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Review by Dan Skip Allen  Rita Moreno plays Maura, Jane Fonda plays Trish, Lily Tomlin plays Lou and Sally Field plays Betty in 80 For Brady from Paramount Pictures. It's no secret that I am a huge New England Patriots fan and, as such, a huge Tom Brady fan. So when I heard about a film starring four legends on the screen that went to the Super Bowl because they were huge fans of Tom Brady, I was already in on this film. Even with that anticipation, I didn't expect to love 80 for Brady as much as I did. It's a sweet, loveable ode to the power of never giving up and putting your faith in someone you admire. Lou (Lily Tomlin) is a woman who watches her favorite player Tom Brady play football each week with her three best friends, Trish (Jane Fonda), Betty (Sally Field), and Muara (Rita Moreno). This has been their tradition since Lou was on chemotherapy and Tom Brady replaced Drew Bledsoe in a game sixteen years prior. Watching football was what motivated her to recover from her cancer. After the Patriots beat the Pittsburgh Steelers in the AFC Championship in 2017, they decide to go to the Super Bowl to see their hero up close and personal. This becomes the adventure of a lifetime for the four women in their golden years. This film has a few contrivances that get the women into the actual game, but it doesn't matter how they get into the Super Bowl. All that matters is what happens when they get in and how it reflects on their hero, Tom Brady, who plays himself throughout the film. Super Bowl LI is considered the biggest comeback in Super Bowl history. This story was embellished a little for the big screen, but I didn't care. I was on board from the beginning. There were so many references I was laughing at, and I couldn't help but be completely enthralled by this movie. Each of the four women has their own arc in the film. They all have their reasons for wanting to be there at that game to support Tom Brady and the Patriots. One of them wants to get away from her husband, another is hiding a secret about why they are there in the first place, one develops a relationship with an older man who used to be a player in his own right (played by Harry Hamlin), and the fourth wants to prove she's not over the hill yet and has a lot of life to live still. This film has some great messages for anybody, let alone senior citizens. The thing about this movie that really resonates with me is where I was at this time in my life. I was at my friend's house during Super Bowl LI, and I was not in a good mood when my team, the Patriots, was losing 28-3 in the third quarter of the game. I, of course, never lost hope for my boy Tommy but it was a dismal circumstance he and the Pats found themselves in. The film uses archival footage of the game to depict the incredible comeback. The editing around the four women and their continued adventure once they got in the stadium and how that revolved around the game itself was pretty cool. They weaved that together very nicely.  Rita Moreno plays Maura, Jane Fonda plays Trish, Sally Field plays Betty, and Lily Tomlin plays Lou in 80 For Brady from Paramount Pictures. With all the football talk and Tom Brady love, I almost forgot the performances of these four legendary actresses. These ladies are all Academy Awards-nominated actresses, and three of the four won Oscars in their careers. They could have easily phoned in their performances, but they didn't. I felt genuinely connected to their various subplots and the central theme the film was trying to convey: not giving up. All their subplots gave them room to be their characters and space to have fun in their roles while also playing a bigger part in the overall story the movie was trying to tell. There is a reason these four ladies are so legendary, and this film shows that in full effect.
One of the best aspects of the movie is how, even though it has some serious subject matter, it doesn't take itself too seriously. There are plenty of humorous moments in the movie you just can't help but laugh at, such as the tradition the women have before every kickoff. One lady is reading a magazine in the dining room, another is changing a lightbulb on a ladder, one spills a bowl of chips, and the fourth is just sitting on the couch changing channels and lands on the game in question. Last but not least is the song sung by Dolly Parton, Belinda Carlisle, Gloria Estefan, and Cindy Lauper. It's the credits song, written by 14-time Academy Award nominee Diane Warren. She got four other legends of the music world to see the song and the song is so catchy I found myself listening to it nonstop. This will finally win Diane Warren an Academy Award. Mark it down — you heard it here first. 80 for Brady is an inspiring story about never giving up no matter how old or sick or in many cares people struggling in various ways. The performances from the four legendary actresses — Tomlin, Fonda, Moreno, and Field — are exceptional. Even though it's a tongue-in-cheek type of performance, they take the roles and themes the movie is trying to convey seriously. The humor is a bonus, and the fish-out-of-water nature of these four older women entering this whole new world is mostly hilarious. Sure, some contrivances are required for the story to unfold, but that's nothing out of the ordinary. The film is filled with cameos of celebrities and character actors in various roles, but the actual New England Patriots playing themselves was like the icing on top of the cake. Even Brady got me emotional at various times in the movie. He is, after all, a very inspiring human being and a true leader. This film should resonate with many people, whether you're a Patriots fan, a football fan, or just a fan of a good funny movie. 80 for Brady hits theaters on February 3. Rating: 4/5
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Review by Sean Boelman
Franz Rogowski and Adèle Exarchopoulos appear in Passages by Ira Sachs, an official selection of the Premieres program at the 2023 Sundance Film Festival. Courtesy of Sundance Institute | photo by Guy Ferrandis / SBS PRODUCTIONS.
