Review by Dan Skip Allen
Books have been the inspiration of many movies in the past and will continue to be in the future. The Tiger Rising is a 2001 children's book written by Newbery Medal award-winning Author Cate DiCamillo. With a lot of popular books, Hollywood comes calling. They are always looking for the next best thing to turn into a film.
The film is about a 12-year-old boy (Christian Convoy) who finds a tiger caged up in the woods adjacent to the hotel he lives in with his father (Sam Trammell, The Fault in our Stars). He enlists the help of a feisty new girl in school (Madelen Mills) and the hotel maid (Queen Latifah). Along the way, he has an imagination that gets the best of him. Children's books can bring imagination and wonder to the readers. They bring kids to a place they don't get in their real lives at home. They have to do chores and be restricted by rules. The same goes for school. It's always do this and do that go here and go there at specific times. This film brings viewers into these kids' minds — what they are thinking and how their lives are so miserable in various ways. Finding this tiger in the woods makes their lives better in an inspiring way.
The director Ray Giarratana captures a whimsy in this film when these children are thinking about the things that matter to them, such as one of their mothers and the father of the other. Aspects of anger and artistic ability flow throughout the film to show what these new friends are thinking. They tend to think like kids. That is where the filmmakers get it right. They make mistakes and do things wrong. That's what kids do so it makes sense in the context of the film.
The film focuses on the kids and their discovery, but there has to be some star power to get patrons to go see this film. That's where Trammell, Queen Latifah, and the somewhat villainous Dennis Quaid come in. He owns the hotel and land where all the action takes place. He has some issues with Trammell's character and is a bit shady overall. He's not a mustache-twirling villain, but he's not a nice guy either. Quaid is always effective no matter what kind of roles he's playing. The Tiger Rising is a nice, sweet film with a good message. It has a tragedy within it that felt a little out of place considering the path that it was headed in. The acting is fine, not great. The filmmaking style is ok, but not anything to write home about. The kids are the best part of the film. Their relationship and growth are the real reason to see this film. Some books just don't make great films... they make okay films. The Tiger Rising hits theaters on January 21 and VOD on February 8. Rating: 3/5
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Review by Dan Skip Allen
Documentaries are a way into the lives and subject matters of the subject that is being depicted or the topic that is being discussed. Sometimes the subject or topic is that of someone or something we know about and other times it's not. Salt In My Soul is one of the latter. Mallory Smith is the subject of the film based on her diary, which, in turn, inspired the book of the same name.
Mallory Smith was diagnosed with cystic fibrosis as a three-year-old child. Her whole life she has dealt with hospital visits, medical treatments, and coughing fits. For all the fun she had doing hula dances, swimming in the ocean, playing volleyball or water polo, she also had times of difficult medical illnesses due to the B. cepacia. Despite her illness, she burned bright like a light at times in high school and college. She writes everything down in her diary though. Will Battersby, the director, and April Merl, the editor, take a pretty straightforward approach to this documentary. Like a lot of documentaries, there are a lot of talking heads. This film also has quite a bit of archival footage of Mallory growing up as a kid, playing in the ocean, playing athletic events, and living her life as a high school and college student. Some script-to-screen aspects are also littered throughout the film. That's another way for the viewer to get what the subject of the film is trying to express.
The film also uses Mallory Smith as the narrator of her life. Her voiceover of the film brings her story to the forefront much better, using various ways to express herself is a way for us to understand where she's coming from. It's a very effective way to help get this tragic story across to those watching the film. She really did live a whole life despite the illness of B. cepacia and the diagnosis of cystic fibrosis.
