|
Review by Sean Boelman  Kristen Stewart stars in SEBERG. Photo Courtesy of Amazon Studios. Directed by Benedict Andrews (Una) from a script by Joe Shrapnel and Anna Waterhouse (Race), Seberg is a new political thriller inspired by true events in the life of French New Wave actress Jean Seberg. Perhaps a bit too sensationalized but still frequently riveting, Kristen Stewart’s phenomenal turn is likely to be the film’s biggest draw. The movie follows Seberg as she is targeted by the FBI for her relationship with civil rights activist Hakim Jamal. Unlike a standard biopic, Andrews’s film does not present the viewer with any new or revelatory information about its subject. Instead, the movie is much more superficial, playing out like a genre film more than anything else. Still, even if the movie doesn’t provide the level of insight for which fans of the actress may be hoping, it manages to be a mostly entertaining political thriller. With a very brisk runtime and a very cinematic story, Andrews is able to easily keep the audience’s attention. A few over-the-top moments do end up feeling excessively melodramatic, but there are plenty of other excellent moments to boot. Arguably the biggest mistake that the film makes is that it attempts to balance too many storylines. Had the movie focused exclusively on Seberg, her relationship with Jamal, and the effects it had on her personal life and career, the film would have been much more effective. However, the movie also contains an underdeveloped subplot about the FBI agent who is investigating her, and this is relatively distracting.  Kristen Stewart stars in SEBERG. Photo Courtesy of Amazon Studios. It is obvious what Shrapnel and Waterhouse were trying to do with these parallel storylines — both Seberg and the agent are torn between their professional obligations and what they believe in their hearts to be right — yet there simply isn’t enough time for this other character to be explored. The biggest disappointment of the film is that it had the potential to make an extraordinary political statement, but this bite just fizzles out.
That said, Kristen Stewart gives an excellent performance as Seberg. Unlike many actors who play other actors, Stewart isn’t simply doing an impersonation (although the recreations of some of Seberg’s footage are pretty stunning). Despite the scripts many shortcomings, it does give Stewart plenty to work with on an emotional level, so it’s really a shame that she wasn’t campaigned harder this awards season. Andrews also does a very good job on a technical level. The use of color in the movie is amazing and does a great job of transporting the viewer back to the era in which the film was set. Additionally, Andrews is able to build suspense over the course of the movie, playing into Stewart’s convincing portrayal of paranoia to create a feeling of anxiety. Seberg may not offer the best possible version of this story, but it is inarguably very entertaining. Thanks to an excellent lead performance and some solid execution, this film is much better than some would have you believe. Seberg is now playing in theaters. Rating: 4/5
0 Comments
Review by Sean Boelman  In Disney and Pixar’s “Onward,” brothers Ian and Barley Lightfoot (voiced by Tom Holland and Chris Pratt) are given a special gift from their late father on Ian’s 16th birthday. But when an accompanying spell meant to magically conjure their dad for one day goes awry, they embark on a quest fraught with some of the most unexpected obstacles. Directed by Dan Scanlon and produced by Kori Rae, “Onward” opens in U.S. theaters on March 6, 2020. © 2019 Disney/Pixar. All Rights Reserved. The newest film from highly acclaimed animation studio Disney-Pixar, Dan Scanlon’s movie Onward offers a blend of fantasy adventure, coming-of-age comedy, and family drama. Arguably the studio’s most ambitious film to date, this may not have much of an impact on the youngest of viewers, but will undoubtedly resonate with older kids and adults who see it. The movie follows two brothers as they go on a quest to find a mythical gem that will allow them the opportunity to bring their father back to life for 24 hours and see him one last time. Like any Pixar film, Onward hits the typical beats of its genre pretty consistently, albeit with a bit of a self-aware twist. The quest itself is rather predictable, but there is still plenty of fun to be had along the way. Perhaps the most successful part of this movie is its world-building. The film is built around the ingenious concept of bringing the world of fantasy and magic into the modern age of technology. This results in some absolutely hilarious bits, like one involving a pawn shop, and a recurring gag about driving. Some of these jokes (many of which are the movie’s funniest) will likely fly go kids’ heads, if only because they haven’t experienced these things for themselves, but will give their adult companions plenty to laugh at. Of course, this detailed world comes hand-in-hand with the excellent animation that the film has to offer. Among Pixar’s recent original efforts, it may not be as gorgeous as Coco or Inside Out, but it still does a very good job of immersing the viewer. The way in which fantasy and realism is blended is often awe-inspiring thanks to the tremendous effort put in by the animators.  When teenage elf brothers Ian and Barley Lightfoot (voices of Tom Holland and Chris Pratt) get an unexpected opportunity to spend one more day with their late dad, they embark on an extraordinary quest fraught with some of the most unexpected obstacles. Disney and Pixar’s “Onward” opens in U.S. theaters on March 6, 2020. © 2020 Disney/Pixar. All Rights Reserved. If the movie does struggle in one area, it is that it ultimately bites off more than it can chew thematically. While the film does come together very nicely by the end, there are still a few things that don’t get explored completely. Many of the things that feel like loose ends come from the subplots and side characters in the story, some of which had the potential to be much more.
