Review by Dan Skip Allen

Review by Camden Ferrell

Tal Granit and Sharon Maymon are an Israeli directing duo that has previously made films such as The Farewell and Flawless. Their newest movie together is My Happy Ending, based on a play from late Israeli playwright Anat Gov. This is a movie about a serious issue many people face that can pack an emotional punch when it needs to but can often find itself missing on its comedic beats throughout.
 
Julia is a once-famous actress on the verge of a comeback. However, one day she finds herself at a nondescript hospital, seeking treatment due to her recent cancer diagnosis. Despite attempts to stay incognito, she meets a group of women who are all battling cancer together. With friendship, humor, and perseverance, these women come together over the course of one day to help Julia come to terms with her diagnosis and what to do next. This is an interesting premise that has the potential to speak to a lot of viewers while also delivering on some earned emotional moments throughout.
 
This is written by Rona Tamir, and it’s a noble attempt even if it isn’t great. This is her first feature screenplay, and that definitely shows at certain points in the movie. There are moments where the dialogue and flow of certain conversations can feel out of place with the structure of the 90 minute movie. Despite its flaws, there are still some great things happening with the writing and this is mostly shown in conjunction with the performances of the lead actresses.

Andie MacDowell leads this movie as Julia, and she gives a solid if forgettable performance. She does what is asked and nothing more, but for a movie like this, that’s all that an actress really needs to do. She doesn’t go above and beyond, but that is commensurate with everything else happening on screen. The movie has other decent performances from the likes of Sally Phillips and Rakhee Thakrar, but if anyone is the highlight, it’s Miriam Margoyles. She brings an adorable charm that can only come from someone of her age and experience and her moments throughout are the most delightful.
 
It's difficult to properly execute a comedic film dealing with a grave illness like cancer, and I want to say this movie gave its all. The directors are able to pull off surprisingly emotional moments, but the movie starts to show its weaknesses when it has to balance the comedy with those moments because it doesn’t always land as intended. Nothing in this movie was particularly bad, but it seems as if most people working on this movie were just operating a decent but not great level throughout.
 
My Happy Ending might be a cute escape for 90 minutes, and it might genuinely be helpful to those going through similar issues. It has its charms, and it certainly has a target demographic that will enjoy it more than others, but I’m afraid there isn’t much in this movie to make it memorable. It’s harmless, but it’s not something that will persist with me very long.
 
My Happy Ending is in theaters February 24.
 
Rating: 3/5

Review by Sean Boelman

Directorial debuts come in many shapes and sizes, but the best ones are those which feel like an unmistakable calling card for their creator. Daniel Antebi’s crime comedy God’s Time oozes personality in a way that may cause viewers to experience sensory overload, but will absolutely never leave them bored.

The film follows two best friends who set out on a quest across New York City to stop their mutual crush from making a mistake that will destroy her life. There’s a lot going on in this movie, and while all of the thematic and story threads aren’t fully developed, enough of them are for this to be a compelling cinematic experience.

The pacing in the movie is certainly aggressive. Even though the film is somewhat lighthearted and tongue-in-cheek in nature, it’s shot as a race-against-the-clock thriller. As a result, the movie is extraordinarily stressful. It certainly helps that Antebi does a great job of establishing the real, human stakes of the story.

Because viewers will be on the edge of their seats for so much of the runtime, the awkward humor hits so much harder. It’s classic cringe comedy — with many of the laughs being derived from the increasingly uncomfortable situations in which the characters find themselves. However, Antebi finds the perfect balance between grounded and absurd to work.

The film’s constant winking at the camera is sure to be a bit too much for some people. At times, the fourth-wall-breaking is so much that it begins to feel like Deadpool. However, there is no denying that Jeff Melanson’s tight cinematography and Brian Reitzell’s jazzy score give the movie an infectious kineticism that keeps the viewer engaged.

Antebi’s script is interesting because the protagonist isn’t the type of person an audience would generally like. He’s often outright annoying, and — as he even states in a fourth-wall breaking moment — is not what anyone would classify as “heroic.” However, in all of his flaws and overzealousness, there’s something ineffably charming about the character.

A big part of the character’s success is owed to a phenomenal performance by Ben Groh. He’s so incredibly confident and charismatic, and you can absolutely tell that the role was written for him by Entebi, as he is uncannily naturalistic. Liz Caribel is also extraordinary in her role (even if the character is a pretty clear example of a Manic Pixie Dream Girl).

God’s Time isn’t without its flaws, but it’s such a funny and intense blend of genres that it’s hard not to admire it. It’s one hell of a debut for Daniel Antebi, and if his next film is half as exhilarating as this, it’s still going to be hella entertaining.

God’s Time hits theaters and VOD on February 24.