The film has a lot of dialogue about medical jargon, but it is broken up by the dialogue from excerpts of Mallory narrating her story. The talking heads of her fellow college students, doctors, and family members bring the story full circle. It's a life that any young woman could want. Even finding love and friendship was a solace to take her mind off of her fateful diagnosis. It was hard on everybody involved. I have a friend that was going through the same thing with his nephew. They, like all families, have taken it hard. These slices of life stories are very interesting because they tell good stories about good people. Mallory Smith's life was lived very well and the film depicts that very effectively. Even though it's pretty straightforward, it still hits home how this woman and her family have fought so hard. Many people have family members with illnesses such as this, so the film is very relatable on that level. She was dealt a pretty bad hand, but she made the most of the life she had while she had it. Salt in My Soul hits theaters on January 21 and VOD on January 25. Rating: 4/5
Review by Camden Ferrell
The Royal Treatment is a new romantic comedy and marks the first leading role for Mena Massoud since his breakout performance in 2019’s Aladdin. It is directed by television and film veteran Rick Jacobson and written by Holly Hester. This movie is harmless and short, but it is an incredibly cliché and derivative story of countless other films that already have more substance than this one.
Izzy is a young and morally driven young salon owner. She speaks out against minor injustices against common people while also being headstrong in her beliefs. One day while he is visiting town, a visiting Prince named Thomas by chance becomes acquainted with Izzy. This leads to the opportunity of a lifetime for Izzy and her stylist friends. They get the opportunity to do the hair and makeup for the royal wedding of Prince Thomas. However, in typical rom-com fashion, destiny has other plans. This set up is cheesy and intentionally so, but it still has the potential to deliver some heartfelt and funny moments. Unfortunately for the movie, it’s clear from the start that the movie is only interested in treading the same ground as most other romantic comedies. It features cliché jokes and moments that are more exhausting than anything. It doesn’t aim to do anything different with its plot or execution, and it’s utterly predictable to the point of boredom. However, I will concede that its messages of helping the less fortunate can be a positive influence on younger audiences who might watch the film due to its TV-PG rating.
The acting in this movie is average throughout. Laura Marano and Mena Massoud both lead the film as Izzy and Thomas. Marano is typically an above average actress, but her role in this movie seems uninspired, backed by an Italian accent that never sounds quite right. Massoud also lacks the charisma he usually has and doesn’t do much to make his scenes more enjoyable or comical. In addition to that, the supporting cast is entirely forgettable once the movie ends.
Its boilerplate execution continuously drags the film down, but there are films that are able to take cliché premises and turn them into something great. The problem is this movie has no interest in being the slightest bit subversive. Its jokes almost always miss, and there’s no personality in the cinematography, score, or execution. The Royal Treatment might be fun for genre enthusiasts or fans of the lead actors, but it’s a mostly hollow experience for most. It has a likeable pair of leads but never knows how to get good performances out of them to create a memorable and enjoyable romantic comedy. The Royal Treatment is streaming on Netflix January 20. Rating: 2/5
Review by Camden Ferrell
The Last Thing Mary Saw is a new horror film that had its premiere last year at the Fantasia International Film Festival. The movie is also the feature debut of writer and director Edoardo Vitaletti. The film is sufficiently atmospheric and has some well-composed shots, but as a whole it doesn’t always succeed in exploring its themes and maintaining audience interest through its slow pace.
In a small town of New York in 1843, Mary is being raised in a strict religious household. Her only moments of brief happiness are when she is with the family’s maid, Eleanor. She attempts to carry on this relationship surreptitiously, but we soon learn someone’s always watching and nothing is as it seems. This is a great premise that has the potential to make the most of its setting to convey its themes properly and eloquently. From the start, the film’s atmosphere immediately stands out as its defining trait. The movie is lit and shot very well, and it’s able to create a subtly sinister ambiance that heavily works in the film’s favor. This is one of the first major features on which David Kruta has served as cinematographer, but if there’s anyone to remember going forward, it’s him.
The acting is also mostly above average. The film is led by Stefanie Scott who is a strong actress and is mostly able to adopt this 19th century character well. Isabelle Fuhrman co-stars as Eleanor and while she doesn’t deliver a great performance by her own standards, it’s still mostly enjoyable and features good chemistry with Scott. Rory Culkin is also featured in this movie in a creepy turn as The Intruder, but it would have been nice to see more of him throughout.