Ira Sachs is one of the most acclaimed American independent filmmakers working today, so it’s only fitting that his newest film, Passages, would be one of the highlights of this year’s Sundance. A simple yet passionate romance, Passages thrives off of Sach’s strong direction and excellent performances from its ensemble.
The movie tells the story of a longtime gay couple whose relationship is put to the test when one of them has an affair with a woman. It’s a premise that sounds like it could be found in a soap opera, but in the adroit hands of Sachs, it manages to be something quaint yet utterly riveting at the same time. What makes Passages so refreshing is the unorthodox approach it takes to the love triangle. Eschewing histrionics and big reveals in favor of a more quiet, humanistic approach to telling these stories. The events that would normally be presented as dramatic developments instead become events that simply happen in life. The only real shortcoming of the film is that it doesn’t have as naturalistic of a flow as it seems to demand. The narrative has large gaps in time, and while it’s heavily implied that this is because those periods in the tumultuous love triangle weren’t particularly eventful, it also deprives certain scenes of a particular context. 
A still from Passages by Ira Sachs, an official selection of the Premieres program at the 2023 Sundance Film Festival. Courtesy of Sundance Institute.
Sachs’s character development in the movie is intriguing because it successfully positions itself in a plane of ambiguity. The characters behave in ways that are frustratingly selfish, yet Sachs lingers on the human emotions that motivate their actions in a way that is compelling, albeit purposefully not always empathetic.
The film is largely driven by the power of its three central performances. Franz Rogowski takes the lead here with a performance full of subdued emotion; however, his accent — particularly when speaking English — can be a tad distracting. Ben Whishaw’s performance is more reactive, but has plenty of moments that are captivating. Adèle Exarchopoulos doesn’t have as strong of a presence in the movie, but is great when she is on screen. Sachs is also tremendously successful with how he shoots the film. One of the most impressive aspects of the movie is its use of intimacy and sexuality. Some of the sex scenes are shot in a way that are passionate and erotic, and others are rough and lustful. That Sachs is able to pull off such a delicate dichotomy is thoroughly impressive. If it was made by anyone else, Passages would have been just another steamy love triangle, but Ira Sachs has managed to turn it into one of the most humanistic romances of the year. Audiences will be absolutely enamored by the quiet sensibilities of Sachs’s wonderful film. Passages played at the 2023 Sundance Film Festival, which ran January 19-29 in-person in Park City, UT and January 24-29 online. Rating: 4/5
Review by Sean Boelman
Teyana Taylor and Aaron Kingsley appear in a still from A Thousand and One by A.V. Rockwell, an official selection of the U.S. Dramatic Competition at the 2023 Sundance Film Festival. Courtesy of Sundance Institute | photo by Focus Features.
With A Thousand and One, filmmaker A.V. Rockwell has created what might be one of the most passionate, emotional feature debuts in recent memory. Thanks to an accomplished visual style and great acting, Rockwell is able to overcome some of the pacing issues in the script to make a captivating mother-son drama.
The film follows a mother who decides to kidnap her son from the foster care system, believing that it is not the right place for him, only to create a tension that bubbles up when he becomes a teenager. Recent years have seen many movies about the relationship between a single parent and their child, but few have been as uncommonly empathetic as Rockwell’s debut. The middle section of the film does drag a bit, but the first and final thirds are so compelling that it is able to recover. Although the beats are somewhat predictable — including a finale presented as a twist that isn’t particularly twisty — Rockwell never loses track of the emotional through-line that makes the movie tick. Teyana Taylor’s performance as a devoted mother is an absolute powerhouse, and it’s pretty shocking considering that she hasn’t had many acting roles that have challenged her range. However, she absolutely disappears into the role, giving a layered performance that feels like it comes from someone with decades of experience, not a relative novice. Additionally, the film is gorgeously shot, with beautiful cinematography by Eric Yue, great production design from Sharon Lomofsky, and a lovely score by Gary Gunn. These elements work together seamlessly to immerse the viewers in this world, particularly during the portion set in Harlem in the ‘90s. That being said, the movie does feel like a missed opportunity to tackle its potentially weighty context. There is plenty of subtext in the film involving poverty and the inefficiencies of the foster care system. On one hand, this allows Rockwell to focus more on the intimate, human stakes, but introducing these elements just to leave them underdeveloped is frustrating. There is also something left to be desired in terms of the characters’ motivations. Although the core themes of motherhood and belonging are likely to resonate with viewers, the characters needed a bit more specificity to work. Nevertheless, the dynamic between the mother and son is very sincere and largely free of melodrama. A Thousand and One doesn’t reinvent the wheel, but it’s very compelling. A.V. Rockwell’s tender direction and Teyana Tayor’s brilliant performance elevate this beyond the occasionally sluggish script. A Thousand and One is playing at the 2023 Sundance Film Festival, which runs January 19-29 in-person in Park City, UT and January 24-29 online. Rating: 3.5/5
Review by Sean Boelman
Molly Gordon, Ben Platt, Alexander Bello, Kyndra Sanchez, Bailee Bonick, Quinn Titcomb, Madisen Marie Lora, Donovan Colan and Luke Islam appear in a still from Theater Camp by Molly Goron and Nick Lieberman, an official selection of the U.S. Dramatic Competition at the 2023 Sundance Film Festival. Courtesy of Sundance Institute.
