patients, who are little more than caricatures.
The cast in the film is extremely talented, and they do a great job of bringing the characters to life as written, but the weak script is what holds them back. Richard Gere has a very compelling screen presence, and he brings that to this movie. Yet with a more likably-written character, his talents could have been used more effectively. Peter Dinklage, Walton Goggins, and Bradley Whitford are all solid in their roles as his patients, but their turns are the very definition of one-note. On a technical level, the film is certainly competent, but one can’t help but feel like the style is that of something that would have been released twenty years ago. The cinematography, editing, and soundtrack are all very by-the-book for the genre. With a story as potentially eye-opening as this, Avnet should have made the movie feel less safe. The true story behind Three Christs is very interesting, but apart from some inspired casting, the film has disappointingly little to offer. If the tone had been more consistent and the director a bit more ambitious, this could have been easy awards fodder. As is, it’s just a dud. Three Christs hits theaters and VOD on January 10. Rating: 2.5/5
0 Comments
Review by Sean Boelman Inherit the Viper, directed by Anthony Jerjen, is a new crime drama film set in the midst of the opioid epidemic. However, despite an intriguing premise and a talented cast, the script is too underdeveloped and the direction is too uninspired for the movie to be as compelling or substantial as it could have been. The film tells the story of three siblings who make a living as opioid dealers, all the while trying to avoid the violent conflict that defines the profession. More often than not, the movie is painfully unoriginal, feeling like little more than a conglomeration of tropes of better films that came before. Although there are moments of brilliance sprinkled throughout the script, these are too few and far between to be of much help to the overall narrative. Perhaps the most shocking thing about the movie is that it clocks in at less than an hour and thirty minutes, yet it feels much longer. Even though a lot of things do happen in the film, these very rarely serve the narrative in a way that is particularly substantial. Not even high-stakes gunfights can make this movie feel any more exciting than it is. The character development in the film is also very lackluster. Something that could have helped the movie become much more effective is further development of the sibling relationship that serves as the film’s emotional crux. Even though this is by far the most compelling aspect of the script, writer Andrew Crabtree doesn’t seem to realize that, and as a result, the movie never reaches its full potential. Hints of substance can be seen throughout the script with a message about the opioid crisis and its effects on middle-and-lower-class America, yet this doesn’t come through in a script that seems too tied up in paying homage to its genre roots. Had the film cut some of the needless wandering in the first act, extra time could have been spent exploring these themes and the movie could have been much more intriguing.
The cast that was assembled for the film is admittedly very strong, although they aren’t used to their full potential. The only performer who feels appropriately used is Margarita Levieva, who gives an admirably ferocious turn as one of the three siblings. Josh Harnett and Owen Teague round out the trio, but are disappointingly forgettable. Even the magnificent Bruce Dern in a supporting role can’t save this dull movie. Stylistically, the film has a look for which it was aiming, and it achieves it for the most part, but it does the script no favors. By giving the movie a dark and gloomy setting, Jerjen seems to want to emphasize the grittiness of the tale and bring to mind the classics, but unfortunately, this more often than not results in the film feeling grey and gloomy. Though there are a lot of things working in the favor of Inherit the Viper, these factors never come together into a story that is particularly satisfying. It feels obvious that everyone involved thinks they are part of something greater, but in reality, it’s just a subpar and generic thriller. Inherit the Viper hits theaters and VOD on January 10. Rating: 2/5 Review by Sean Boelman Underwater, directed by William Eubank (The Signal), is a new sci-fi creature feature owing a lot to the greats of the genre. More often than not, the film feels derivative of other better movies that came before it, but despite being safe and by-the-book, it manages to be a surprisingly watchable popcorn flick. The film follows the crew of an underwater rig as they are forced out into the open in search of safety after their lab is destroyed in an earthquake, only to discover that the tremor may have released a dangerous threat. The movie plays out like any other monster movie, but is particularly reminiscent of the classic Alien, to which direct homage is even given in one sequence. However, the biggest issue with this film is that it doesn’t build its world well enough. Although companies and vessel names are name-dropped (one almost expects Weyland-Yutani to be mentioned, but it isn’t), the movie’s world feels painfully generic. In a film where suspension of disbelief is already required with giant sea monsters, why not give the viewer a greater sense of escapism by allowing them to feel immersed in the movie. The film gets off to a quick start, with only one brief scene before the audience is thrown into the action. Even when there are no monsters involved, the movie manages to feel tense thanks to the overwhelming sense of claustrophobia that dominates the film and its production design. As a result, the movie is able to feel suspenseful despite its predictability. That said, this comes at the expense of strong character development. Since there is no time to introduce the audience to the characters, their personalities must be built in a different way, and not all of them come through. Particularly frustrating is the fact that the hero, played by Kristen Stewart, is the most generic character in the bunch. Unfortunately, she comes across as little more than a Ripley wannabe.