The main flaw of the movie is its sluggish pace and execution. There are a lot of great ideas in its premise, but the script doesn’t explore the themes and implications as well as it could have. It has a lot to say, but much of it seems to get lost in translation. In addition to this, the film’s slow burn isn’t executed in a way that increases the suspense or intrigue of the feature and mostly succeeds in losing the viewer’s attention. The Last Thing Mary Saw has some great atmosphere and an interesting premise, but it fails to deliver any thrills or worthwhile messages. It has all the parts needed for a great movie, but unfortunately, it didn’t fully deliver on its premise. The Last Thing Mary Saw is streaming on Shudder January 20. Rating: 3/5 Review by Adam Donato From the director of xXx: Return of Xander Cage comes a period piece romance about a woman trying to escape her life of abuse and tragedy. Redeeming Love is based on a novel of the same name by Francine Rivers, a woman. The film is written and directed by D.J. Caruso, a man. The review could honestly end right there. Everything that happens in this movie is incredibly depressing and tragic. Even the parts that are supposed to feel good don’t feel quite right. Angel was bought and sexually abused as a child. As she grew older, she worked in a brothel to slowly pay off her debt so she could be free. The majority of the movie, Angel is understandably numb as her life is a tragedy in every sense. One day, a nice farmer sees her and decides that she is the one. Despite her reluctance, he buys several nights with her and even pays off her debt so he can marry her. Angel feels like she will always be who she once was and is unable to move on. Rape is an extremely uncomfortable subject and even experiencing it in suggested ways is gut wrenching. Good thing this ship is helmed by a man so audiences can truly understand what it must feel like to be a woman in this situation. The other half of the movie is watching the nice farmer relentlessly try to win the heart of this emotionally unavailable woman. While he is unwavering, she is the exact opposite. She likes him, but thinks he’s weird because he won’t have sex with her. She wants to escape with him, but is uncomfortable about her debt situation. He nurses her back to health, she tries to walk 20 miles to leave him. They share a cute moment watching the sunrise, she leaves with his brother. The romance in the movie feels repeatedly nonconsensual, despite his insistence that they not have sex. Let’s talk about sex. This is a faith based movie, right? The novel was inspired by a story from the Old Testament. The nice farmer is constantly talking about his faith. She is the opposite as she talks about how she questions a God that would allow such awful things to happen. Regardless, there’s a lot of sex in this movie. Softcore porn-esque sex. Even the poster, in that scene and in that moment they are having sex. There’s abusive sex, prostitutional sex, consensual sex and we see a lot of it for a PG-13 movie. It’s just weird that your Christian movie has an abundance of sex in it. At what age would parents think it’s acceptable to show their teens this movie? It's not educational, the themes are problematic, the subject matter is explicit, oh and it’s also not good. Probably, in part, because it’s directed by a man who makes big, dumb action movies and is named D.J. The message of the movie is, to put it politely, muddled. Having this be a tale of romance and unconditional love is weird. The tragic things that happened to Angel are real things that women experience. Why not make a movie about how a woman overcomes this autonomously? Why force in this romance that is clearly not desired by Angel for the overwhelming majority of the movie? Can she not succeed without a man saving her? He paid her debt, but being forced into a situation where you feel obligated to marry him is uncomfortable. The nice farmer makes it clear that he doesn’t want to use her for sex. All he does is shower her with love and kindness. It is repeated that it’s important to him that she chooses him. The film does an exceedingly poor job of making the resolution to this plot feel satisfying. Parents would understandably feel anxious about what ideas their young adult left this movie with.
