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Review by Camden Ferrell  The Times of Bill Cunningham is a documentary about the iconic fashion photographer and his career. This movie is the feature-length directorial debut of Mark Bozek. While the film’s subject is an undoubtedly lively and interesting character, the movie feels like a superficial exploration of his career and work. In this documentary, we get to learn about the life of Cunningham, and we get a lot of personal insight from the photographer (who passed away in 2016) thanks to a 1994 interview with Bozek. It’s obvious that his career is one that warrants thorough attention, but the documentary never fully capitalizes on the subject’s entertaining potential. It appears that a lot of the film’s flaws came from its post-production. Its main interview and archival material are really solid, but it wasn’t executed in editing very well. It comes off like an uninspired film that is far too safe and dry for its own good. The organization of the movie was too repetitive, and it didn’t tell Cunningham’s story in an engaging way. The narration in this film is also problematic. Sarah Jessica Parker (Sex in the City) provides the narration in the film, but it’s more lifeless than not. Cunningham was an eccentric and exuberant personality, and Parker’s narration is the polar opposite. It doesn’t possess the flair and character that she is known for, and it is fairly monotonous throughout.  Despite the film’s flaws, the actual interview with Cunningham is fantastic. He has an amazing screen presence, and the way he recounts his life is very interesting. However, the movie relies far too much on this interview, and it uses the talking head more often than it should. Regardless, Cunningham’s personality on camera is easily the strongest aspect of this movie.
It’s also pretty interesting for those who are not familiar with Cunningham’s work. His illustrious career had humble beginnings, and it’s admittedly inspiring to see how he achieved the level of prestige that he did. The movie highlights all of the fascinating celebrities and important people with whom he has worked, but it spends a lot if its runtime on his career working with clothes rather than his time as a fashion photographer. Regardless, the movie also serves as a history lesson in fashion and the trends throughout the years. It should be really engaging to see the progression of fashion and styles over the course of many decades, but a lot of that charm is once again mitigated by the lackluster execution. The Times of Bill Cunningham is not the thorough examination of the subject’s career that one would hope for, but it does a sufficient job in telling his story in his own words. Unfortunately, its execution makes this a documentary that is a little too lifeless for this vibrant fashion historian. The Times of Bill Cunningham is now playing in select theaters. Rating: 2.5/5
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Review by Camden Ferrell  The Cordillera of Dreams is the newest documentary from veteran filmmaker Patricio Guzmán. His documentary premiered at the 2019 Cannes Film Festival where it won the Golden Eye Award for Best Documentary. This movie completes his landscape and memory trilogy, and while it isn’t without flaw, it serves as a contemplative and emotional look at a dark period in Chilean history. From the Spanish word for “mountain range”, this movie is about the cordillera that is the Andes mountains. Guzmán uses this grand natural spectacle, which makes up Chile’s eastern border, and connects it to the historical events that it has overseen. Augusto Pinochet’s dictatorship is a significant and heartbreaking period in Chilean history, and it’s one that movie aims to bring attention to. It’s a painfully personal story for Guzmán since he reveals that he hasn’t returned to his home since the coup occurred in 1973. His return is one that is highly emotional. After being away for so long, he comes back to a place that is so far removed from what he knew as his home. It’s a mournful look at a country that has changed, a country that has witnessed unspeakable horrors since his departure. However, thanks to Chilean filmmaker Pablo Salas, there is a vast amount of archive footage of during the dictatorship. Guzmán shows us this footage, and it’s is a disturbing but necessary portrait of fascism that contributes to the movie thematically. He establishes a natural connection between the events that transpired and the cordillera that serves as an observer and keeper of Chilean history.  The movie deals with the passage of time and the memory of what once was. He is plagued by a longing to recapture the joy and innocence of his childhood in the same way many of us yearn for a world that only exists in our memories. It’s a movie that forces you to come face to face with time and the tragedy that our world faces, and it’s a powerful message at that.