Stewart is charismatic enough to lead the film, but after having made some excellent turns in some indie pictures, one can’t help but feel like she is above this. The supporting cast also features some notable faces, like Vincent Cassel, John Gallagher, Jr., and T.J. Miller, all of whom do a good enough job (though the latter’s participation is likely part of what caused the movie to sit on the shelf for a while). Visually, the film is a bit uneven, but it is much better than typical for a January release. The kineticism of the cinematography can become a bit overwhelming at times, but there are some truly gorgeous shots to be found in the movie every once in a while. It just would have been nice if they were more consistent. The CGI is also pretty impressive, even though the creature design could have been more memorable. As a January sci-fi action-horror flick, Underwater is particularly serviceable. At only an hour and a half long, the film is pretty diverting and even has a few moments that are somewhat exciting. Just don’t expect this to be anything more than a bit of mindless fun, and it will be a mostly pleasant experience. Underwater opens in theaters on January 10. Rating: 2.5/5 Review by Sean Boelman Like a Boss, directed by Miguel Arteta (Beatriz at Dinner), is a new raunchy comedy banking on its high-profile stars and lack of competition in the typically weak January marketplace. However, despite the comedically gifted performers in front of the camera, the script is so uninspired that the film becomes painfully unenjoyable. The movie follows two best friends who own a cosmetic company as they are purchased by one of the biggest brands in the industry, causing a rift to form in their relationship. Unfortunately, as is the case with so many studio comedies, the entire plot of the film was revealed by the trailers (along with many of the jokes), causing the movie to be thoroughly and exhaustingly predictable. Perhaps the most shocking thing about the film is that its runtime is ridiculously short. Before credits, the movie is less than an hour and twenty minutes long, and because of this, the film feels completely rushed. The main emotional arc of the movie doesn’t kick in until the second half, and by that point, there isn’t enough time left in the film for this to feel any less than forced and unnatural. In terms of character development, the movie is extremely lackluster. Although there are certainly some moments in which it is easy to sympathize with their journeys, their change over the course of the film is minimal and ultimately inconsequential. The movie obviously has something to say about the importance of friendship, but the fact that the characters aren’t particularly compelling causes this message to feel overly sentimental for no apparent reason. That said, the film’s short length is also an advantage, because that means that viewers need not suffer for longer than necessary in this unfunny mess of a movie. The jokes come fast in the first half, but they aim mostly for the lowest of lowbrow humor. On the other hand, the second and third acts have jokes that are more spread out as the film panics to complete the obligatory narrative arc.
Visually, the movie falls into the same category as many studio comedies that come out today: a camera is pointed at the actors, and the bare minimum is done in order to capture the jokes. However, with the script being so lackluster, some stylistic flair could have gone a long way in making the film more appealing. Instead, audiences are given familiar and bland visuals and needle drops that are on-the-nose to the point of being cringe-worthy. The thing about this movie that is so disappointing is that the cast assembled for the film is legitimately talented. The two leads, Rose Byrne and Tiffany Haddish, have believable chemistry together. Salma Hayek is an entertaining (albeit over-the-top) antagonist. The supporting players, including Billy Porter, Karan Soni, and Jennifer Coolidge, are all charming. Yet with the weak script, they are given nothing to do in the movie that is worth their efforts. With so many talented comedians in the cast, Like a Boss should’ve been a hit, or at the very least entertaining. However, because the script is so aggravatingly mindless, this manages to be a frustrating and joyless time at the theater. Like a Boss opens in theaters on January 10. Rating: 1/5 Review by Sean Boelman Just Mercy, the newest film from filmmaker Destin Daniel Cretton (Short Term 12, The Glass Castle), is an inspirational legal drama based on the true story of attorney and activist Bryan Stevenson. Even though it ultimately feels a bit too heavy-handed at times, the story is moving and the cast is excellent, allowing the movie to be very memorable. The film tells the story of Stevenson, an attorney who formed a foundation trying to free wrongly-convicted prisoners who have been sentenced to death. This true story lends itself to a riveting legal drama arc, and while it does become a bit too conventional at times, this is very much an old-school crowd-pleaser. An air of familiarity radiates throughout this tale, but it is successful nonetheless. It is on a thematic level that the movie needed some additional development. Of course, there is the main commentary on justice and truth, and that is effective, if on-the-nose. However, the subplots in the film aren’t explored with enough depth to warrant their inclusion. Stories about Stevenson’s other clients feel like afterthoughts, but even more disappointing is the fact that the movie doesn’t do justice to the elements of racism that are obvious in the narrative. The character development in the film as a whole is solid, as the protagonist and his main client are both very well-written and sympathetic characters, but a lot of the supporting characters provide little more than background noise. It’s a shame that these characters weren’t fleshed out with a bit more detail, because the strongest and most impactful sequences of the movie feature characters outside of the main duo. In many parts, the film lands on an emotional level because it appeals to the basic humanity of the viewer. It’s hard not to feel pity for someone in the situation of Walter “Johnny D.” McMillan, who is convicted of a crime he did not commit. Granted, the movie does lean a bit too heavily on the tear-jerking moments at times, almost to the point of feeling saccharine, but Cretton manages to tread on that line without ever crossing it.