This movie isn’t made for teenage girls, one might argue. Then who is it for? It’s too raunchy for the faith based crowd to enjoy. The romance encapsulates the poster, but is arguably not the most important plot thread in the film. Angel breaks out of this oppressive and abusive life that she was forced into and finds a way to allow herself to come to peace with her past and move forward. She does this in part through her “romance” with the nice farmer, but the quotation marks around the word romance clearly indicate that the romance in the movie is not effective. It’s not a good movie so it’s not for cinephiles. That leaves older audiences. The type of person who has nothing but time on their hands and a movie theater subscription. “It’s January, what’s in theaters? Nothing except Redeeming Love? Well, I could enjoy a nap!” Enjoy that two hour and fifteen minute nap, good sir. That’s right, this movie that accomplishes so little, does so in over two hours. To the couple that sees Redeeming Love in theaters instead of Scream because she doesn’t like scary movies, RIP. Redeeming quality, Logan Marshall Green. He seems like he doesn’t fit in the movie until you realize he’s the only actor that is really trying. His character has the only interesting arc and his scenes with Angel hold the most weight. The “special appearance” by Famke Janssen, which is an odd way to label her role in the movie, is fine. She plays Duchess and is a villain for the first act or so of the movie. Tom Lewis as Michael the nice farmer is creepy and weird, but that might be more of the writing. Abigail Cowen as Angel is solid. There’s a couple scenes where she gets in a man’s face and tells them why they ain’t shit. It’s just satisfying to see this woman go unhinged on her abusers. Just to hammer home the thesis of this review: a story that was written by a woman and is about the struggle of a woman, a struggle that is exclusive to women, is written and directed by a man. Not a high-end and prestigiously artistic man, but a man that is currently rumored to be directing the next G.I. Joe movie. Redeeming Love fails to understand what the driving force of the story actually is. The romance is cringey and almost unnecessary. It’s a faith based movie that will have parents covering their young adult’s eyes more often than not. Nothing in this movie works particularly well. The subject matter and the bloated run time make for an enduring experience. Steer clear of this misguided disaster. Redeeming Love hits theaters on January 21. Rating: 1/5
Review by Sean Boelman
Phil Lord and Christopher Miller have solidified themselves as two of the most reliable names in comedy, and their newest work, the murder mystery series The Afterparty, is yet another riotous addition to their filmography. More 21 Jump Street than The LEGO Movie, this series works great both as a parody of modern whodunits and a great twisty mystery in and of itself.
The show follows a group of people at a high school reunion afterparty when they all become suspects for murder when one of their former classmates, a popstar with an iffy past with many of them, is killed. Miller takes the reins on this one, with Lord being an executive producer and occasional co-writer on the series, but he doesn’t lose his touch without his partner being as actively involved. It’s a pretty basic premise, but the thing that allows this series to stand out is its unique presentation. Each episode tells the story from the perspective of a different character, adding new details every time. However, with this comes the fact that some episodes are much stronger than others. There are some episodes which go a bit darker with the humor, and others which are on the goofier, more wholesome side. However, this has always been the case with Lord and Miller’s style, and that lends itself quite well to a serial format. There are many gut-busting laughs throughout, including some that come from subtle easter eggs and references.
Part of what makes the series work so well is that all of the characters are pretty likable. Obviously, there are rivalries that will switch who the audience is sided with at any given time, but each character’s individual episode does a good job of making the viewer like its protagonist. The only somewhat underwhelming characters are the detectives, but the suspects are so well-written that it doesn’t matter.
The ensemble of this show is absolutely stacked. Sam Richardson (who, interestingly enough, also played the protagonist in last year’s lovable whodunit Werewolves Within) is as charming as always as the lead. And the rest of the cast is filled out by great turns from Ben Schwartz, Ike Barinholtz, John Early, Ilana Glazer, and more. Much of the show takes place within the main house, with the exception of some of the flashbacks, and the series does a great job of using the space. There are also some ambitious swings that Miller takes in terms of execution, and while a few (like Zoe’s episode) don’t pay off, others have hilarious results. The Afterparty is exactly what fans should want from a mystery comedy from Lord and Miller. It’s very funny, and keeps you guessing, which is more than can be said about a lot of series that come out these days. The Afterparty streams on Apple TV+ beginning on January 25. Rating: 5/5
Review by Sean Boelman
Gonzalo Calzada’s Nocturna is being released as a double bill, almost as if they were side A and B to a record, but it’s arguably more accurate to think of it as a letter with a postscript. Effective, if not particularly original, Calzada’s film is a solid psychological thriller exploring themes already frequently discussed.
The film takes place on the last night of a hundred-year-old man as he loses his grip on reality and must come to terms with his own guilt and remorse. There have been plenty of films that have focused on a character losing their mind to dementia, but Calzada seems to think it is a novel idea to make a genre film out of it. The first part, entitled The Great Old Man’s Night, is a straightforward horror picture with a melodramatic tinge to it. There are some jump scares, but a majority of the film is more atmospheric and sorrowful. It’s not quite substantial enough to work as art horror, but far from scary enough to work in that regard. Where The Elephants Go to Die is much more cerebral and experimental in nature, and while it’s much less agreeable than its companion piece, it’s also the more ambitious piece. But while side A can stand alone, the context is necessary for the shorter and more intriguing second portion to work.