The movie is also bolstered by some grand imagery of the Andes. He uses a variety of angles and methods to capture the grandeur of the mountain range, and he is able to create a visual association between the landscape and the history of the land. It’s a profound statement that gives the movie a unique voice. Unfortunately, there are moments in the first 30 minutes that feel like its attention is misplaced. This gets the movie off to a rocky start, but once Pablo Salas and his archives enters the picture, the movie hits its stride. This movie emphasizes that Chile’s vile history will not be forgotten, and that the truth will endure but it also illustrates that the pain and tragedy will also endure. It’s a bittersweet reality that never satisfies Guzmán’s desire for Chile to recover its joy. The Cordillera of Dreams highlights an important chapter in Chilean history and connects it to the mountain range that observed it all. It’s a thought-provoking and personal journey that will speak to many. While it gets off to a rough start, this is a documentary that is definitely worth checking out. The Cordillera of Dreams is now playing in select theaters. Rating: 4/5 Review by Sean Boelman  Julia Garner stars as Jane in THE ASSISTANT, a Bleecker Street release. Credit: Ty Johnson / Bleecker Street. The narrative debut of writer-director Kitty Green (Casting JonBenet), The Assistant is a new drama set in the same world of corporate favoritism that created the monster that was the Weinstein scandal. With a simple but powerful approach, Green crafts a thoughtful examination of workplace toxicity. The film follows an assistant to a powerful executive as she goes about her daily routine, discovering the sinister happenings and abuse that quietly happen behind-the-scenes. Ultimately, the thing that stands out most about this movie is that Green takes such a brutally realistic and honest approach. While many would like to think that every case of workplace abuse gets as much publicity as the Weinstein scandal, it is the sad truth that, more often than not, something much more quiet happens as is depicted in this film. By focusing on the mundane tasks of the protagonist’s job and then showing how they are thrown off, the movie emphasizes the emotion of the situation. That said, this may also prove to be challenging for mainstream audiences. Similarly to last year’s The Souvenir, this is a meditative character piece that is more interested in exploring its themes than providing cinematic conflict. Although there are a few scenes that are quite tense thanks to excellent dialogue, the more subdued moments of terror throughout are those that are most effective.  Matthew Macfadyen stars as Wilcock in THE ASSISTANT, a Bleecker Street release. Credit: Ty Johnson / Bleecker Street. Part of what makes the film so heartbreaking is that Green does an excellent job of developing the protagonist. One of the movie’s main statements is that this could happen to anyone, and so the character is written in a way to be as believable and relatable as possible. Even though a few exposition dumps are used to provide necessary context to the characterization, a majority of the film’s emotion comes from connecting with the character due to her actions.
Because of the movie’s almost repetitive nature, it is highly dependent on the talent of the actors for the subtle emotion to be conveyed. Julia Garner (Ozark) does an amazing job of bringing the character to life, infusing the film with a ton of nuance thanks to her detailed mannerisms and fabulous delivery. Matthew Macfadyen (Succession) is the standout in the supporting cast as the human resources pencil pusher in whose office the climax occurs. On a technical level, the movie may seem simple on the surface, and for the most part, that is because it is. However, Green’s almost clinical approach to the execution lends it a necessary feeling of coldness that will almost certainly create discomfort within the viewer. Some may mistake this discomfort for boredom when in actuality it is a very deliberate emotion created by Green’s style. While The Assistant may not be the most exciting, nor even the most dramatic portrayal of the work environment, it is undoubtedly one of the most effective. With the Weinstein trial having just went into deliberations, this film and its themes remain just as important as they were when the scandal first broke over two years ago. The Assistant is now playing in theaters. Rating: 4.5/5 Review by Sean Boelman  Liam Neeson (left) as Tom and Lesley Manville (right) as Joan in directors Lisa Barros D’Sa and Glenn Leyburn’s ORDINARY LOVE, a Bleecker Street release. Credit : Aidan Monaghan / Bleecker Street. Driven by breathtaking performances by Liam Neeson and Lesley Manville, Ordinary Love is a new romantic drama with an unorthodox approach. With a subtle but nuanced storyline, the film may not be what one would expect, but it is one of the most affecting movies in recent memory nevertheless. The film tells the story of a couple that find themselves in turmoil after one of them receives a diagnosis that threatens to tear them apart. Inspired by real events in the writer’s life, the movie doesn’t lean into melodrama as many other cancer dramas do, instead opting to focus on the effects that the diagnosis has on the daily lives of these characters. Because of this, the film doesn’t play out in the most exciting way, but this deliberately subtle approach allows the movie to pack an even greater emotional punch. With impressively lively dialogue (some of which contains a surprising deal of wit), the film doesn’t have the soul-crushing bleakness that one would expect from a movie about this topic. Rather, the film is often quite beautiful. Part of what makes this film so impressive is that it is not just the story of a woman who must deal with her diagnosis. The movie is just as much her husband’s story as it is hers, showing how it is not only the person with the illness that is affected. Very few films do as good of a job as Ordinary Love at showing the perspective of a caregiver, and that helps it stand out.  Liam Neeson (left) as Tom and Lesley Manville (right) as Joan in directors Lisa Barros D’Sa and Glenn Leyburn’s ORDINARY LOVE, a Bleecker Street release. Credit : Bleecker Street. However, even beyond the two leads of the movie, there is an important third character, in a way, and that is the relationship between them. Just as much detail, if not more, is put into developing the marriage of the couple as is given to each of them on an individual basis. The result is what feels like one of the most unexpectedly romantic films in a long time.
