Review by Daniel Lima

It should go without saying that this movie is deeply unfunny. Vaughn’s sense of humor has never been well-developed, and that is reflected in both the hack jokes and the way he attempts to sell it as a director. Fuchs’s script is constantly mugging for the audience, taking tired and worn-out material like “lonely woman loves her cat too much” and “man who hates cat is rude to the cat,” playing it entirely straight, then acknowledging how tired and worn-out the material is as if that passes for wit. It’s the post-ironic, self-referential style that has become de facto for all lighthearted blockbusters today, and it is no less aggravating here. The ensemble does an admirable job trying to sell this garbage, but they are only human.

Worse still, however, is the narrative structure. Like all other espionage films, this is a globetrotting affair full of MacGuffins, villains, double-crosses, and twists. Unsurprisingly, it all amounts to naught, both because so little time is spent establishing the stakes of this world and because all the jokes meant to make these characters likable fall flat. By the time the third wild twist arrives, as obviously telegraphed as all of the comedy, it’s impossible for it to land with any weight. If anything, most of these twists undermine any dramatic complications the film flirts with, eliminating any sense of friction and reducing what could have been at least an airy romp to a tedious, predictable slog. That this experience is somehow stretched over almost two and a half hours is all the more excruciating.

As bad as the script is, one might expect that Vaughn’s penchant for energetic set pieces and visual dynamism might give the film some worth, at least as a vehicle for action scenes. Unfortunately, it seems that without the likes of action director Brad Allen for him to defer to, all of Vaughn’s worst instincts are indulged. Most of the fights are annoyingly edited, cut up, and lacking any sense of momentum (albeit in service of a narrative thread, but one that adds nothing to the action or the story). The biggest set pieces rely on truly horrible CGI that further removes any sense of actual danger or physicality from what should be the most crowd-pleasing moments of the film. That they indulge in limp comedy themselves (a shootout with incongruous musical cues... how original) further robs them of any impact. It’s enough to leave anyone praying for another mirthless riff session or exposition dump. 

Who is Argylle for? It can’t be for some who has ever seen a movie that dares to toy with spy genre conventions because there is no novelty to be found. Nor can it be for someone who wants to laugh or be thrilled, for there is nothing funny or exciting at any point in the movie. As annoying, taxing, juvenile, and nauseatingly full of itself as it is, this film should only be experienced by IRS agents conducting an audit on the $200 million it cost to bring this dud to life. ​

Aryglle arrives in theaters February 2. 

Rating: 1/5​

Review by Sean Boelman

Last year’s Sundance Film Festival featured the premiere of the Oscar-nominated 20 Days in Mariupol, exploring the story of the ongoing conflict in Ukraine. Brendan Bellomo and Slava Leontyev’s documentary Porcelain War stands out thanks to its humanistic telling of another side of the story that does not often receive the spotlight, as well as plenty of incredible cinematography showcasing some awe-inspiring art.

Porcelain War tells the story of a group of Ukrainian artists who decide to stay in their homes despite the war raging around them, threatening to destroy everything they know. Meanwhile, one of the artists has become a civilian soldier, spending his time training other soldiers to defend their homeland.

The film’s central metaphor is evident from the moment it starts, but that doesn't make it any less effective. There is something to be said about the fragile beauty of both the world and the creations these artists are making, and yet, even in their broken state, they are still an incredible sight. 

What makes Porcelain War so devastating is that it shows how this conflict has forced everyday individuals to pick up arms and become soldiers. Although several documentaries on the War in Ukraine have explored the human cost of the conflict, few have been able to show the human perspective so well as this.

However, as effective as this unique angle is, it leaves the other story thread — the artists’ creations — feeling underdeveloped. At many points, it feels like Bellomo and Leontyev are more interested in the symbolic meaning of the works than the works themselves. It definitely would have been nice to see the film explore more of the craftsmanship behind their creations.

As one would expect, a lot of juxtaposition is used in the film. We see the beautiful porcelain sculptures these artists are creating against the backdrop of buildings that have been decimated by bombs. It serves as a powerful reminder of the need to find beauty even in times of darkness.