As a whole, the ensemble of the film is quite talented, although Jamie Foxx (as McMillan) is the absolute standout of the cast. Michael B. Jordan gives a solid turn as the lawyer, Brie Larson is enjoyable if underwhelming as his business partner, and Rafe Spall gives a formidable show as the DA fighting against the heroes, but it is Foxx’s inspired performance that works the best. The empathy and humanity he brings to the character is shocking, making this his finest work since Ray. Visually, the movie could have been a bit more ambitious than it is, but the editing and cinematography are sufficient to build suspense in the courtroom scenes. The most frustrating thing about the film’s execution is that the periodization is weak. Although some of the work with the props and costuming is solid, the time in which the movie is set is not established clearly enough by the visuals. While it is obviously awards bait, Just Mercy is nonetheless a mostly effective and inspiring legal drama thanks to great performances from its cast. Destin Daniel Cretton could have done a bit more to give this film a more stylish edge, but it will please audiences as is just fine. Just Mercy is now playing in theaters. Rating: 4/5 Review by Sean Boelman Primal, directed by Nick Powell and written by Richard Leder, is the latest straight-to-video action flick to feature cult favorite actor Nicolas Cage in an over-the-top role. Absolutely ridiculous and unfathomably dumb, but undeniably entertaining, this is exactly the type of B-movie in which fans clamor to see Cage star. In the film, Cage plays a wildlife catcher in possession of a rare white jaguar when an assassin being transported on the same boat breaks loose and frees the collection of animals, wreaking havoc on the ship and its passengers. If that sounds like a total mess, that’s because it is. Yet there is something charming about watching Cage fight a highly skilled assassin and dealing with dangerous animals that allows this to be mindless fun. Perhaps the biggest issue with this movie is that there are too many different storylines going on. In addition to the story involving Cage’s character and the story about the assassin, there is a menagerie of other subplots that are ultimately little more than contrived excuses to force more action sequences into the film. Another issue with the movie is that the character development is lackluster. Although Cage’s character does have an arc, it is not subtle or gradual at all. Instead, a switch seemingly flips in the character’s head at some point in the film that causes him to change drastically. Granted, not much can be expected in terms of legitimate substance from a B-movie like this, but it is particularly noticeable here. As expected, Cage absolutely chews the scenery in this movie. He’s over-the-top in a way that only he could be, and as a result, the film is thoroughly enjoyable to watch for the entirety of its hour-and-a-half-plus runtime. Admittedly, the performance is nearly identical to any he has given in similar genre movies, but it fits quite well here.
The action in the film is pretty entertaining as well, but there are a lot of obvious flaws in it. The fight sequences are choreographed, shot, and edited in a way that makes it clear when the real actors are involved or if doubles are being used. Additionally, with the animals storyline, some attempts are made at trying to take the movie in the horror route, and they never really work. On a technical level, the film is about what one would expect from a B-movie action-thriller. The cinematography is messy, the CGI looks cheap, and the editing is frequently choppy. That said, the most frustrating thing about the movie is the lack of spatial geography. Although the production design is solid (and sometimes excellent), there is no sense of continuity to allow viewers to find their place within the setting. Primal is by no means a great film, but in terms of Nicolas Cage-starring popcorn flicks made for home consumption, it’s on the more enjoyable end. Viewers who can turn off their brains and move past the ridiculousness are sure to have a fun time. Primal is now available on VOD. Rating: 3/5 Review by Sean Boelman Mystify: Michael Hutchence, directed by Richard Lowenstein, is a new music documentary about the eponymous frontman of iconic rock group INXS. Although the film is ultimately quite conventional, Hutchence’s story is interesting and Lowenstein’s approach to it is unique enough to make this a must-see for fans of the musician. The movie explores Hutchence’s life and career from his rise to fame with INXS to his unfortunate death in 1997. For a film coming out years after the passing of its subject, and without any special occasion commemorating its release (such as an anniversary of an important event in Hutchence’s life), the movie does a good job of making itself feel like more than a nostalgia-driven cash-grab. Instead, it’s a reflection on the ups and downs in the life of a troubled artist. Hutchence obviously has a large fanbase because of the popularity of the band which he fronted, and his story is one of the more well-known cautionary tales about the cost of fame. Lowenstein presents the musician in a way that does not idolize him, but portrays him as the flawed human he was, struggling with issues that many cope with on a daily basis. As a result, the film allows viewers, particularly fans, to feel closer to Hutchence than ever before. That said, the movie does fall victim at times to feeling a bit too sanitized. Even though Hutchence’s struggles with depression are presented in a very truthful and matter-of-fact way, these struggles don’t receive enough of the screen time. While it is nice to see these issues depicted on screen at all, one can’t help but feel like this story had the potential to be the vector to sway public opinion. The pacing of the film is admittedly a bit tedious at times because it does follow the formula of the traditional rock doc pretty closely, but ultimately, there are interesting segments spread throughout that will keep the audience’s interest. However, these more fascinating portions, such as an exploration of Hutchence’s image and how it affected his depression, are often glossed over in favor of the more well-known music industry elements.