Rating: 4.5/5

Review by Sean Boelman

The horror genre typically lives or dies by its execution, as strong execution with a weak script can still be pretty entertaining. However, there are some times when a screenplay is so far beyond salvation that not even the best storytelling can make it compelling — and Bunker is unfortunately proof of that.

The film follows a group of soldiers who find themselves trapped in a bunker, being tormented by a malevolent force that turns them against one another. It’s a pretty straightforward “cabin fever” premise, but in a unique setting that promises to offer a unique spin on two well-worn genres. 

From the highly stylized credits, which are reminiscent of old school war movies, you can tell that this is trying to be a campy throwback picture. It does the throwback part well, with Andrew Morgan Smith’s score being the absolute MVP of the movie, but it fails with the campiness, instead opting to take itself too seriously as a horror flick.

Adrian Langley’s direction is actually quite phenomenal — it’s just a shame that the script is so underwhelming. The film’s outstanding production design and costuming, dim and flickering lighting, and impressive (mostly) practical effects go a long way in making the viewer feel like they are trapped in this bunker with these soldiers. Unfortunately, this isn’t enough to make audiences care about what is going on.

The whole affair has an air of eeriness to it, and there are even a few parts that are downright disturbing. However, despite the tension that Langley is able to build, it largely feels disjointed. The movie attempts to capitalize on the unknown and the mystery of whether these events are supernatural or psychological, and it fails to strike an intriguing balance.

Perhaps the biggest shortcoming of the script is its character development. Of course, we are introduced to the platoon through expositional dialogue and shallow, generic backstories. All of the soldiers share the common motivation of “getting home,” with the only variation being to whom they’re going home. It’s a universal human emotion, and is somewhat relatable, but it isn’t enough to make the film interesting.

The ensemble is also a weakness. Viewers might recognize a few members of the cast as character actors, but there are no A-list stars to be found here. It doesn’t help that none of the roles are particularly meaty, but many of the performances that are given are the quality of a war reenactor who has never seen real combat in their life.

Bunker is undeniably impressive on a technical level — which is incredibly sad, because this could have been the talented director Langley’s shot to the big leagues. Unfortunately, the script is so rudimentary that the final project is an absolute struggle to get through despite inspired execution.

Bunker hits theaters on February 24.

Rating: 2/5

Review by Cole Groth

Ireland is making waves at this year’s Academy Awards. While The Banshees of Inisherin and its nine nominations will outshadow The Quiet Girl, it’s important to realize that the latter is the first ever Irish-language film to be nominated at the Oscars. While this drama, directed by Colm Bairéad in his directorial debut, doesn’t carry high stakes and is occasionally dull, it’s a powerful and emotional tale that’ll tug at your heartstrings.

The Quiet Girl (in Irish called An Cailín Ciúin) follows nine-year-old Cáit (Catherine Clinch), an appropriately quiet girl growing up with a large family in rural Ireland. Her parents, unfortunately, are neglectful and seem to forget that Cáit even exists. After her mother becomes pregnant again, they send her off to live with her distant cousin, Eibhlín (Carrie Crowley), and her husband, Seán (Andrew Bennett).
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For the first time in Cáit’s life, she’s shown what true parental love can be like. Eibhlín is immediately warm to her, but Seán is withdrawn at first. Over time, he grows fond of her, and by the end of the film, Cáit’s bond with the two is remarkable. While this plot won’t hold the attention of viewers looking for something exciting, it’s a remarkably beautiful coming-of-age story.

This film would not work nearly as well without the tremendous work of Catherine Clinch. At 12 years old, Clinch delivers one of the strongest child performances in years as the timid lead. There’s much beauty to be found in her subdued performance, which is also supported by the brilliant work of Carrie Crowley and Andrew Bennett. This film is about familial bonds, and these three actors do a stunningly good job of seeming like a real family.

Director Colm Bairéad packs each scene with subtle details of grief, parenthood, and family-building. Subtle flashbacks and cuts reveal details that explain more of the relatively limited story of the two surrogate parents. Bairéad’s script,  adapted from Claire Keegan’s short story "Foster," does an incredible job of drawing emotion out of each interaction, and his ending will leave viewers feeling a wide array of emotions. The cinematography from Kate McCullough and the editing from John Murphy are beautiful and enhance the script immensely.

As far as this year’s Oscar nominees go, The Irish Girl isn’t nearly as in your face. That isn’t to say that it doesn’t deserve your attention, though. While it seems unlikely to win the Oscar, seeing a film like this receive a nomination is nice. It’s a powerful piece of media that highlights important issues and will undoubtedly leave a mark on many viewers. In 94 minutes, Colm Bairéad will give you a different perspective on family, and that’s worth so much more than the time it takes to watch.

The Quiet Girl releases in theaters starting February 24.

Rating: 4/5