INHERITANCE -- iPhone Film is a Deeply Flawed but Engaging Experiment in Guerilla Filmmaking1/22/2025 Review by Camden Ferrell  Movies shot with an iPhone are nothing new, being used in previous years by established directors like Steven Soderbergh and Sean Baker. Now, Neil Burger is the newest director to try his hand at the relatively recent art of smartphone filmmaking. His new movie, Inheritance, is a fun exercise with an unconventional camera although it does suffer at times from a thin story that isn’t particularly compelling. After the death of her mother, Maya reconnects with her estranged father. Together, they take a trip to Egypt where she soon realizes her father was once a spy. She is quickly thrown into an international conspiracy where she must travel across the world to figure out who her father truly is. This is an interesting premise for an espionage thriller, especially one shot with an iPhone since the run-and-gun style of shooting could align with the type of story being told. Written by Burger and Olen Steinhauer, the movie is at its best when it focuses on the conversations and interactions of its main characters. While the dialogue isn’t particularly impressive, these slower moments are compelling to watch when compared to the more high-octane sequences throughout the movie. The movie’s biggest flaw is that the moments of tension and chaos feel thin and insignificant. It’s executed well, but the writing leaves a lot to be desired as far as substance is concerned.  The acting in this movie is strong even if it’s nothing particularly memorable. Phoebe Dynevor leads this movie as Maya, and she does a great job at adapting to the guerilla style, permitless shooting that Burger carried out. She feels very natural embodying this character and all of her idiosyncrasies, and she’s a reliable force throughout. Rhys Ifans also stars alongside her as her father Sam, and even though his performance is fairly minimal, he is very serviceable in the moments that matter most.
While there are many problems with this film, I can’t help but be in awe of Burger’s ability to use the iPhone to such a gratifying extent. I personally am biased as I always appreciate when filmmakers use “cheap” cameras to make their movies, and this kept me glued to the screen from start to finish. Sure, it doesn’t look as polished as professional film cameras, but I can’t help but fall in love with how scrappy this final product is. Especially after hearing about how Burger shot this entire movie without any kind of permission (this includes genuinely executed retail theft), it’s quite an inspiration to see all this kind of work. Inheritance suffers due to a thin plot that on its own isn’t particularly engaging. However, Neil Burger’s use of an iPhone and guerilla filmmaking still make this a worthwhile experiment. Those who have previous inclinations against smartphone cinematography might not be swayed by this film, but for those who appreciate an imperfect yet passionate use of affordable gear, this will surely satisfy. Inheritance is in theaters January 24. Rating: 3.5/5
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Review by Jonathan Berk  It’s very likely that you've looked in the mirror at some point in your life and wished you could change something about yourself. Those feelings of self-doubt are often potent, and exponentially worse when you’re young. As a teenager, it can be immensely difficult to find comfort in your skin. If your father’s life work was to develop a scientific marvel that would allow skin grafts to organically grow and help “heal” scars — with the primary motivating force behind this development being not only his scars, but the one on your face…well, it probably makes it even harder to find comfort. Sasha Rainbow’s new film Grafted grapples with this very idea. Wei (Joyena Sun), a Chinese student who is left orphaned after a tragic accident in her father’s lab, moves to New Zealand on a scholarship to live with her aunt and cousin Angela (Jess Hong). Uncomfortable in her skin and awkward to boot, Wei attempts to fit in while working to complete her father’s experiments. She takes a job as a lab assistant with her brilliant professor (Jared Turner), where she will have access to the equipment she’ll need. The mad scientist and body horror elements of this film are the clear highlights. Wei exhibits a strong element of obsession with her work, driven to “fix” the scar that she hides under a scarf for the majority of the film. It feels like a throwback to films like Re-Animator or From Beyond in that way, especially when it gets a little silly. Every time Wei seems to begin getting a grip on her life, something else happens to escalate the drama surrounding her. Despite her brilliance, she’s not always capable of making the best decisions.  Sun is nothing short of excellent in this role. Her performance convincingly sells the awkward qualities presented early on but takes on new flourishes later in the film after her character has had to transform. Hong and Eden Hart are asked to do even more with their characters. It would be a spoiler to explain why, but their performances deserve some well-earned recognition. Considering this was the first film for most of the young cast, it is relatively impressive. In some ways, they’re behaving exactly as you may expect high school students to act. Yet, when the film’s story gets going and the crazy starts to unravel, they have to take their performances to another level.