Side B is also much more stylistically distinctive. Although there is some solid suspense in the first part, the second part is shot in a way that is meant to replicate old home movies, giving it an even more intimate and entracting feel. And the lack of jump scares in the second half allows the poeticism of the script to really dominate.
That said, there are definitely some things about the films that feel amateurish. It’s clear that there isn’t the biggest effects budget here, as a lot of the spectral moments don’t look super impressive. And the subtitles are rife with typos as well as phrases that are poorly translated in a way that loses some of the impact of the source material. Pepe Soriano’s leading performance is a lot of what makes the film work. He captures the character’s spiral in a way that is both entirely believable and quite disturbing. Marilú Marini also gives a strong turn, although this is so often Soriano’s show, even in side B, in which her role is expanded. Nocturna is certainly ambitious for what it is, and mostly works well, even if side B is clearly superior. Neither portion is bad, although there is clearly one that is more memorable and unique than the other. Nocturna hits VOD on January 18. Rating: 3/5
Review by Sean Boelman
January has a notorious reputation among cinephiles as a dumping ground, and so it is not uncommon to see some of the worst films of the year in its first month. Alas, Shattered does not break that curse, a generic and often laughable erotic thriller absolutely squandering the talents (or lack thereof) of all involved.
The movie follows a rich man who finds himself attracted to a seductive and mysterious woman whose grip on his life begins to tighten after he gets injured. It’s a slightly sexier and abundantly dumber version of Misery, and while it’s nearly entertaining in a so-bad-it’s-funny way, its twists and turns are nearly embarrassing. With a runtime just at ninety minutes, the pacing here is breakneck, but that’s not always a good thing. Character motivations make no sense and there isn’t enough time to explore them, a lot of the most suspenseful scenes feel rushed, and there’s just a generally chaotic aura to the whole affair. It’s disorienting in a way comparable to Serenity. Furthermore, the film can’t seem to pick a side. On one hand, it seems to be saying eat the rich, which, yes absolutely. But then it makes us pity the character as a good man with love in his heart, and one has to wonder what the movie even has to say. And ultimately, finding any meaning behind this beyond the average erotic thriller stuff is futile.
Lilly Krug gives a performance that is an early contender for the worst of the year. Whether it is due to bad direction, stilted dialogue, or the fact that she just isn’t very good, she’s just awful here. Even worse is the fact that she has absolutely no chemistry with Cameron Monaghan, who is at least trying, to his credit.
And then there is the supporting cast. John Malkovich is doing something that can hardly be explained because it is so off-the-walls. That said, he’s at least pretty successful at being the comedic relief, intended or not. And Frank Grillo is yet again the best part of an otherwise horrible film, being the only part here that is even remotely menacing. Much like the script, the movie is torn between being trashy and elegant, and ends up feeling worthless in its attempts. It’s clear that the film is trying to create a contrast between the modern architecture of the house and the blunt brutality of the violence, but even that is giving it a bit too much credit. Shattered has some entertainment value, albeit not in the way that the filmmakers seemed to intend. It’s definitely at home with its January release date, where the little bit of attention it gets will soon fade. Shattered is now in theaters and on VOD. Rating: 1/5
Review by Sean Boelman
Mamoru Hosoda’s work has gotten a great deal of acclaim over the years, and his newest film, Belle, looked to be no exception after picking up some great buzz on the festival circuit. However, despite some enchanting visuals, the movie doesn’t work all that well due to a derivative story and anticlimactic pacing.
The film follows a shy high school student who begins to open up when her avatar skyrockets to fame in a massive online virtual world. At first, it’s interesting as the viewer becomes immersed in this world, but when it becomes clear that this is just another riff on Beauty and the Beast, it becomes rather boring pretty quickly. Perhaps the most frustrating thing about the movie is that it is seemingly building to something for most of that runtime, and once that reveal is made, it’s extremely underwhelming. The film does get points for not going with the most obvious and predictable answer, but the twist also isn’t very much of a twist. It’s a shame, because there is a legitimately good message to be found here about the dangers of bullying. There have been a few movies to address cyberbullying in the past, but given that it is a relatively recent phenomena, the world still needed a film that fully goes for it. But Hosoda only approaches the issue without saying much about it.