Neeson and Manville have great chemistry together, and they are a significant part of what makes the movie work. The best scenes are those in which the two stars are on screen at the same time, feeding off of each other’s energy. As with any real-life relationship, the one depicted on screen has its ups and downs, and Neeson and Manville portray them in a way that is completely believable. Directors Lisa Barros d’Sa and Glenn Leyburn bring a visual style to the film that is undeniably unique. While the movie is shot in a way that is not particularly flashy and is meant to emphasize the performance, there is still some very elegant camerawork from Piers McGrail and detailed production design from Nigel Pollock. These small but pivotal decisions really help give the film a greater sense of character. Unlike what the title seems to suggest, Ordinary Love is far from the ordinary romance. Thanks to great performances and inspired direction, Owen McCafferty’s phenomenal script (which likely would have been in awards talk had it been released last year) is brought to life in glorious fashion. Ordinary Love is now playing in theaters. Rating: 4.5/5 Review by Sean Boelman  Bachi Valishvili as Irakli and Levan Gelbakhiani as Merab in AND THEN WE DANCED. Photo by Lisabi Fridell, courtesy of Music Box Films. And Then We Danced, written and directed by Levan Akin, is a Georgian coming-of-age tale set in the world of competitive dance. Offering some beautiful cinematography and a sometimes fascinating approach to a familiar story, there’s a lot of good things happening in this film, but not enough to elevate it into greatness. The movie follows a young and devoted dancer whose desires are thrown askew when a gifted competitor rises through the ranks, leading to both rivalry and romance. In terms of LGBTQ coming-of-age films, this movie does not bring anything particularly new or innovative to the table, although it does offer a mostly interesting perspective. The main theme of the film involves the clash between the conventional and the modern, and this manifests itself in both the romantic storyline and the dance storyline. Finding himself torn between his desires, his passions, and the expectations of society, the protagonist faces an internal conflict that, while commonly depicted, is also very sympathetic and compelling. As is the case with most movies of the genre, the effectiveness of And Then We Danced is heavily reliant on the character development. The film does an excellent job of building the protagonist in a way that is very likable. The emotional crux of the movie revolves around the audience buying into the character’s ambitions, and Akin is able to effectively build the stakes of the story.  Levan Gelbakhiani as Merab in AND THEN WE DANCED. Photo by Anka Gujabidze, courtesy of Music Box Films. Newcomer Levan Gelbakhiani gives a phenomenal performance in his leading role. Having started his career as a dancer, it is understandable why Gelbakhiani is so gifted at expressing emotion through his movements and mannerisms, as that is the medium in which he is most comfortable. The most powerful moments in the film come not from the dialogue, but the visual storytelling.