While those elements stand out, something is lacking in the film overall. The story noticeably starts to drag,, and several beats just repeat themselves. Wei finds herself at odds with many of the various people she’s encountered throughout the film. It sometimes feels a little convoluted, and the phrase “less is more” kept creeping into my mind while watching this film. Sometimes, it is very hard to sustain a good idea for 93 minutes…and that seems to be the issue here. Nonetheless, Grafted is a solid horror film to start the new year. The performances, body horror, and nods to similar films that have come before make it enjoyable overall. There is quite a bit of room for improvement, but it should ultimately scratch that itch for horror fans. Rainbow shows potential, and it’ll be interesting to see what her follow-up movie will be. Grafted will be on Shudder on January 24. Rating: 2.5/5 Review by Camden Ferrell  The Munich massacre was a terrorist threat that occurred during the 1972 Olympics in Germany, their first time hosting since the fall of the Nazi Party, and it was an event that shocked the world. September 5 is a new movie from director Tim Fehlbaum that aims to relay the events of that day from the perspective of the broadcasting team in charge of reporting on this event. Having its premiere at the 2024 Venice Film Festival, this is a historical drama that is gripping more times than not despite feeling overly conventional in its execution. The crew for ABC Sports went to work that day expecting another day of Olympics activities and festivities. However, nothing could prepare them for the terrorist attack and subsequent hostage situation that occurred in the same city, a situation they had the obligation of reporting on. It’s such a memorable global event, especially from a media perspective, so it’s an interesting prospect to get a glimpse into how these events were handled by this broadcasting team. Despite being written by Fehlbaum, Moritz Binder, and Alex David, a team that has a relatively limited body of work in feature film writing, this script is tightly paced and serves as a great driving force behind the narrative. The dialogue was well-written, the narrative beats were steady and earned, and it gave the actors plenty of material to work with in their own unique ways. It was accessible enough for younger audiences who might not be aware of these events, but it also prevented itself from becoming overly expositional.  While the writing is solid throughout, one must also acknowledge the wonderful efforts of the cast who brought it to life. Led by Peter Sarsgaard and John Magaro, they’re able to take the material and make it engaging to watch on screen. They seem to understand the stakes and convey that to the audience in tangible ways. Leonie Benesch was also a delight to see in a supporting role especially after first being exposed to her in last year’s The Teachers’ Lounge.
Even though I have a lot of positive things to say about this movie, I do admit it feels super safe in its execution throughout. It doesn’t take any ballsy narrative swings or any kind of artistic risks. It plays out just as one would expect which makes this feel like an exceptional cable TV movie more than a possible awards contender this year. September 5 will be a gripping watch regardless of the level of knowledge about the Munich massacres. Even knowing how it all ends, audiences will still feel engrossed by the engaging script and extremely talented actors. It gives you exactly what you expect, nothing more, nothing less. Whether or not that’s a good thing is up to you. September 5 is in theaters January 17. Rating: 4/5 Review by Adam Donato  One Of Them Days is one of the first releases of the new year and starts us off with a laugh. This is Keke Palmer’s first leading role on screen since her success in Nope. She is coupled with popular artist SZA as two best friends who need to regain their rent money by the end of the day. Helmed by first time director Lawrence Lamont and first time writer Syreeta Singleton, can this comedy survive on the chemistry of these two popular leading ladies? Keke Palmer has more personality in her pinky than most actresses have in their whole body. That includes SZA, who is not bad in the movie, but the writing for the character isn’t doing her any favors. She’s majorly unlikable and annoyingly foolish. For someone who doesn’t regularly act, this was not a failure of a performance though. She has good enough chemistry with Keke Palmer to keep this buddy comedy afloat. Palmer doesn’t need much help. There’s so many laughs gotten from her just messing around. The way she delivers her lines and the energy she brings to every scene is magnetic. It helps that most of the central characters are very attractive and this movie loves to take every opportunity to capitalize on that. This is a horned up comedy to the bone.  The narrative of the film gives a clear timeline and is fraught with comedic opportunities. All their attempts to acquire more money and to stay out of trouble are very funny. The film often relies on cheap, over the top slapstick comedy. Character getting hurt in some outlandish and fake looking way. These aren’t as funny as the banter between the characters, but it’s enough to make this day seem like a wild ride. The story threads are wrapped up in similarly unconvincing ways and leaves off feeling too convenient. The film lives and dies on the backs of the bond between these two best friends. The quality of the film does not inspire me to watch more from the first time writer and director, unless they are coupled with inspiring talent.