A film about theater nerds starring Ben Platt (Dear Evan Hansen) sounds like a recipe for disaster, but in the hands of Molly Gordon (Booksmart) and her filmmaking partner Nick Lieberman, it turns into one of the most entertaining movies of this year’s Sundance. A blast from start to finish — especially for those who were theater kids growing up — Theater Camp may be conventional, but it’s exactly what it sets out to be.
The film follows the campers and staff of a rundown theater camp as they struggle to keep the lights on when their beloved founder ends up in a coma right before the term begins. An expansion of Gordon and Lieberman’s short of the same name, Theater Camp is a love letter to the communities of outcasts that are theater kids. This is a very wholesome movie, and there are some laughs that will have viewers absolutely rolling. It’s never mean-spirited, but the film has some jokes that are pointing fingers at some of the common pratfalls of theater kid culture in a way that will perfectly tap into viewers’ nostalgia without feeling overly sentimental. The movie follows a very standard mockumentary style a la Christopher Guest, but there’s a dynamic, energetic, and playful quality to it that could serve to reinvigorate the genre. The film isn’t overly self-aware like something like The Office, instead being focused on telling a great story first and foremost. Shockingly, the movie contains some original songs that are pretty wonderful. It’s hilarious that this film’s original songs, meant to parody a summer camp original musical, are better than some of the songs that got nominated for the Oscar this year. The comedy song “Women Cannot Read” is especially a banger. One noticeable area in which the movie does come up short is its character development. The campers are rather archetypal, and for a film that is literally about inspiring future generations of people to pursue the arts, it’s frustrating that you’d be hard-pressed to remember even one of the kids’ names. Even the counselors, while given more fleshed out personalities, are rather generic. That being said, the movie’s ensemble is so extraordinary that the film feels tremendously lived in despite the weak character development. All of the young actors that play the campers are extremely talented and have fabulous voices. And perhaps most surprising is that Gordon and Lieberman are able to get strong, unexpectedly nuanced performances out of typically one-note actors like Ben Platt and Jimmy Tatro. Theater Camp is significantly better than it has any right to be. It’s not a particularly weighty or challenging movie, but in terms of pure entertainment value, there are very few comedies that have nailed this quite so well in recent memory. Theater Camp is playing at the 2023 Sundance Film Festival, which runs January 19-29 in-person in Park City, UT and January 24-29 online. Rating: 4.5/5
Review by Sean Boelman
Bridgerton breakout star Phoebe Dynevor is finally getting her chance to lead a movie in the thriller Fair Play, starring opposite Solo’s Alden Ehrenreich. While Dynevor is clearly the best part of the film, that isn’t saying much, because this is simply a dull relationship background that aims higher than it is able to achieve.
The movie follows a young couple who, working at the same cutthroat hedge-fund with a secret, unapproved relationship, find their lives unraveling when one of them receives a promotion at the expense of the other. This could have been a steamy, edge-of-your-seat thriller, but the film instead ends up being just another jealousy drama. Indeed, the worst thing about Fair Play is that it simply isn’t particularly interesting. Movies set in an aspect of society that the general public doesn’t fully understand, such as the stock market, have an immediate obstacle to overcome. However, Domont doesn’t find a way to make the viewer understand the stakes, and as such, it’s not thrilling whatsoever. That said, perhaps the film’s biggest shortcoming is that it doesn’t engage with its themes in particularly interesting ways. Many critics have hailed the movie as a dissection of gender politics, but the film’s gender politics are frustratingly overt. Apart from a few discussions in which the protagonists argue over how she had to work hard to get where she’s at and he got his success handed to him, it hardly even mentions them. Unlikeable characters and a compelling story are not mutually exclusive, but in this case, the audience’s frustrations with the characters’ actions will be enough to leave them feeling disillusioned. It’s clear that Domont is hoping to build a feeling of shifting allegiances, but we know the whole time that there is a villain and who it is, so the moral ambiguity completely fails. Alden Ehrenreich and Phoebe Dynevor pull off the exact dynamic that the script calls for, but it’s not particularly satisfying. Often, a couple without any chemistry or sexual tension would be a distraction, but here, it’s the right amount of off-putting to be unsettling. Eddie Marsan’s supporting performance is also noteworthy, as he has a couple of scenes that will have you holding your breath. The movie is very polished from a technical level, but it is missing the sleek kineticism of other boardroom-set satires like Industry and Succession. The score by Brian McOmber is solid, but that alone is not enough to compensate for the lack of tension that the film fails to build through its writing and editing. Fair Play shows a lot of potential on the part of first-time writer-director Chloe Domont, but it’s not as riveting as she clearly thinks it is. How this ended up being the highest-dollar acquisition of this year’s Sundance will continue to be baffling. Fair Play is playing at the 2023 Sundance Film Festival, which runs January 19-29 in-person in Park City, UT and January 24-29 online. Rating: 2/5 |