The cinematography in the film is excellent, particularly when it is used to create this striking imagery. Another part of the execution that stands out is its occasional use of animation, which takes the designs the subjects make on their artwork and turns them into vibrant, moving graphics. There aren’t many of these sequences, though, and they don’t add much to the meaning, but they are impressive to behold.

The central concept of Porcelain War is intriguing, and while it manages to make its straightforward point clear quickly, the imagery it creates is consistently fantastic. It’s hardly a definitive film on the War in Ukraine, but it presents a unique perspective that other films on the subject have not explored in the past.

Porcelain War screened at the 2024 Sundance Film Festival, which runs January 18-28 in-person in Park City, UT and online from January 25-28.

Rating: 4/5​

Review by Sean Boelman

The second animated film written by Charlie Kaufman (Anomalisa, Eternal Sunshine of the Spotless Mind), Dreamworks’s Orion and the Dark, is not only an exceptional work of children’s cinema but also among the best work in Kaufman’s career. It’s hard to find a children’s film as nuanced and compelling as this, but Orion and the Dark exceeds expectations in every way.

The film follows a young boy who is afraid of everything as he sets out on a journey with the embodiment of one of his greatest fears, the Dark, to learn that his fears might be unwarranted. Adapted by Kaufman from the 2014 children’s book of the same name, it’s surprising how well the screenwriter’s characteristically existential (and often morbid) style translates into the children’s film medium that is typically anything but.

As with many films adapted from children’s storybooks, it sometimes feels like the story is stretching a bit. (The source material is only 40 pages long, so the adaptation had to add a lot of material to bring it up to feature length.) Yet, every time you think the story might be beginning to run out of steam, Kaufman finds a way to draw you back in.

At first, seeing how much of a Charlie Kaufman character Orion is despite being a child can be a bit jarring. He has wisdom — and anxieties — beyond his years. Yet, as with any Kaufman script, the pieces fall into place slowly but surely. It is soon revealed that we are not watching a mere children’s story but a deconstruction of one, turning the genre’s moralistic trappings into something far more humanistic.

On its surface, Orion and the Dark is a film about overcoming fear, a message that will be incredibly beneficial to younger audiences who watch the film. Adults will find themselves more moved by Dark’s story of struggling to fit into a world that is afraid of him, as so many of us have struggled to find meaning and purpose in our lives and failed to do so.

Although the voice ensemble is filled with recognizable names, including Paul Walter Hauser, Jacob Tremblay, Carla Gugino, Colin Hanks, Ike Barinholtz, Nat Faxon, and Natasia Demetriou, none of them feels like a particular scene-stealer. In that way, it feels like an old-school, ensemble-driven voice cast where everyone does their part effectively but near-anonymously.

The animation style is a bit conventional, falling into the typical Dreamworks mold, but it fits the film’s nature as a children’s book adaptation quite well. It’s whimsical and colorful, with abstract designs for its characters but rich settings for its world-building. Viewers, both young and old, will be wonderfully immersed in the magic of this tale.

Orion and the Dark is incredible — one of the best, most thematically mature movies to come out aimed at a younger audience in years. It offers plenty that will appeal to children, but also the complexity to make it a must-watch for adults. However, should we be surprised with a screenwriter as talented as Charlie Kaufman behind the project?

Orion and the Dark streams on Netflix beginning February 2.

Rating: 5/5

Review by Sean Boelman

If a documentary title includes the words “the greatest,” you expect a shower of praise for the subject. Still, the world might have something yet to learn from “We Are the World,” the focus of Bao Nguyen’s documentary The Greatest Night in Pop. While a celebration of the single at its heart, the film also offers a tremendous message for our divided society today.

The documentary tells the story of what is still the most star-studded recording session in history: that of the global pop song “We Are the World,” which was created as a fundraiser for African famine relief. Thankfully, the film doesn’t take much time to convince the audience that what they’re watching is historic because most of us already know.

In the film, Nguyen explores the creation of “We Are the World” with incredible detail. From when the song is being written to each solo within the recording session, we get a glimpse into how much of a miracle it is that this single could even be made — much less have as much of a cultural impact as it did.