Turns out the pairing of Palmer and SZA is enough to satisfy audiences. The whole screening was hooting and hollering throughout. One Of Them Days certainly accomplishes its goal of being a fun, crazy and raunchy comedy. Palmer should continue to thrive when it comes to landing more lead roles. Hopefully SZA can garner some more box office attention with her music stans. Check this one out in theaters this January for some lighter laughs. One of Them Days will be in theaters on January 17. Rating: 3/5 Review by Jonathan Berk  (from left) Charlotte (Julia Garner), Blake (Christopher Abbott) and Ginger (Matilda Firth) in Wolf Man, directed by Leigh Whannell. There are plenty of werewolf movies at this point, and the lore behind the creature has shifted in multiple ways. Universal brought us the monster in the 1941 film The Wolf Man, which has since become a major element of its stable of monsters. After several failed attempts at rebooting the Universal Monsters – which concluded with The Mummy – Blumhouse and writer-director Leigh Whannell's Invisible Man finally found a formula that worked. Thus, the second entry, Wolf Man, had a lot of hype around it. While it is by no means the trash that Blumhouse is known to drop in January, it doesn't live up to the quality of The Invisible Man or many of the werewolf movies that came before it. Blake (Christopher Abbott) finally gets closure when a letter confirms that his estranged father has been declared dead after going missing in the Oregon woods. In an effort to fix his marital problems and tighten his family bonds, Blake suggests that Charlotte (Julia Garner) and their daughter Ginger (Matilda Firth) travel to his childhood farmhouse in rural Oregon. What begins as a potentially relaxing getaway from the big city quickly sours as the family is attacked by an unseen animal, and is forced to barricade themselves in the home for what could be the last night of their lives. The script by Whannell and Corbett Tuck is admirable for attempting to craft a character-centered story. Abbott and Garner give tremendous performances that help carry the emotional weight of the narrative. The problem is that the script is a little weak in terms of logic and dialogue. There is a lot of expository dialogue that almost feels like the characters are simply reading stage directions, as it is so blunt in its messaging. Even the idea that their marriage is on the rocks is simply told to us in an awkward scene before their trip to the farmhouse. It would have been fairly easy to suggest that their relationship was in jeopardy without having an awkward conversation. There is no visible evidence of it other than this kind of generic argument followed by his suggestion that they leave town. Their relationship status also doesn't feel necessary. The payoff of this setup element never quite hits in a way that makes sense of its inclusion in the story.  (from left) Ginger (Matilda Firth) and Blake (Christopher Abbott) in Wolf Man, directed by Leigh Whannell. Firth and Abbott also have great chemistry. You believe their father-daughter connection, and that helps make many of the scenes pay off. Unfortunately, the film also features one of the clunkiest line deliveries one could imagine, punching audiences in the face with the theme so it would be impossible to miss. Other than that line feeling so painfully on the nose, it also raises the issue of the choice to have it in a werewolf tale.
The lore of werewolves varies from film to film and story to story. However, the reason the story has existed so long is the visceral nature of our inner beasts breaking out and running amok. The metaphor behind that transformation has taken on a variety of forms — from puberty, as in Teen Wolf and Ginger Snaps, to the emergence of the id, as in An American Werewolf in London or Wolf. In this instance, the transformation component of the tale doesn't feel as focused as many others. There is a reason, but it feels underdeveloped in comparison to other versions. Much of the movie feels like a series of brainstorming concepts that never quite got worked through to their conclusion. Everything that is set up gets some kind of payoff, but it often feels like it takes major leaps to get there. The pacing of the film helps cover up some of these gaps as it rushes you to the next beat — but looking back, it is easy to notice how rushed certain elements feel. Despite those story hiccups, the tension and overall feel of the film manage to help it limp to an overall satisfying experience. The cast and the world they inhabit are compelling. Some innovative POV shifts play on the werewolf mythology in interesting ways which also help set it apart from previous iterations of the story. Rarely do we get to experience the world through the perspective of the werewolf, and it is used to great effect here. It doesn't do a great job of handling the specific rules for this version, but the ones that are established are at least maintained. Wolf Man is a mostly entertaining and watchable film for a January release. Yet, it doesn't deliver the same impressive quality as Invisible Man. Thus, it's hard not to feel a little disappointed. For every original element in this film, there are a few generic horror tropes that ultimately hurt the overall experience. If the actors weren't capable of carrying the weak script with their performances, the film would likely not work at all. Wolf Man is in theaters on January 17. Rating: 3/5 |