As one would expect, the movie contains some absolutely fascinating dance sequences that are shot in a very interesting way. Akin and cinematographer Lisabi Fridell draw the viewer into this world of traditional Georgian dancing in a way that is entirely immersive. Viewers will come out of the film with an appreciation of the craft and quite possibly even a desire to learn more. If the movie does have a significant weakness, it is that the sometimes conventional nature of the script causes it to be somewhat predictable. Much of the external conflict in the film feels rather anticlimactic because it is abundantly obvious that is the direction in which the movie is heading. If the film had focused more predominantly on the internal conflict, it likely could have held the viewer’s interest a bit more easily. And Then We Danced is an interesting and often gorgeous coming-of-age tale, but it does lack originality at times. Still, the movie is worth watching because of its wonderful dance sequences and abundance of emotion. And Then We Danced is now playing in theaters. Rating: 3.5/5 Review by Sean Boelman  Zoey Deutch in BUFFALOED, a Magnolia Pictures release. Photo courtesy of Magnolia Pictures. Featuring an unforgettable performance by Zoey Deutch (Set it Up), Buffaloed is a new crime comedy set in the unexpected world of debt collecting. Because of the charming and sharp sense of humor lent to the film by the writer and cast, the movie is able to overcome some of its more trope-laden moments to be thoroughly entertaining. The film follows a street-smart hustler as she turns to the underground world of debt collecting in the hopes of making it big and escaping her hometown of Buffalo, NY, only to get caught up in the darker side of the trade. Ever since movies like The Wolf of Wall Street and The Big Short brought about a resurgence of the “crime-doesn’t-pay-or-does-it” genre, filmmakers have been trying to recapture the same energy and humor to varying levels of success. Buffaloed is arguably one of the more successful attempts in recent memory. Hitting the ground running, the film starts off by introducing the audience to the protagonist and explaining all of the things that are wrong with her hometown of Buffalo, NY. With this, the movie cements itself clearly as both a love letter to the “debt collection capital of America” (an unbelievable but true fact) and an indictment of the American economy and how this country prevents social mobility. The protagonist of this film, Peg Dahl, is the perfect Byronic hero. Charming and quick-talking, but sometimes a little bit annoying, it’s hard not to love her and all of her antics (even when they start to become somewhat illicit). Admittedly, the supporting cast is relatively archetypal (sometimes to the point of being cartoonish), but this is very much Peg’s show, and the audience will buy into it.  Zoey Deutch and Jai Courtney in BUFFALOED, a Magnolia Pictures release. Photo courtesy of Magnolia Pictures. Zoey Deutch is absolutely wonderful in her leading role. Although she has had a few memorable comedic turns in the past (including a scene-stealing appearance in Zombieland: Double Tap), this is arguably her best work yet. She is absolutely perfect at the comedic timing, and her chemistry with the rest of the cast is great. Jai Courtney is also a standout, yet again proving that he is extremely talented when given the right role.
Arguably the most successful thing about this movie is the kineticism of the script. Writer Brian Sacca has given audiences a film that never slows down and yet feels totally cohesive and complete. Although the movie isn’t based on a true story or real people, it is very much set in a real phenomenon, and this is a big part of what makes it so intriguing. Director Tanya Wexler also brings an energetic visual style to the table. Although some of the techniques used are a bit cliché (freeze frame in the beginning kicking off the tongue-in-cheek narration), other portions of the film are strikingly effective. The use of montages, for example, is very impressive, building the visual rhythm of the movie. Buffaloed is a very entertaining and well-made entry into a genre that is typically very compelling. Although it may not reinvent the wheel, director Tanya Wexler takes these tropes and gives viewers a very watchable caper. Buffaloed is now in theaters and on VOD. Rating: 4.5/5 Review by Camden Ferrell  Kill the Monsters is the newest film from writer/director Ryan Lonergan. This film has played at numerous festivals including Frameline42, Raindance Film Festival, and the Seattle Queer Film Festival. This movie is a highly ambitious political allegory that remains thoroughly thought-provoking even if it loses some of its original momentum. This movie follows a polyamorous gay trio as their relationship is tested on a cross-country trip to find a doctor to treat one of their illnesses. This premise is interesting on its own, but the movie describes itself in the beginning as an American allegory, and this adds another layer of intrigue and ambition to this story. Lonergan’s script is biting and sharp for most of the movie. However, it is significantly stronger in the film’s first act more than any other. He executes scenes with fast-paced dialogue and an impressive level of intelligence that engages audiences. He balances his witty dialogue with meaningful symbolism and allegorical quips that make this movie even more charming. The cast of this film does a great job throughout. Jack Ball, Garrett McKechnie, and Lonergan make up the protagonists, and their chemistry and ability to create a sense of unease is fantastic. Their ability to subtly reflect the conflicting forces in American politics is interesting, and it’s a dynamic that is unique. These three men are also able to confidently and tenderly explore their own bodies and sexuality in a way that feels very natural and well-done.  This movie is a triumph in LGBT filmmaking. Lonergan has created complex homosexual characters that have other defining traits. While the movie contains plenty of sex, it’s seen as a positive exploration rather than a shameless fetishization of gay relationships. It’s all very well-done, and it’s executed with a certain level of care that really makes the relationship feel more emotionally thorough.