The documentary features interviews with several of the (surviving) artists involved in the creation of the legendary single, including Bruce Springsteen, Huey Lewis, Sheila E., and more. Some of the gaps from people who are no longer with us are filled by archive footage or secondhand stories from others involved.

Perhaps the wisest choice made by the filmmakers was telling this story primarily through the perspective of Lionel Richie, one of the leading creative forces behind the project. Richie’s contributions to the story lend a narrative through-line that keeps everything mostly organized despite the occasionally hectic nature of having more than 40 people in a recording studio.

There’s no denying that the film seems content with patting the artists behind this song on the back for doing a good job. For the most part, the film shies away from the behind-the-scenes drama that happened. There are cursory mentions of egos butting against one another, but the documentary presents these events in a way that almost feels too idyllic.

Yet, while The Greatest Night in Pop can feel somewhat fluffy and overly nostalgic at times — and with a title like that, it’s hardly a surprise — the filmmakers and subjects understand the significance of this collaboration. Although the specific cause may not have the same urgency it had nearly four decades ago, the film does a great job of discussing other charitable efforts that came as a result of USA for Africa, such as Live Aid, inspiring people to put aside our differences to make a positive difference.

The Greatest Night in Pop is an entertaining, inspiring documentary that will delight anyone who was a fan of “We Are the World” or any of the artists who contributed to it. Although it’s unlikely to make a huge cultural impact like the single whose story it details, the documentary serves as a poignant reminder of the power we can have if we come together.

The Greatest Night in Pop is screening at the 2024 Sundance Film Festival, which runs January 18-28 in-person in Park City, UT and online from January 25-28.

​Rating: 4/5

Review by Cole Groth

American Star seems like a scam after the credits roll. Ian McShane is a leading man in a hitman movie? That sounds exciting; sign me up! That’s the thought process that many viewers will go through for this, but don’t go into this expecting any action because this supposed thriller is about as barebones as possible. Once you get past that fact, you’re left with a thought-provoking drama about an aging assassin’s last hit.

In this film, directed by Gonzalo López-Gallego, we follow Wilson (the similarity to his character, Winston, in the John Wick movies is not lost on me), an octogenarian assassin sent to the island of Fuerteventura for his final mission. Upon arrival, his target doesn’t arrive. Instead of leaving to get a new target, he instead waits on the island and undergoes a journey of self-discovery. A few twists and turns keep some of the promised thrills up, but for the most part, you’re watching a slow drama about a man coming to terms with his demons.

López-Gallego’s style shines in the beginning and end of the film. It’s clear that he was hired to make a movie about a hitman and the action that comes alongside it, and he feels trapped in a screenplay that is about 10% action and 90% drama. The strange thing is that the drama is pretty interesting, and by the film’s end, I almost wished it leaned more into that. Since the movie feels designed around the beginning and conclusion, which are tonally opposite of the stuff in the middle, the drama is a little confusing, and the action is jarring.

All this is to say that I was expecting something intense and exciting from the first few minutes, but the result is perhaps more interesting than it could’ve been. McShane is undoubtedly incredible here. Even at 81 years old, he’s still got it. His brooding silence through each scene is fascinating, making each scene feel like it will have some exciting ending, even if it doesn’t. There’s been an influx of vacation-themed slide-of-life dramas recently, like Aftersun, How to Have Sex, and The Lost Daughter, and this is a surprisingly interesting twist on those films.

Simply put, if you’re into slow-paced dramas, you’ll almost certainly enjoy this. It takes a lot of patience to get through the story, and while I personally have a hard time getting through this, this was made with fans of that subgenre in mind. It’s nicely shot, and when it tries to be stylistic, it is a visually impressive movie.

American Star is a film torn between what it wants to be. We’re shown plenty of promise in the beginning with a slick opening sequence. Then, it slowly wanes into a vacation drama that, by the time it gets interesting, is already returning to the action stuff. The ending is a bizarre way to finish the story here because it contradicts everything set up by the first two acts. If you’re looking for the next chapter in a spiritual John Wick series, this is certainly not it. If you’re a fan of calm reflection with a hint of thrills, this is interesting enough to warrant a viewing.

American Star releases on VOD starting January 26.

Rating: 3/5