The protagonist of the movie is certainly likable as an approachable underdog, but everyone in the story is frustratingly thin. What the film fails to do is establish a connection to many of these characters in the real world. Even if their larger-than-life online personas are interesting, the high school stuff is generic and bland.
Kaho Nakamura gives a very strong voice performance in her leading role, but no one else in the movie is particularly impressive. Thankfully, much of the film is carried on Nakamura’s shoulders, as her ability to emote is what drives a majority of the story, but that can only go so far when the rest of the cast doesn’t mesh with her. Visually, the movie is certainly very ambitious, almost to a fault. There is obviously some gorgeous animation, but other parts feel like sensory overload. A majority of the effort of this film seems to have been put into developing the world stylistically, and that is why it is the best part of the movie, even if the energy gets to be a bit much at times. Belle has some very strong elements in play, but for the most part, it doesn’t live up to the tremendous bar set by its visual creativity. Maybe the most damning thing that can be said about it is that it doesn’t say enough. Belle hits theaters on January 14. Rating: 2.5/5
Review by Dan Skip Allen
Food movies are a genre that usually comes far and in between. But when they do, it's a most welcome genre. Even though most of them make me hungry while watching them. Delicious is a French film that depicts food on a level hitherto unheard of before. It's mouthwatering.
Delicious is a film that fits its name. It's about a French chef (Gregory Gadebois) who makes delectable food for his master, the Duke of Chamfort (Benjamin Lavernhe), until one day his guests are dissatisfied with the chef's pastries and he is fired. He sets out on his own with his son (Lorenzo Lefebvre) to start anew. As he's starting to get established, a woman (Isabelle Carre) shows up on his doorstep offering to learn from him the ways of cooking fine French cuisine. Together they all change the way the French people think of what is considered dining in 1700s France. The film depicts food and cooking on a level I have rarely ever seen in a film before. It's a form of artistry that the chef and his apprentice prepare all this scrumptious-looking food in the film. The painstaking detail they go through to prepare each meal is astounding. The way the chef's hands are more is that of pure genius. He is an absolute professional at everything he does. The sounds of the kitchen come to life while in this film and it's glorious to watch. Director Eric Besnard has crafted a film of pure beauty besides that of all the cooking and exquisite cuisine being prepared within it. The visuals jump off the screen. From the gorgeous French countryside to the various changes of seasons. The film looks beautiful at every turn, especially one montage of the foliage of the fall changing into a snowfall of winter. The cinematography by Jean-Marie Dreujou is breathtaking to behold. Even dining scenes look amazing to look at.
Besides the direction and cinematography, the score in the film by Christophe Julien is so light and subtle but also melancholy to a tee. It comes along for the ride with the rest of the film. It's quite nice to listen to while also not being overpowering throughout the film. The film is set in 1700s France before the Bastille, so the clothes and hairstyles have to fit the occasion and they do just that as well. This film had a lot going for it that made it work on so many levels.
In addition to all of the wonderful food and visuals that this film depicts, it also has an amazing story about this man who refuses to give up his dream. He is stubborn at times and refuses to apologize to the duke about something, but his stubbornness proves to be his salvation in the end. The taste buds of the French people are the ultimate critics and with that came failures as well as successes in the end. A side plot of a romance adds another level to what is already a beautiful film in every sense of the word. It has everything it needs to be a great film. Delicious is all that word is defined by. It has an appetite that never stops from the very beginning opening credit scene to the end credits. The look and sound of the film just jump out as absolute perfection on every level. The beauty of the film is so hard to achieve it's almost impossible to believe what I just watched. It's an achievement I rarely see in films in this country, let alone others. People from all over the world should sit down and experience the sheer abundance of Delicious. Delicious hits theaters and VOD on January 14. Rating: 5/5 |
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