Archive footage from INXS concerts are sprinkled throughout and will satisfy fans’ cravings to hear some of the band’s greatest hits, but these songs perhaps could have been used more effectively to back Hutchence’s story. Other soundtrack choices, such as the inclusion of a song by French musician Serge Gainsbourg, are entertaining but distract from the primary narrative. Lowenstein does a very good job of assembling the movie in a way that feels compelling and personal. Likely the most interesting decision that he makes is to use Hutchence’s own words from archive interviews to provide a narration, and this allows the audience to connect with the film on another level. Even though Hutchence is no longer alive, it is great to hear his story from his own mouth. While it is certainly conventional, Mystify: Michael Hutchence delivers a compelling rock doc that takes advantage of the tragic story of its subject. It isn’t the most uplifting of films, but the message this story holds is an important and timely one. Mystify: Michael Hutchence plays in theaters for one night only on January 7. Rating: 3.5/5 Review by Sean Boelman An attempt to bring back the early 2000’s cult classic J-horror from the dead, The Grudge is the first major release of 2020, and it kicks the new decade off with a whimper. Even though there are some extremely talented players behind and in front of the camera, it seems like studio interference keeps this film from being as chilling as its predecessors. The movie tells interconnected stories of people linked by a cursed house containing a vengeful spirit. The most significant issue with the film, and the root of many of the movie’s other problems, is the sheer amount of moving parts in the story. Whereas the other films have focused on one protagonist being haunted, there are multiple hauntings happening in this version. Although it isn’t inherently bad for a film to be multifaceted like this, the connection between the storylines is too loose, and the causality too unclear, for the movie to be particularly effective. The narrative is told in a nonlinear manner, and while it makes sense at first, the timeline becomes more and more confused as the film goes on until the jumping back and forth between storylines starts to feel exhausting. Since there are so many storylines in the movie, it is hard to really sympathize with any of the characters on a particularly deep level. The de facto protagonist, a detective trying to get over the grief of losing her husband, has the potential to be very interesting, but time is wasted on other inessential characters (like a realtor who doesn’t really have any impact on the main story) instead of exploring the more compelling aspects of her background. It really is a shame that the character development is so weak, as the film’s ensemble is full of excellent performers. Andrea Riseborough, Demián Bichir, John Cho, Betty Gilpin, Lin Shaye, and Jacki Weaver make up the main cast, but none of them are used to their full potential. When the delivery isn’t completely flat, the actors are far too over-the-top. However, it is worth noting that these frequently sudden shifts very well could be the result of terrible editing.
Another thing about this movie that is frustrating is that it feels completely empty and shallow. Whereas the original film (and the English remake) had something to say about revenge, this movie doesn’t seem to have anything on its mind. Perhaps the deeper meaning was lost on the cutting room floor — it frequently feels like important scenes are missing from the film — but as it plays, this is little more than a shallow horror flick dependent on bad jump scares. On a technical level, the movie also needed quite a bit of work. Although director Nicolas Pesce has a very definitive style, it only shines through in a handful of segments (such as the ending). This is what makes it abundantly clear that, somewhere along the line, Pesce lost complete creative control over the film and edits were made in an attempt to make the movie more accessible for general audiences. The result is a total mess that will be even harder for viewers to swallow. Apart from a handful of creepy images, The Grudge is completely lacking as a film. With a few exceptions, January is a notorious dumping ground for terrible horror movies, and while this will likely make some money due to lack of competition, it is an abomination indicative of the flaws of the modern studio system. The Grudge is now playing in theaters. Rating: 0.5/5 |
Archives
May 2024
Authors
All
|