That said, the main emotional arc of the movie — the protagonists trying to reconnect with their father — is very compelling. In typical Pixar fashion, audiences can expect to leave the film a bit teary-eyed, if not bawling hysterically. Still, the emotion in this movie feels much more earned than that in some of the studio’s lesser efforts. The voice cast in the film is also very strong. Tom Holland and Chris Pratt have great chemistry together and do a nice job of leading the movie, but more often than not, it is the supporting cast that steals the show. Mel Rodriguez is absolutely hilarious as a centaur police officer, and Octavia Spencer is great as a mythical hybrid beast that the protagonists encounter on their quest. Everyone in the cast gets their moment to shine, and the film is all the better for it. Onward does have a few areas in which it could have used improvement, but it is still of the quality one would expect from Disney-Pixar. Because of the nature of the story and humor, this one will probably be appreciated more by the over-ten kids, but there is still plenty to enjoy for the whole family. Onward opens in theaters on March 6. Rating: 4.5/5 ONCE WERE BROTHERS: ROBBIE ROBERTSON AND THE BAND -- A Safe but Enjoyable Rock Documentary2/21/2020 Review by Sean Boelman  The Band in ONCE WERE BROTHERS: ROBBIE ROBERTSON AND THE BAND, a Magnolia Pictures release. Photo credit: © David Gahr. Once Were Brothers: Robbie Robertson and The Band is a new music documentary inspired by Robertson’s memoir Testimony. Despite generic execution from director Daniel Roher, the film is very memorable because of its fascinating story. The movie tells the story of Robbie Robertson, the beloved songwriter and former lead guitarist of classic rock group The Band. Focusing almost exclusively on Robertson’s musical career, the film plays out similarly to a lot of other rock docs, but if one is a fan of the era of music in which Robertson and his group were most active, this is sure to be an entertaining watch. At times, the movie does start to feel a bit repetitive, but that is also partially because the film fits a tried-and-true formula to the tee. Still, if the viewer gets invested in Robertson’s rags-to-riches tale, the movie moves along at a solid pace. Even if the film doesn’t have the depth or impact it could have, it is still an entertaining and informative biography. One of the film’s greatest strengths is paying tribute to Robertson and making the viewer admire his creativity and hard work. The movie shows Robertson’s rise within the context of the genre of music to which he contributed, allowing the viewer to understand the tremendous impact he had on the industry. One almost wishes that the film had done more with the other members of the group, but this is more Robertson’s story than The Band’s story.  The Band in ONCE WERE BROTHERS: ROBBIE ROBERTSON AND THE BAND, a Magnolia Pictures release. Photo credit: © David Gahr. The movie tells its story through some pretty compelling interviews. Of course, a majority of the film’s material comes from Robertson himself, which is understandable given that the movie is inspired by his memoir. It is frequently fascinating to hear him talk about his own life. Other interviewees include such notable figures as Bruce Springsteen, Bob Dylan, and Eric Clapton.