The allegorical nature of this film is quite brilliant at times. The movie takes place in the modern day, but it’s divided into chapters ranging from 1776 to 2017. There are countless references to historical events that make this film a detail and historically oriented experience that is rather exciting and fresh to see. The movie is able to boil down American political history to its bare essentials to deliver a great allegory about political divide and the destructive nature of such politics. It’s a timely story that is very reflective of our world today. The movie unfortunately loses a lot of its momentum in the second act. This sudden change drastically changes the pace of the movie, but it does manage to recover by its third act. Aside from its second act, the film is edited extremely well. Lonergan (who was also the film’s editor) has a great sense of timing and demonstrates an ability to create rapid cut sequences as well as longer more contemplative scenes. Kill the Monsters may be too ambitious for some audiences, but it’s a deeply rewarding experience for those willing to take the ride. It’s a fantastic American allegory that features strong writing and great performances throughout. There are a lot of layers and details to unpack throughout this movie, and it’s one of the more unique films to be released this year so far. Kill the Monsters is now available on VOD. Rating: 4/5 Review by Sean Boelman  Elijah Wood in “Come To Daddy”. Credit: Jamie Leigh Gianopoulos. An ambitious new horror-comedy serving as the feature debut of director Ant Timpson, Come to Daddy will almost certainly satisfy any genre fan’s craving for the zany, even if it doesn’t offer much more than aggressive weirdness. Some very good moments make this film worth watching, but ultimately, the narrative begins to lose its luster part of the way through. The movie follows a man who travels to visit his estranged father in a remote cabin to reconnect, only to find out that his father may not be who he thinks he is. Although this premise is quite strong, and the beginning of the film mostly lives up to this potential, when the twists start to come, it starts to feel underwhelming. Clocking in at just over an hour and thirty minutes, the movie admittedly does move pretty quickly, but that is also one of the film’s biggest issues. While the second half of the movie does double down on the lunacy, it also feels significantly rushed compared to the first half, which was very entertaining and created sustained tension. The first half of the film does a very good job of balancing the suspense of the mystery and the humor of the wackiness, however, once the big reveal occurs, the suspense goes out the window, and along with it, much of the audience’s interest. Though there are still some good moments (either shocking or hilarious), they pack much less of a punch than the beginning.  Elijah Wood in "Come to Daddy". Credit: Daniel Katz. Part of what is keeping the movie held back is that the character development is lackluster. Although it is obvious what the protagonist’s arc is supposed to be, he is just so oddly-written that it becomes difficult to find him sympathetic or compelling. In this way, the film’s quirkiness ends up working against the narrative.
That said, Elijah Wood does give an enjoyably weird performance as the protagonist. Wood is obviously having quite a bit of fun in his role, and while this alone does not accommodate for the narrative deficiencies of the movie, it does make it a lot more fun to watch. Stephen McHattie is also amusingly over-the-top in his supporting role. On a technical level, Timpson certainly has a command over his craft, so it will be exciting to see what he can do when he gets a hold of a more polished script. The cinematography and production design are both very off-kilter, giving the film a unique visual style and tone to go along with the off-puttingly idiosyncratic script. Come to Daddy has a wildly intriguing premise and a committed lead performance, but it never quite comes together into something fully satisfying. Those who are not hardcore fans of midnight movies are likely best staying away, as this movie is a bit too weird to be effective. Come to Daddy is now available on VOD. Rating: 3/5 Review by Camden Ferrell  A Shaun the Sheep Movie: Farmageddon is the sequel to 2015’s Shaun the Sheep Movie. This follow-up serves as the feature length directorial debut for Will Becher and Richard Phelan. While this movie doesn’t quite live up to the standards of its predecessor, it is an undoubtedly playful and well-made film that will delight fans of all ages. In this sequel, the titular sheep helps a young alien being find her way back home after she crash lands on Earth. This premise is the most ambitious and outlandish on which we have seen Shaun embark. The nature of its story can make it feel a little gimmicky, and its playful nature isn’t always rooted in realistic mechanics like his other adventures, but it’s very interesting nonetheless. Like always, this film is a testament to the Aardman Animations’ penchant for effective storytelling. It’s truly impressive how a film like this is able to tell a coherent and easily consumable story without a single line of comprehensible dialogue. This is a feat that is pretty rare in feature length films, especially those which are aimed at children, but this movie does a great job at maintaining attention and focus. Becher and Phelan did a great job with the execution of this film and still staying true to the character. The animation is also really great. Their style of claymation is distinct and instantly recognizable. The character and set designs are quite simple, but that is where a lot of its charm originates. Since it is stop-motion, all of the shots are done with care and attention to detail, and its execution is essential to the quality of the film, and the team did a great job with the animation of this movie.  This movie is great for younger audiences because of its themes. It tackles many themes of friendship and family, and the movie tugs on the heartstrings in typical Aardman style. Its playful style and physical gags are hilarious regardless of age. Their sense of timing is impeccable, and it’s a charm that never really wears off throughout the film.
However, there are some brief moments in the film that definitely drag down the pace and effectiveness of the film. There are some moments that feel a bit contrived and a little unnecessary. While the movie is already brief as is, these moments didn’t do much to progress the story or develop its characters. Despite its few flaws, this movie will never go more than a few moments without reminding you of why you love Shaun to begin with. It’s a movie with a lot of heart that brings out a childlike joy for all who watch. Even if it doesn’t achieve the same emotional heights as the previous film, it is still a great movie with a strong message. A Shaun the Sheep Movie: Farmageddon is another success for Aardman animations. Hopefully, this is not the last we see of Shaun and all of our other favorite characters. This is a perfect movie for families, fans of animation, or anyone who needs a good laugh. A Shaun the Sheep Movie: Farmageddon is now streaming on Netflix. Rating: 4/5 Review by Sean Boelman  Although the title would imply something with much less potential, the new comedy Spy Intervention is a quirky and tongue-in-cheek approach to the tropes of a well-worn genre. Thanks to its witty script, charming cast, and inspired direction, this is a surprisingly breezy and often hilarious watch. The film follows a superspy who decides to settle down into a suburban lifestyle after he meets what seems to be the woman of his dreams, only to discover that he is bored and challenged by this change of pace. Ultimately, this is a pretty straightforward fish-out-of-water comedy set-up, albeit a very funny one at that. A majority of this movie’s appeal is in its humor, most of which cashes in on the intriguing premise of seeing someone who is seemingly great at everything he does fail so terribly at things that the ordinary person does on a daily basis. However, as the film progresses, it becomes progressively more self-referential, and this is when the movie is most successful. The first thirty or so minutes are entertaining, but it is the last hour of the film, in which the protagonist struggles to balance his life, that truly stands out. This portion of the movie contains several memorable scenes poking fun at tropes common to spy films, such as one involving a seductive femme fatale threatening the protagonist’s relationship.  Additionally, the movie succeeds in making the audience care about the characters. Admittedly, it is very easy to make a hero like the protagonist of this film sympathetic because viewers are conditioned to root for this type of character, but this movie takes it a step further by giving him a compelling personality beyond his archetypal traits.
Drew Van Acker does a very good job in his leading role, absolutely nailing the qualities of a charming leading man. Even when he’s playing it more uncomfortable as the fish-out-of-water parts demand, he still commands the screen. The supporting cast is also very strong, especially Blake Anderson, as the protagonist’s partner and comedic sidekick, and Poppy Delevigne, as the love interest. On a technical level, the film is also very interesting. It is obvious that this movie has a rather low budget, but director Drew Mylrea uses his limitations to his advantage, delivering a product that often seems intentionally over-the-top. The production design and cinematography are often very campy, but it works more often than not. Spy Intervention is unexpectedly funny because of its witty script and unique brand of quirkiness. Although it isn’t groundbreaking, it is likely the best parody of the spy genre since the Austin Powers series. Spy Intervention is now available on VOD. Rating: 4/5 |