As is the case with most music documentaries, the soundtrack is excellent, being filled with great music from the film’s subject, but more easily could have been done with the music. Something that was largely missing from the movie was performance footage. The music was more often used as a supplement to everything else than a medium in its own right. Visually, Roher’s film is cohesive and competent, if safe and by-the-book. The interviews are well-composed and incorporated effectively. Much of the rest of the movie is told through archive photos that are accompanied by the voiceover narration from the interviews. While this is enough to keep the viewer invested, a bit more variety would have been appreciated. Once Were Brothers: Robbie Robertson and the Band works because of its fascinating story, but there is a lot more that could have been done. Perhaps with a bit more stylistic ambition, the film could have been even more successful. Once Were Brothers: Robbie Robertson and the Band is now playing in theaters. Rating: 3.5/5 Review by Sean Boelman  Directed by Wayne Blair (The Sapphires), Top End Wedding is a cute new romantic comedy told from a fresh and unique perspective. A bit overlong but still mostly entertaining and often very adorable, even if the plot of the film itself is formulaic, there is much more substance to this than most movies of the genre. The film follows a recently-engaged couple that have decided to get married in a hurry, only for their plans to be thrown askew when the bride-to-be’s mother goes missing, sending them on a search to find her and themselves. Ultimately, as is the case with many rom-coms, the direction in which the movie is heading is immediately obvious, but there is still plenty to enjoy in the script. The only thing that works against this film is lackluster pacing. Although there are enough laughs to be found to keep the movie moving, this story could have been told more effectively in a mere ninety minutes instead of the extended runtime it is given. The film particularly loses its luster in the third act. What could have easily been the emotional crux of the movie is instead extremely underwhelming. That said, the character development in the film is relatively strong. Thanks to the focus on her indigenous background, the protagonist is a very compelling and interesting character. Her love interest isn’t as well-written as she is, but the rest of the supporting characters offer some solid subplots, even if they aren't fully explored.  On a thematic level, the movie is all about the protagonist trying to find her identity. Her quest to find her mother mirrors her mother’s quest of self-discovery, allowing the film to explore the indigenous culture at the center of the story. Since the movie comes from this underrepresented angle, it manages to stand out despite the otherwise run-of-the-mill story.
The cast of the film is also very strong. Miranda Tapsell, who also co-wrote the script, obviously has a great deal of passion for this role, and it is infectious. Her comedic delivery is excellent and she does a solid job of handling the emotional moments as well. Additionally, she has very good chemistry with co-star Gwilym Lee, who is charming on his own merits. In terms of execution, the movie is mostly fine, although also conventional. It’s somewhat disappointing that the filmmakers didn’t end up doing more with the setting with which they were working. It isn’t often that a film like this is set in the Aboriginal lands of Australia, so it would have been nice to see more done with this. Still, the movie is entirely competent. Top End Wedding is a likable romantic comedy, and despite its issues, there are a lot of really good things happening in it. This film is absolutely worth checking out thanks to the unique perspective from which it is told. Top End Wedding is now available on VOD. Rating: 3.5/5 Review by Camden Ferrell  Come as You Are is a comedy film that had its premiere at the 2019 SXSW Film Festival. This movie was directed by Richard Wong and written by Erik Linthorst. While this movie is entertaining and heartwarming, it sometimes loses its momentum and misplaces its humor. This movie is about three men with disabilities who are driven by a nurse on a road trip. Their goal on this trip is to go to a brothel just past the Canadian border so they can lose their virginity. This is a unique concept even if it sounds a little questionable at first. However, it is refreshing to see a movie that is populated with so many characters with disabilities. Linthorst’s script is mostly pretty decent. It does use a lot of low-ball humor and sexual jokes to drive its plot, but that is the nature of most of the movie. Considering this movie is a remake of the Belgian film Hasta La Vista, Linthorst did a fairly good job of adapting it for American audiences. It has lots of charm even if its jokes don’t always land the way they’re supposed to. The acting is very good throughout. Grant Rosenmeyer (The Royal Tenenbaums) leads the cast including Hayden Szeto (The Good Place), Ravi Patel (Meet the Patels), and Gabourey Sidibe (Precious). Rosenmeyer does a great job with his character’s unfiltered and brutally honest remarks throughout. His timing is both awkward and funny, and he demonstrates great chemistry with the cast. Szeto and Patel also do a good job at developing their own unique styles of comedy that make this road-trip comedy fairly enjoyable.  One of the flaws with this movie is how its main cast doesn’t have any disabilities in real life. While it is the duty of the actor to act, it is disheartening to learn in a movie that is about overcoming disability and adversity, those who actually have disabilities were not used to act in the movie. Representation is an important part of filmmaking, and I wish it was handled a little bit better in this movie. It’s a problem that isn’t present unless one recognizes the able-bodied actors.
Despite this, the movie does have some nice heartwarming messages about friendship and self-acceptance. It’s often crass, but the movie does have some sweeter and more solemn moments that make it special. It’s nothing new or highly exciting, but it’s a wholesome message that people can get behind. There are times where the movie lingers too long or overstays its welcome, and it can sometimes be off putting. Luckily, the strong cast and fair script are able to correct its shifts in momentum with enough ease to make its shortcomings mostly forgivable. There are a lot of ways this movie doesn’t reach its potential, but it’s a mostly harmless and enjoyable road trip movie. Come as You Are does not break new ground, but it’s a fun movie about disability and friendship. It has some tender moments to balance out its crude and lewd humor. While it is flawed on many fronts, the movie is ultimately passable. Come as You Are is now available on VOD. Rating: 3/5 |